2012

Out for more

Andrew Lam
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0
Out for more

arts@sfbg.com

FRAMELINE It was Blue (1993) and Swoon (1992) and Frisk (1995), or My Own Private Idaho (1991) and The Hours and Times (1991). Paris Is Burning (1990). The Incredibly True Adventure of Two Girls in Love (1995).

It probably depended a little on who you were and what you’d seen lately that made you feel grateful to be coinciding with this point on the timeline of queer cinema. For me, it was Lilies (1996) and Go Fish (1997), and All Over Me (1997) and Beautiful Thing (1996), and every other gay teen romance, and any totally f***ed up thing Gregg Araki chose to put onscreen (including 1995’s Doom Generation, billed as “a heterosexual film by Gregg Araki,” which made straight look like a fairly provisional state of being). It was kind of like irony or porn — I couldn’t exactly define it, but I was pretty sure I knew it when I saw it while bingeing, mid–gay adolescence, on whatever the 1990s had to offer in the way of LGBT experience on film. “It” being this thing called New Queer Cinema, a term that film critic and scholar (and past Guardian contributor) B. Ruby Rich had coined in a 1992 essay in the British film journal Sight & Sound.

Rich, these days teaching in UC Santa Cruz’s Film and Digital Media Department, offered up the idea of New Queer Cinema as a way to frame a ragged-edged genre that she saw emerging. Populating it were films that told unfamiliar, upsetting, outrageous, and sometimes deeply lyrical stories of queer experience, forcing a more complicated picture onto the screen. As many of them gained a cultural foothold (seldom reaching deep into the mainstream, but drawing respectable numbers of art-house-goers), they made a space around themselves for more such films to follow their unsettling examples.

Over the next decade and beyond, the genre, and the larger, disparate queer culture, welcomed a world of untold stories; films like My Own Private Idaho and later Velvet Goldmine (1998) and Boys Don’t Cry (1999) entered the popular culture by way of some combination of star and story power; and one morning we woke up to the sight of significant swaths of the country heading to the multiplex to watch a swoony, gloomy tale of two cowboys in love.

Now, somehow, Brokeback Mountain (2005) is starting to seem like a long time ago, and you could say that New Queer Cinema has both evolved and devolved, a fact reflected in the rom-com-packed LGBT section of your friendly neighborhood video store as well as in each passing year’s Frameline festival catalog. This year, the San Francisco International LGBT Film Festival offers the opportunity to compare and contrast, casting its eyes back on the genre 20 years after Rich pronounced its existence and sketched its parameters.

In addition to presenting Rich with its annual Frameline Award, the fest has programmed a retrospective of four films that offer a sense of New Queer Cinema’s expansive scope and permeable borders: Alex Sichel’s dark-and-light, riot grrrl music–infused All Over Me (costarring a baby-faced Leisha Hailey from The L Word); Ana Kokkinos’s Head On (1998), about a reckless but closeted young man living in a tight-knit Greek Australian community; Gregg Araki’s violent, trashily romantic, HIV-inflected road movie The Living End (1992); and Cheryl Dunye’s experimental mix of documentary and dyke drama The Watermelon Woman (1996). (In 2012’s Mommy Is Coming, also screening, Dunye adds to the mix Berlin sex clubs, explicit taxicab-backseat role play, and a parent-child dynamic likely to leave you flinching in horror.)

Elsewhere in the fest, French writer-director Virginie Despentes’s Bye Bye Blondie has a mosh pit soundtrack and follows, clumsily, Araki’s frenetic and unrestrained example. Béatrice Dalle (1986’s Betty Blue) and Emmanuelle Béart (2002’s 8 Women) play former teenage punk rock sweethearts who met in a mental institution and reunite after a long estrangement to reenact the past and rip open old wounds. A high point, though not for their relationship, occurs when Dalle’s slightly unhinged character tells a woman at a highbrow cocktail party, populated by Paris’s public-intellectual set, that her dress is sectarian, before physically assaulting another guest. Cloying and soap operatic, offering the gauzy fantasy fulfillment of a Harlequin Romance, Nicole Conn’s A Perfect Ending nevertheless earns points for its premise of an uptight housewife who employs the services of a call girl — and for casting Morgan Fairchild as a madam who uses her Barbie collection as a staffing organizational tool.

Other queer stories are more successfully delineated. Aurora Guerrero’s coming-of-age tale Mosquita y Mari, which screened at the SF International Film Fest in April, soulfully and subtly captures the ambiguous friendship that develops between two Latina high schoolers struggling with unspoken feelings as well as pressures both familial and financial. In Joshua Sanchez’s Four, adapted from a play by Christopher Shinn, Fourth of July fireworks and a mood of lonely isolation serve as a backdrop to four disparate individuals’ uncomfortable attempts to find physical and emotional connection. Stephen Cone’s The Wise Kids is set in and around a Southern Baptist church in Charleston, South Carolina, and tracks a trio of teenagers as they sort out the facts of their religious and sexual identities.

There’s a startlingly small quantity of queer baby-making going on in this year’s fest compared with recent years, and the family proposed in writer-director Jonathan Lisecki’s romantic comedy Gayby (as well as Ash Christian’s Petunia) is not necessarily nuclear or easy to encapsulate in kindergarten on “Let’s draw our family tree!” day, marrying the concept of queer family to the Heather-has-two-mommies narrative. The film’s gay-boy Matt and straight-girl BFF Jenn decide that it’s time to settle down and start a family together, but reject the idea of turkey basting or consulting a fertility specialist in favor of comically awkward, highly unerotic, goal-oriented sexual intercourse.

Come to think of it, their method could resonate with the procreation-only, can’t-wait-to-be-raptured crowd, who might be less enthusiastic when the pair switch to good old-fashioned DIY insemination and Matt’s friend Nelson (a scene-stealing Lisecki) brings over a container of holy cat cremains to sanctify the proceedings. Either way, with queer spawning sometimes serving as the rope in a tug-of-war argument about heteronormativity, queer identity, transgression, and basic rights, an unruly rom-com about queer family planning is a fitting entry in a genre and a festival that have both grown into panoramic representations of the queer world.

FRAMELINE36

June 14-24, most shows $9-$11

Various venues

www.frameline.org

Gimme more

Andrew Lam
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0
Gimme more

For more on this year’s Frameline Film Festival, including times and prices, go to www.frameline.org

Mixed Kebab (Guy Lee Thys, Belgium/Turkey, 2012) A My Beautiful Launderette-type mix of culture clashes ethnic, religious, sexual, and otherwise, Guy Lee Thys’ Belgian-Turkish feature risks over-contrivance, but comes out a tasty blend of narrative and thematic ingredients. Ibrahim, a.k.a. Bram (Cem Akkanat), is the apple of his émigré Antwerp family’s eye, but then he’s kept his hunky-gay-man-at-large double life entirely off their conservative Muslim radar. Even as his best-friendship with Kevin (Simon Van Buyten) looks set to turn into something much more, he goes along with plans for an arranged marriage to Elif (Gamze Tazim), an educated cousin desperate to escape the gender restrictions of Turkey and her father’s home. Several factors will erode those best-laid plans, however, not least the prying eyes of Bram’s black-sheep brother Furkan (Lukas De Wolf), who goes from rebellious juvenile delinquency to obnoxious moral fundamentalism under a far-right local imam’s influence. Thu/14, 10pm, Castro. (Dennis Harvey)

North Sea Texas (Bavo Defurne, Belgium, 2011) Growing up is never easy — especially when you know who you are and who you love from a tender young age, and live in a sleepy Belgium coastal hamlet in the early ’70s. Sexual freedom begins at home, as filmmaker Bavo Defurne’s debut feature opens on our beautiful little protagonist, Pim — a melancholy, shy, diligent soul who has a talent for drawing, a responsible nature, and a yen for ritual dress-up in lipstick and lace. He has an over-the-top role model: an accordion-playing, zaftig mother who has a rep as the village floozy. Left alone far too often as his mom parties at a bar named Texas, Pim takes refuge with kindly single-mom neighbor Marcella, her earnest daughter, and her sexy, motorcycle-loving son, Gino, who turns out to be just Pim’s speed. But this childhood idyll is under threat: Gino’s new girlfriend and a handsome new boarder at Pim’s house promise to change everything. Displaying a gentle, empathetic touch for his cast of mildly quirky characters and a genuine knack for conjuring those long, sensual days of youth, Defurne manages to shine a fresh, romantic light on a somewhat familiar bildungsroman, leaving a lingering taste of sea salt and sweat along with the feeling of walking in one young boy’s very specific shoes. Fri/15, 9:30pm, Castro. (Kimberly Chun)

I Want Your Love (Travis Mathews, US, 2011) Local director Travis Mathews’ first full-length feature — produced by porn impresario Jack Shamama and the good, pervy folks at Naked Sword — is so beautifully shot, edited, paced, and true to life for a certain young, scruffy, artsy fag demographic (not to mention brimming with explicit sex scenes) that you probably won’t notice that hardly anything happens plotwise. A cute performance artist named Jesse, played by one of our top performance artists also named Jesse, is getting ready to move back to Ohio due to those all-too-familiar San Franciscan money woes, but maybe also to forge some deeper connection to life. That’s about it. The true joy here is seeing most of the Bay Area’s gay underground arts scene nailing peripheral roles: Brontez Purnell hilariously steals the movie, cute naked gay boys abound, and the whole thing really does come off as a lovely West Coast boho version of last year’s UK indie hit Weekend, with more fog and condoms. Sun/17, 9:30pm, Castro. (Marke B.)

Beauty (Oliver Hermanus, South Africa/France, 2011) The destructive toll of repression, psychological and otherwise, is vividly illustrated in Oliver Hermanus’ stark minimalist drama. Francois (Deon Lotz) is a middle-aged Afrikaaner husband and father living an entirely concealed double life: the hidden part acted out in secret orgies with other men as successful, privileged, and closeted as he. (When one member of this very exclusive “club” brings a black lover along, the reaction makes clear how sharp South Africa’s race/class divisions remain.) Francois’ control of that schizophrenic existence is masterful — until he spies Christian (Charlie Keegan), a model-handsome new corporate colleague, a close friend’s son, and eventually his younger daughter’s boyfriend. Despite all those red flags, his obsession builds toward a shocking, uncontrollable explosion. A deliberately chilly and unpleasant work of art à la Michael Haneke, Beauty weighs the consequences of living a lie, and finds them aptly repellent. Mon/18, 9:30pm, Castro. (Harvey)

 My Best Day (Erin Greenwell, US, 2012) Sans name stars or a catchy plot hook, Erin Greenwell’s indie comedy attracted little attention at Sundance, and it’s kinda buried in the Frameline program — a pity, since its uncontrived, even-handed balance of gay male, lesbian, and straight protagonists would have been perfect for a higher-profile slot. Not to mention that it’s totally goofy, funny, surprising, and sweet. Over the course of one Fourth of July in Bangor, Penn., a motley assortment of hapless but endearing characters circle one another warily, desiring everything from family reunion to crush-realization to acknowledgement of a closeted relationship. They’re all delightful, although there’s no getting around the wholesale scene stealing of Ashlie Atkinson, whose motorcycle- and slutty local-girl-covetous refrigerator-repair dyke dials down her “Muffler” in Another Gay Movie (2006) to create a character of nuanced comic beauty. My Best Day is unpretentious but so low-key skillful and open-hearted that in the end it feels ever-so-slightly profound. Tue/19, 7pm, Elmwood; June 20, 9:30pm, Castro. (Harvey)

Keep the Lights On (Ira Sachs, US, 2012) At times almost too intimately painful to watch, Ira Sachs’ autobiographical drama charts the long-term disintegration of a relationship between a filmmaker and a bright, adored but addicted and duplicitous soulmate. When expat Danish documentarian Eric (the exceptional Thure Lindhardt) first hooks up with publishing-biz newbie Paul (Zachary Booth), they have sexual chemistry and more. But the Manhattan life they build together is increasingly hole-riddled by Paul’s mood variances, unexplained absences, and other signs of serious drug usage. Sachs lets the narrative be controlled by the empty spaces such a habit leaves for concerned loved ones — time and circumstances often leap forward without full explanation, placing us in Eric’s frustrated position as a man in love with a man whose returned love is both genuine and entirely untrustworthy. Keep the Lights On is unabashedly difficult viewing. But it’s also the best (as well as the first gay-focused) feature Sachs has made since his equally unsettling 1997 debut The Delta. June 20, 6:30pm, Castro. (Harvey)  

Same time next year

Andrew Lam
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0
Same time next year

GAMER There was a moment when it seemed this year’s Electronic Entertainment Expo (better known as E3) would be the most exciting since way back in 2006, the year Wii and PlayStation 3 premiered. This January, rumors swirled around Sony and Microsoft, that they were developing next generation consoles, and perhaps looking to premiere them alongside Nintendo’s big Wii U reveal.

But Microsoft’s decision instead was to coast on their current success as market leader, and Sony chose to concentrate on setting themselves apart in an increasingly multi-platform marketplace by focusing on peripherals and exclusives. So, at least one more year for this generation of gaming, making E3 2012 pretty interchangeable with 2011.

Nintendo’s presentation played it safe with first-party games that were either already known (Pikmin 3) or practically indistinguishable from past installments (New Super Mario Bros. 2), and left innovation for new Wii U software to third party developers. Playing nice with outside development teams will go a long way towards winning back the “hardcore” crowd Nintendo desperately craves but the dearth of exciting games evoked too-fresh memories of last year’s disastrous 3DS launch.

Speaking on the Wii U at an investor presentation prior to E3, Nintendo president Satoru Iwata stated “There is always a limit to our internal resources … if I said that an overwhelmingly rich software lineup would be prepared from day one, it would be too much of a promise to make.” Attendees at Nintendo’s conference would have been wise to heed that warning, as an initially excited crowd grew more restless with each announcement that wasn’t a hi-definition Zelda or Metroid game.

On the other side of the coin, Microsoft opened with a guaranteed bread-winner for the Xbox and their only exclusive blockbuster releasing this year, Halo 4. Coupled with the annual release of Call of Duty, the Xbox is in a safe spot, and Microsoft was smart to concentrate the rest of their show on apps and an application they’re calling SmartGlass, even if doing so created some disappointment in the crowd. An experiment in tablet crosstalk, SmartGlass is just one example of the “second-screen” gameplay all three publishers appear keen on for 2013.

Last of the “big three” publishers, Sony attempted to entice consumers into supporting the low-selling PlayStation Move and the new PSVita handheld, but their exclusive titles remained the most compelling reason to own a PlayStation. A new project from Quantic Dream, Beyond: Two Souls improves on Heavy Rain‘s cinematic storytelling, and Naughty Dog’s post-apocalyptic survival piece The Last of Us wowed audiences with gruesome one-on-one combat. Sony also featured the Expo’s biggest failure: way too much time devoted to a buggy and simplistic augmented reality book, Wonderbook, based on the Harry Potter franchise.

Concentrating on games over peripherals, Ubisoft had arguably this year’s best showing. New action/stealth IP WATCH_DOGS, about a hacker who can control the power of a city’s technology, had many declaring it E3’s biggest surprise, and Ubisoft also delivered strong demos for Splinter Cell: Blacklist, Assassin’s Creed III, Far Cry 3, and Rayman Legends, the last of which harnessed the possibilities of the Wii U in ways even Nintendo couldn’t match.

On the E3 show floor, the Tomb Raider series’ reboot is emotionally engrossing and includes a more robust upgrade system than the game it most closely resembles, Uncharted. Where Uncharted is known for strong story and characters, Tomb Raider competes with a terrifying sense of helplessness and mature storytelling. Making its debut at E3, Star Wars 1313 also made a lot of promises about being first to set a “mature” game in the Star Wars universe. It’ll be interesting to see if LucasArts uses that freedom as a tableau to create a truly interesting story, or if it becomes a bar to hit in terms of language and violence. Either way, 1313 features some of the most realistic motion capture I’ve ever seen, and lighting and animation that rivals entries in the film series. If there was a constant among the big E3 games, it was the year 2013. Publishers are tired of getting beat up each fall by Call of Duty‘s annual release and have relocated to next spring. Most titles demoed at E3 have been slotted for 2013’s first quarter, which currently looks as stuffed with games as November usually does. It’ll be interesting to see who stands their ground and who makes one last push to the barren summer months. If 2013 looks to be an exciting time to be a gamer, in 2012 it remains business as usual. 

Rep Clock

Andrew Lam
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Schedules are for Wed/13-Tue/19 except where noted. Director and year are given when available. Double features (and more) are marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. Toxic Energy ~ Little Miss Potentiality Returns (Drori), Sat, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-11. •Stranger Than Paradise (Jarmusch, 1984), Wed, 3, 7, and Down By Law (Jarmusch, 1986), Wed, 4:50, 8:50. Frameline 36: San Francisco LGBT Film Festival, June 14-24. Visit www.frameline.org for schedule.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Bel Ami (Donnellan and Ormerod, 2012), call for dates and times. Bernie (Linklater, 2012), call for dates and times. I Wish (Kore-eda, 2011), call for dates and times. Peace, Love and Misunderstanding (Beresford, 2011), call for dates and times. Music from the Big House (McDonald, 2011), Sun, 7. With film subject Rita Chiarelli in person and in performance; this event, $12.

“FILM NIGHT IN THE PARK” This week: Old Mill Park, 300 block of Throckmorton, Mill Valley; www.filmnight.org. Donations accepted. Enchanted (Lima, 2007), Fri, 8. Dolores Park, Dolores at 19th St, SF. Mamma Mia! (Lloyd, 2008), Sat, 8.

LUMIERE 1572 California, SF; www.48hourfilm.com. “48 Hour Film Project,” premiere screenings, June 13-21, 6:45. 9:15.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Gregory Peck: An Agreeable Gentleman:” The Keys of the Kingdom (Stahl, 1944), Wed, 7; The Snows of Kilimanjaro (King, 1952), Fri, 8:50; Pork Chop Hill (Milestone, 1959), Sat, 6:30; Roman Holiday (Wyler, 1953), Sat, 8:30. “Tribute to Ken Russell (1927-2011):” Gothic (1986), Thu, 7:30. With live pre-show performance by Ken Russell tribute band Brale. “Three Czech New Wave Classics:” Fruit of Paradise (Chytilová, 1970), Fri, 7. “Afterimage: Three Nights with Nathaniel Dorsky:” “Films of Nathaniel Dorsky: The Quartet (2008-2010),” Sun, 7:30.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. The Color Wheel (Ross Perry, 2011), Wed-Thu, 9. Gerhard Richter Painting (Belz, 2011), Wed-Thu, 7. “The Life and Times of Nathaniel Hornblower:” “MCA Tribute Pre-Show,” Wed, 7; Awesome; I Fuckin’ Shot That! (Yauch, 2006), Wed, 8; Gunnin’ For That #1 Spot (Yauch, 2008), Thu, 7; Exit Through the Gift Shop (Banksy, 2010), Thu, 8:45. Frameline 36: San Francisco LGBT Film Festival, June 15-23. Visit www.frameline.org for schedule. San Francisco Black Film Festival, Sat, 2. Visit www.sfbff.org for schedule.

SF FILM SOCIETY CINEMA 1746 Post, SF. $10-11. The Story of Film: An Odyssey, Part Three: Postwar Cinema (1940s) and Sex and Melodrama (1950s) (Cousins, 2011), Sat, noon. British TV series; new episodes every Sat through June 21. The Wages of Fear (Clouzot, 1953), Wed-Thu, 2:30, 5:30, 8:30. New 35mm print. The Woman in the Fifth (Pawlikowski, 2011), June 15-21, 3, 5, 7, 9.

TOP OF THE MARK InterContinental Mark Hopkins, One Nob Hill, SF; www.topofthemark.com. Free. “Summer Movie Nights:” Arsenic and Old Lace (Capra, 1944), Tue, 7:30. Wine tasting at 5:30.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “New Filipino Cinema:” Florentina Hubaldo, CTE (Diaz, 2012), Sun, 1.

Stage Listings

Andrew Lam
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0

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THEATER

OPENING

5 Lesbians Eating a Quiche Phoenix Theatre, 414 Mason, SF; www.tidestheatre.org. $20-38. Opens Fri/15, 8pm. Runs Thu-Sat, 8pm (also Sat, 10pm). Through July 21. Tides Theatre performs Evan Linder and Andrew Hobgood’s comedy about five women forced into a bomb shelter during a mid-breakfast nuke attack.

BAY AREA

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-73. Previews Thu/14-Sat/16 and June 19-21, 8pm; Sun/17, 7pm. Opens June 22, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show July 4); Sun, 2 and 7pm. Through July 15. Berkeley Rep presents Eve Ensler’s world premiere, based on her best-seller I Am an Emotional Creature: The Secret Life of Girls Around the World.

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Previews Fri/15-Sat/16 and June 20, 8pm; Sun/17, 2pm; June 19, 7pm. Opens June 21, 8pm. Runs Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Throgh July 22. Aurora Theatre Company closes its 20th season with writer-director Mark Jackson’s world premiere, commissioned especially for the company, about a San Francisco-born dancer notorious for her take on the "Dance of the Seven Veils."

ONGOING

Aftermath Stagewerx, 446 Valencia, SF; www.brownpapertickets.com. $25. Thu-Sat, 8pm. Through June 30. Theatre, Period presents Jessica Blank and Erik Jenson’s docu-drama, based on interviews with Iraqi civilians forced to flee after the US military’s arrival in 2003.

A Behanding in Spokane SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through June 30. If Garth Ennis had been asked to write a comic book about a one-handed sociopath with a dark obsession, he might well have written something similar to Martin McDonagh’s A Behanding in Spokane. And admittedly, approached from that angle, a lot of the script’s dramatic flaws are more easily forgiven. There’s not a whole lot of subtle context or languid metaphor to be found in McDonagh’s criminal caper about the little-known "hand-dealing" trade, but as in Ennis’ best known work, Preacher, the pretty girl (Melissa Quine) is the smartest one in the room; the sociopath (Rod Gnapp) is interested in enacting as vicious a revenge on all humanity while spewing as many blatantly offensive invectives as possible; the boyfriend (Daveed Diggs) has some arrested development issues to work out; and the receptionist (Alex Hurt) takes the caricature of man-child to a whole new level. In fact, while all four actors deliver rock-solid performances of their mostly unsympathetic characters, it’s Hurt’s that impresses most. His spooky intensity and goofily tone-deaf determination plays like a combination of Adam Sandler and Arno Frisch, and if there’s a real sociopath in the room, the evidence suggests it’s probably him. Ultimately though the piece relies too heavily on hollow one-liners to remain interesting — a 20-minute farce stretched to 90 minutes — and quite unlike an Ennis comic, it does not leave one wanting more. (Gluckstern)

The Full Monty Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $25-36. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 30. In desperate times, how far would you go to turn a buck? The central premise of the 1997 movie and its namesake musical comedy The Full Monty, the answer to this question is right in the title, which limits the suspense, but amps up the expectations. Set not in Sheffield, England as in the movie, but the similarly economically challenged climate of Buffalo, New York circa the late nineties, the comical romp follows a group of unemployed steel workers who decide, rather optimistically, that spending one night as exotic dancers will solve their immediate financial woes. Banish all notions of a Hot Chocolate sing-along; the soundtrack of the stage musical has little in common with its cinematic predecessor, but there are a couple of toe-tappers, particularly the songs writ for the ladies: a belter’s anthem for their spry but elderly accompanist Jeanette (Cami Thompson), a snarky commentary on male beauty, "The Goods," for the ensemble. On opening night, Ray of Light’s production ran about 15 minutes long after a late start, and the tempo seemed sluggish in parts, but once it hits its stride, The Full Monty should provide a welcome antidote to the ongoing, we’re-still-in-a-recession blues, red leather g-strings and all. (Gluckstern)
Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (June 24, show at 2pm; July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Lips Together, Teeth Apart New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Terrence McNally’s play about two straight couples spending July 4 amid Fire Island’s gay community.

100 Saints You Should Know Thick House, 1695 18th St, SF; www.therhino.org. $10-30. Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 3pm; starting June 22, runs Fri-Sat, 8pm; Sun, 3pm. Extended through July 1. Homespun scenic design notwithstanding, Theatre Rhinoceros and artistic director John Fisher offer a fine, engrossing production of this 2007 play by Kate Fodor (Hannah and Martin, RX), a sturdy comedy-drama about two fractured families colliding awkwardly in a sort of spiritual vacuum. Matthew (an intriguingly restrained Wiley Herman) is a desolate but forbearing Catholic priest sent on a leave of absence after a venial transgression involving some artful nude male photographs. Returning home, he endures a pained relationship with his devout, passively domineering Irish mother (Tamar Cohn, channeling a nicely measured mixture of stony discipline and childlike vulnerability). Soon Matthew gets an unexpected visit from single mom Theresa (a bright but shrewdly self-possessed Ann Lawler), a former Deadhead who now cleans the rectory and finds herself overcome with an urge to ask the gentle priest about prayer — just at the moment his faith seems to have left him. Meanwhile, Theresa’s too-cool-for-school teenager, Abby (a deft and hilarious Kim Stephenson), waits outside and does some preying of her own on a slower-witted but game young man from the neighborhood (a charmingly quirky Michael Rosen), both of them roiling with confused yearnings. The appealing characters and unexpected storyline come supported by some excellent dialogue, developing a searching theme that ultimately has less to do with formal religion than the ordinary but ineffable need it promises (problematically) to meet. "I think I could be religious or whatever if it made any sense," notes Abby, "but it doesn’t make any sense." It’s easy to agree with the teenager on this one. 100 Saints is a genuinely funny and compassionate play discerning enough to avoid naming the depths it sounds. (Avila)

Reunion SF Playhouse, Stage Two, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20. Wed-Thu, 7pm; Fri-Sat, 8pm. Through June 30. SF Playhouse presents a world premiere drama by local playwright Kenn Rabin.

"Risk Is This…The Cutting Ball New Experimental Plays Festival" Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. Free ($20 donation for reserved seating; $50 donation for five-play reserved seating pass). Fri-Sat, 8pm. Through July 14. Cutting Ball’s annual fest of experimental plays features two new works and five new translations in staged readings.

Slipping New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Daniel Talbott’s drama about a gay teen who finds new hope after a traumatic breakup.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Extended run: Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Extended through June 24. Annie Elias and Cutting Ball Theater artists present a world premiere "documentary theater" piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Previews Fri/15, 8pm. Opens Sat/16, 8:30pm. Runs Sat, 8:30pm; June 22, 8pm. Through July 21. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through July 7. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Black n Blue Boys/Broken Men Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue, Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 7pm). Through June 24. Berkeley Rep presents a world premiere from writer-performer Dael Orlandersmith (a Pulitzer finalist for 2002’s Yellowman).

Emilie: La Marquise Du Chatelet Defends Her Life Tonight Berkeley City Club, 2315 Durant, Berk; www.brownpapertickets.com. $18-25. Thu-Sat, 8pm; Sun, 2pm. Through July 1. Symmetry Theatre Company presents Bay Area playwright Lauren Gunderson’s romantic drama centering on the life of 18th-century French physicist and mathematician, Émilie du Châtelet (Danielle Levin) and her (here tempestuous) long-term romance with Voltaire (Robert Parsons). In a familiar conceit left accordingly vague, fate rematerializes Emilie from some hazy afterlife so that she may relive key moments in her life and account for herself. A Cartesian mind/body split rules the replay, with Emilie finding herself painfully attenuated from the world of the senses — her flashback self (played by an impressive Blythe Foster) alone able to enjoy sensual contact with her surroundings. Meanwhile, love and loyalty face the test as Emilie goes head-to-head with a male-dominated scientific establishment over a certain theorem she calls "force vivre" — a formula into which Gunderson cleverly folds theoretical physics and the irrational heart. There’s even a visual aid: a running tally is kept throughout on a screen at the back of the stage, where hash marks appear and disappear under the headings "philosophy" and "love" as the scenes wind their desultory way back toward the moment of her demise. Chloe Bronzan directs a cast of strong actors but their work is uneven. Foster alone is consistently commanding in a part that, while minor, suggests what a more muscular approach overall might have accomplished. The normally formidable Parsons seems uncommitted in the part of Voltaire, admittedly a character too simpering and watery as written to merit much credence. Instead of palpable relationships — whether with lovers or ideas — Emilie deploys self-conscious verbiage, strained repartee and heavy thematic underscoring to churn what amounts to thin drama. (Avila)

God of Carnage Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $34-55. Wed/13, 7:30pm; Thu/14-Sat/16, 8pm (also Sat/16, 2pm); Sun/17, 2 and 7pm. Marin Theatre Company performs Yasmina Reza’s Tony-winning comedy about two sets of parents who meet after their children get into a schoolyard fight.

The Great Divide Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through June 24. Shotgun Players performs Adamn Chanzit’s drama about the hot topic of fracking, inspired by Ibsen’s An Enemy of the People.

The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through July 15. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through June 30. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

The Odyssey Angel Island; (415) 547-0189, www.weplayers.org. $40-76 (some tickets include ferry passage). Sat-Sun, 10:30am-4pm (does not include travel time to island). Through July 1. We Players present Ava Roy’s adaptation of Homer’s epic poem: an all-day adventure set throughout the nature and buildings of Angel Island State Park.

The Tempest Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; (510) 809-3290, www.calshakes.org. $35-71. Tue-Thu, 7:30pm; Fri-Sat, 8pm (also June 23, 2pm); Sun, 4pm. Through June 25. California Shakespeare Theater opens its season with this dance-filled interpretation of the Bard’s classic tale.

Wheelhouse TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2); Sun, 2 and 7pm. Through July 1. TheatreWorks’ 60th world premiere is a musical created by and starring pop-rock trio GrooveLily.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Fri, 6pm; Sat/16, June 24, and 30, 11am. Through June 30. Louis "The Amazing Bubble Man" Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

"The Amen Corner" Lorraine Hansberry Theatre, 450 Post, SF; www.lhtsf.org. Mon/18, 7pm. $25. Project1Voice presents this benefit staged reading of James Baldwin’s play, part of a simultaneous staged-reading event with 25 other African American theaters across the country.

"Branded Funny" Purple Onion, 140 Columbus, SF; www.eventbrite.com. Thu/14, 8pm. $15. Stand-up with Melanie Bega, Seth Hardiman, and Justin Lucas.

"The BY Series" ODC Theater, 3153 17th St, SF; www.odcdance.org. Thu/14-Sat/16, 8pm; Sun/17, 2pm. $25. Robert Moses’ Kin Dance Company presents work by guest choreographers Molissa Fenley, Ramon Ramos Alayo, and Sidra Bell, plus the world premiere of Moses’ Scrubbing the Dog.

Alicia Dattner Exit Theatre, 156 Eddy, SF; www.theexit.org. Fri/15-Sat/16, 8pm. $26. The comedian performs.

"DEEPER, Architectural Meditations at CounterPULSE" CounterPULSE, 1310 Mission, SF; www.counterpulse.org. $25. Fri-Sun, 8pm. Through July 1. Lizz Roman and Dancers perform a site-specific work.

"Elect to Laugh" Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Ongoing through Nov 6. $15-50. Will Durst and friends perform in this weekly political humor show that focuses on the upcoming presidential election.

"Fresh Meat Festival" Brava Theater, 2781 24th St, SF; www.freshmeatproductions.org. $15-20. Fri/15-Sat/16, 8pm; Sun/17, 7pm. $15-25. The transgender and queer performance festival celebrates its 11th year with members of Vogue Evolution (America’s Best Dance Crew), Emily Vasquez (American Idol), drag star Miss Barbie-Q, same-sex ballroom champs William DeVries and Kumi Keali’I, and Sean Dorsey Dance.

"hOPPomage" Shotwell Studios, 3252-A 19th St, SF; www.brownpapertickets.com. Fri-Sat, 8pm; Sun/17, 3pm. Through June 23. $10-15. An evening of "mental dance" inspired by artist Dennis Oppenheim with Driveway Dancers.

"Jillarious Tuesdays" Tommy T’s Showroom, 1000 Van Ness, SF; www.jillarious.com. Tue, 7:30. Ongoing. $20. Weekly comedy show with Jill Bourque, Kevin Camia, Justin Lucas, and special guests.

"Kunst-Stoff Arts/Fest 2012" Kunst-Stoff Arts, One Grove, SF; kunststoffartsfest2012.eventbrite.com. Thu/14-Sat/16, 8:30pm. $15. Bruno Augusto and Meisha Bosma perform.

"Porch Light: I Do: The Wedding Show" Verdi Club, 2424 Mariposa, SF; www.brownpapertickets.com. Mon/18, 8pm. $15. Wedding-themed storytelling with Eugene Ashton-Gonzalez, Barbara Berman, Clint Catalyst, and more.

"Previously Secret Information" Stage Werx Theater, 446 Valencia, SF; www.eventbrite.com. Sun/17, 7pm. $15. Comic storytelling with C.W. Nevius, Jack Boulware, and more.

"Qcomedy Showcase" Stage Werx Theater, 446 Valencia, SF; www.qcomedy.com. Mon/18, 8pm. $8-20. Special Pride edition with stand-up comedians Julia Jackson, Scott Backman, Enzo Lombard, Justin Simpson, Karen Ripley, and drag performers House of Glitter.

"Queeriosity" San Francisco LGBT Community Center, 1800 Market, SF; www.youthspeaks.org. Fri/15, 7pm. Free. Youth Speaks hosts this literary arts and performance showcase for LGBTQ youth.

San Francisco Ethnic Dance Festival Novellus Theater, Yerba Buena Center for the Arts, 700 Howard, SF; www.worldartswest.org. Sat/16-Sun/17, 3pm (also Sat/16, 3pm). $18-58. This weekend’s program includes dance from China, Cuba, Hawaii, Hungary, India, and more.

Sex and the City: Live!" Rebel, 1760 Market, SF; www.brownpapertickets.com. Tue, 7 and 9pm. Through June 26. $25. Heklina, D’Arcy Drollinger, Lady Bear, Trixxie Carr play the fab four in this drag-tastic homage to the HBO series.

"Two by 24: Love on Loop" UN Plaza, Market between Hyde and Seventh St, SF; www.rawdance.org. Tue/19, 11am-7pm. Free. RAWdance performs an eight-hour contemporary dance installation.

"Voca People" Marines’ Memorial Theatre, 609 Sutter, Second Flr, SF; www.marinesmemorialtheatre.com. Wed/13-Fri/15, 8pm; Sat/16, 6:30 and 9:30pm; Sun/17, 3 and 6pm. $49-75. A capella from outer space.

"When We Fall Apart" Z Space, 450 Florida, SF; www.zspace.org. Thu/14-Sat/16, June 20-21, and 27-28, 7pm; June 22-23 and 29-30, 7 and 9pm. $20-35. Joe Goode Performance Group presents a world premiere, an exploration of "home" with a set designed by architect Cass Calder Smith.

"Wonderland" Circus Center, 755 Frederick, SF; wonderlandatcircuscenter.eventbrite.com. Fri/15-Sat/16, 7pm; Sun/17, 2pm. Free (advance registration recommended). Family-friendly show of aerialists, acrobats, and other circus-style performers. *

Alerts

Andrew Lam
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0

yael@sfbg.com

THURSDAY 14

Solitary confinement at Pelican Bay, Audre Lourde Room, Women’s Building, 3548 18th St., SF; www.womensbuilding.org. 6:30pm, free. This panel discussion on the use of solitary confinement in the criminal justice system comes soon after a class action lawsuit challenging solitary confinement in California prisons. The Center for Constitutional Rights filed the lawsuit, Ruiz v. Brown, May 31 on behalf of prisoners at Pelican Bay State Prison. The plaintiffs have spent between 10 and 28 years in solitary confinement, generally spending at least 22 hours per day alone in windowless cells, and often denied letters, visits, any sunlight, or time spent outdoors. Many of the plaintiffs also participated in last year’s hunger strikes against inhumane conditions in prison, including solitary confinement. This lawsuit may be the crucial next step in their fight.

FRIDAY 15

India to Ireland, Sports Basement, 1590 Bryant, SF; www.indiatoireland.org. A brother and sister who rode bicylces12,000 km from India to Ireland are back with photos and stories. See what they saw and hear the tales at this fundraiser for Room to Read. The international nonprofit works “to promote literacy and gender equality in education by establishing libraries, constructing classrooms, publishing local-language children’s books, training educators and supporting girls’ education.”

SATURDAY 16

Art, culture and resistance, Redstone building, 2940 16th St., SF; www.norcalsocialism.org. 6pm, $5-10 suggested donation. What’s the music of today’s social justice movement? If it’s anyone, it’s The Coup, and frontman Boots Riley. Riley has written and performed powerful and revolutionary music for decades, from hip hop edutainment concerts that promoted efforts like the Women’s Economic Project Agenda and Copwatch to traveling guerilla hip hop concerts in protest of Prop 21 in 2000. Recently, he’s been organizing with Occupy Oakland. In July, he’ll be teaching a workshop at the Socialism 2012 conference in Chicago; the next month his book, Lyrics in Context, will be released. On Saturday he’ll discuss a tradition he helps to keep alive in Oakland: how art and resistance work together. Refreshments and mingling to follow.

Juneteenth festival, parade starts at African American Arts & Culture Complex, 762 Fulton St., SF; www.sfjuneteenth.org. Parade at 11am, festival runs through June 17. Start summer off right with the biggest Juneteenth festival on the West Coast. Juneteenth commemorates the announcement of the abolition of slavery and celebrates African American heritage, and this year will mark the 62nd annual Juneteenth in the Fillmore District. The two-day festival kicks off with a parade, followed by a family-friendly weekend complete with a classic car and motorcycle show, basketball games, fashion show, petting zoo, pony rides, live entertainment, community info booths and health fair, and more.

SUNDAY 17

African American veterans and the Civil Rights Movement, Niebyl-Proctor Marxist Library, 6501 Telegraph, Oakl; www.marxistlibr.org. 10:30am-12:30pm, free. Despite growing up in a United States that still had Jim Crow laws, African Americans fought in wars throughout the 20th century. When many of them returned and joined in civil rights and black liberation movements, however, they risked their lives once again. Perhaps best known is Medgar Evers, civil rights leader and World War II soldier who was assassinated by a Ku Klux Klan member in 1963. This event will explore the many veterans who joined civil rights struggles, their reasons for doing so, and how, in many cases, experiences in military service prompted involvement in the struggle back home. It will also feature a screening of the documentary Negroes With Guns, which follows the life of Army and Marine Corps veteran Robert F. Williams, who later took up arms against violent racist groups like the KKK as part of his work with the Black Armed Guard.

Crucial Noise: Stern Grove kickoff, Ty Segall tour, Emily Jane White album, and more

Tony Robles
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Crucial Noise: Stern Grove kickoff, Ty Segall tour, Emily Jane White album, and more

Important bits and pieces, odds and ends of Bay Area music news. Or, what’s in my inbox?

Return to the misty grove with Anita Baker

The Stern Grove Festival kicks off its 75th season in less than two weeks (Sunday, June 24) with a free Anita Baker, Family Stone, and Glide Ensemble concert at 2pm. How lucky, that we have both the free Hardly Strictly Bluegrass Fest and (unrelated, but akin in spirit) Stern Grove; that combination helps with sailing gracefully through the cruel, cruel summer and into the likewise gray fall.

The Stern Grove Festival has racked up more than six million visitors over these past seven decades, checking out a total of 750 live acts (including the favorable yearly appearances by the San Francisco Ballet, Opera, and Symphony).

Upcoming Stern Grove Fest concerts (always free, always outdoors and picnic-friendly, but bring a heavy jacket ’cause it gets mighty chilly out there):

July 1: Preservation Hall Jazz Band and the Stone Foxes
July 8: San Francisco Symphony
July 15: Nitin Sawhney and Meshell Ndegeocello
July 22: The E Family featuring Pete, Sheila E, Juan and Peter Michael Escovedo
July 29: San Francisco Ballet
Aug. 5: Ozomotli and SMOD
Aug. 12: Al Jarreau and the George Duke Trio, Mara Hruby
Aug. 19: San Francisco Opera
Aug. 26: OK Go and the Family Crest

All concerts begin at 2pm at Sigmund Stern Grove, 19th Avenue and Sloat Boulevard, SF.

http://www.youtube.com/watch?v=A-7cykntxsw

Vociferous hometown heroes
Today local garage-punk golden boy Ty Segall announced a co-headlining tour with everyone’s favorite SF psych-monsters, Thee Oh Sees.

The prolific Segall, known for an abundance of releases and relentless touring (in 2012 thus far he has already released Hair, a split with White Fence, and is about to drop Slaughterhouse with the Ty Segall Band, plus played the epic Bruise Cruise), also debuted today his “Drag City Limits” video:

http://www.youtube.com/watch?v=VliWkE7HW34

Only issue here – there don’t seem to be any Bay Area shows on that list of co-headling dates yet. There’s got to be one coming up though, right?

Ode to joy
Finger-picking Bay Area singer-songwriter-guitarist Emily Jane White‘s latest album Ode To Sentience is out today on Antenna Farm Records. As with her previous work, the haunting Victorian America, this dark-folk LP is inspired by the America of yore, literature, and stories referencing past eras of this weird country, along with all the gossamer visions of our own ghostly past, specifically, “Depression-era blues…Toni Morrison’s Beloved and Charlotte Perkins Gilman’s [1892 short feminist work] The Yellow Wallpaper.”

http://www.youtube.com/watch?v=G-fJcO52LFw

She celebrates the release with a show tonight at Brick and Mortar Music Hall, and another Sunday at Amoeba in Berkeley.

Tue/12, 9pm, $5-$8
Brick and Mortar Music Hall
1710 Mission, SF
(415) 800-8782
www.brickandmortarmusic.com

Sun/17, 4pm, free
Amoeba Music
2455 Telegraph, Berk.
(510) 549-1125
www.amoeba.com

Damn the man
Former KUSF music director, and current Save KUSF spokesperson Irwin Swirnoff sent out an informal update today regarding the state of the station sale, and the need to continue fighting for its rights.

In the email, Swirnoff explained the FCC media bureau’s ruling last week:

“On one hand, they fined USFand CPRN $50,000 – yet in a private back door meeting a month ago with those parties they reached an agreement to approve the sale. Once again the public’s airwaves were being silenced and sold off behind closed doors with no public input or transparency.”

Swirnoff added that those working to save KUSF are forging ahead with an appeal, despite these setbacks.

“This issue is bigger than KUSF –  this is a national crisis of universities selling off the public’s airwaves to the highest bidders. The players who are buying these stations are doing so to create a media monopoly on the left side of the dial, and strictly using their place on the public’s airwaves as a means to raise money for private institutions, often using classical music as a way to reach the wealthiest donors.”

In the conclusion of the letter, he included another compelling reason why the sale of KUSF is important to the rest of San Francisco, beyond fervent listeners.

“We are losing true diverse, local, cultural programming that really reflects the vibrancy of our city.  This is about the commodification of the non-commercial side of the dial.  As the public’s access to true, non-commercial, and free media becomes less and less, it’s so important to protect the last vestiges of true community media/culture.”

Sure cure for election burnout? Watch this video of activist kids summer camp

Andrew Lam
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Sure cure for election burnout? Watch this video of activist kids summer camp

So what if the most popular adjective to describe this week’s election was “adorable”? By all accounts, we have a generation on the up with the vigor and verve to right all the atrocities ours has committed in regards to social justice, sustainable food systems, fossil fuel dependence, etc. At least, such is the impression given by the promo video sent to us by Youth Empowered Action Camps, a project started by activist Nora Kramer in the hopes of providing a safe, fun place for kids to find their cause. Wanna see hope, encapsulated? Keep going for the video and more info on raddest summer camp ever.

Last year, we interviewed Kramer about her motivation for starting the YEA camps, which will take place this summer in Portland, Northern California and — new for 2012! — New Jersey. Said Kramer:

Sometimes kids who care or speak up about environmental or other issues are made fun of or criticized and get discouraged. I feel like our world is facing so many challenges, and we need to bring youth together with like-minded peers and adults to support them in taking action so they can bring about the world they want to see. If there can be successful summer camps for kids who like volleyball or theater or play the violin, why not for youth who want to make the world a better place?

YEA kids get to hang out with other conscientious young ones (ages 12 to 17), snack on delicious vegan foods, and develop action plans to take into the school year. What kind of action plans, you ask? Past campers have created anti-bullying and recycling programs in their schools, held birthday fundraisers for Planned Parenthood — even started a bakery that sells animal product-free wedding cakes. 

Scholarships are available for low-income youth. Spaces are still open for summer 2012, so grab the nearest rad teenager and sign them up.

Youth Empowered Action Camp (Northern California)

July 21-28, $950

Venture Retreat Center

Pescadero, Calif.

www.yeacamp.org

Occupy Caravan takes off to the National Gathering

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Occupy Caravan takes off to the National Gathering

This looks familiar!

Jan. 17, we proposed Occupy Nation, an idea that those energized and organized by Occupy come together on July 4, 2012 for a national gathering to get some planning done. We also proposed that the journey across the US be a part of the action, and that people get together in vans for a freedom-ride inspired experience. Well, it’s happening- although, of course, it wasn’t all our idea. But they are using our cover art!

The Occupy Caravan is an ever-expanding crew of people getting together for a two-week journey across the US. There are two starting points, Los Angeles and San Francisco- and the San Francisco caravan is taking off June 11. The caravans will stop at Occupy sites along the way for protests, education and entertainment, before arriving in Philadelphia for the June 30 Occupy National Gathering.

The poster declares, “bring tents!” But according to an Occupy Caravan organizer known as Buddy, sleeping arrangements that won’t risk police meddling are planned at every stop.

“We have a bunch of secure and fun locations- there’s a slumber party at one, a march and then staying at a church at another, a supporter’s camp ground where we can park the RVs,” said Buddy.

“We’re not risking people getting arrested,” he said. “Everything is legal and nonviolent.”

In theory, anyone who wants to can show up, on foot or with a vehicle, and join the caravan. But if you want to secure a spot, according to Buddy, it’s best to sign up online beforehand.

“We’re getting 30 to 50 calls and emails a day about rides,” Buddy told me of the last chaotic week before the trip launches.

The National Gathering isn’t the only nationwide Occupy plan for this summer. It isn’t the only one in Philadelphia either. Or for the July 4 weekend. There’s also the 99 Percent Declaration, billed as a “Continental Congress 2.0”

It looks like these big get-togethers are part of the form Occupy will take this summer. What with a big and chaotic May Day, an even more tumultuous anti-Nato convergence in Chicago, and continuing home defenses, occupations of public spaces, and innumerable local actions across the country, the Occupy movement is in a very different state than it was in the winter when the Gathering and the Caravan were in their beginning planning stages.

“The movement has grown,” Buddy told me. “It’s less than a year old. It was an infant early on, and grew very quickly, but its getting stronger. We’re going back to the simply core message of economic equality and justice.”

After the National Gathering, the caravan will join the Occupy Guitarmy for its “99 Mile March” to New York. The Guitarmy is a travelling group of musicians that bills itself as “the world’s first open source band,” best known for its march on May 1 in New York City, led by Tom Morello of Rage Against the Machine.

As we said in the Occupy America proposal: “The important thing is to let this genie out of the bottle, to move Occupy into the next level of politics, to use a convention, rally, and national event to reassert the power of the people to control our political and economic institutions — and to change or abolish them as we see fit.” One thing is clear: Occupy hasn’t given up yet.

Rites of passage

Jesse Hawthorne Ficks
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0
Rites of passage

arts@sfbg.com

FILM It’s commonly said of Nathaniel Dorsky’s films that they are beautiful beyond words. Which is true as far as it goes, but then the same could be said of many poems and they are words. What’s clear is that Dorsky is absorbed with a classical fulfillment of form, and as such his films do better with poetics than interpretation (he has himself supplied a fine entry point with his slim volume Devotional Cinema). Poetics in this context means respecting the mystery and proceeding gingerly with gesture, metaphor, and detail. No one ever says of a Dorsky film, “I liked it the more I thought about it.” Conversely, watching a second or third time one marvels to find the beauty springing to life with the same force, subtler and lovelier now for this trick of renewal. No one ever says of a sunset, “I’ve seen this one before.”

A three-part retrospective at the Pacific Film Archive beginning June 10 retraces the last decade of Dorsky’s work. The Return (2011) and August and After (2012) receive local premieres this weekend, accompanied by the delicate Pastourelle (2010). June 17 brings his “Quartet,” to my mind a signal achievement of the young century. The series concludes June 24 with three earlier films confirming Dorsky’s mastery of an open (sometimes called polyvalent) form of montage: Song and Solitude (2006), Threnody (2004), and The Visitation (2002). How fitting that these films should be spaced out over consecutive days of rest! They will be shown on 16mm because that is what they are (last I checked the museums still show the Old Masters in paint).

It’s our good fortune to share a city with Dorsky: opportunities to see the films with him as a guide come a little more frequently, and the phenomena that supply his visual repertoire are that much more familiar. Here are the blossoms, the Chinatown lanterns, the drifting Muni trains, the ocean skies, and the seasons as we only dare to see them in deepest reverie.

Dorsky began making movies under the influence of people like Stan Brakhage and Gregory Markopoulos, filmmakers who strove for an intrinsic cinematic language (while the auteurists chiseled out an essential cinema, they sought cinema’s essence). After relocating to San Francisco in 1971, he reemerged with Hours for Jerome (1980-1982), a dense exercise in spiritual autobiography culled from pastoral years in New Jersey. The films began arriving with greater regularity after Triste (1998) and continue apace even after the desertion of his beloved Kodachrome.

The silence of Dorsky’s films is lush, providing intoxicating accompaniment to the slowed projection of 18 frames per second which dips the photographic action just out of the flow of representation. The crescendos that surge past the finish of his films invariably leave me surprised that I haven’t been listening to music, as the black of the theater seems clarified in the same way silence is after an expressive composition. Pushing the analogy further, the relationship between movement and stillness in his films is akin to that of sound and rest in music, the two leaved together as intonation. We really need a new word to describe the juddering movement of branches and buds that punctuate Dorsky’s films. “Quiver” is close, but it doesn’t capture the spring in the frame, like dancers on a stage.

A couple of months ago, Dorsky showed something called Kodachrome Dailies from the Time of Song and Solitude (Reel 1) at Lincoln Center: Song and Solitude-era footage in the chronological order in which it was shot. The material had a completely distinct character viewed this way. Dorsky talked of it as a journal. The loose form made it easier to relate to his eye being grasped by something in the world, and yet one missed the justice of the cuts.

If pressed for a defining quality of these films, I would say rightness —each shot developing to its fullness, tuned to what comes before and after. The fact that this formal refinement is itself the focus of the films creates a suspension of time which, after all, is a basic condition of paradise. Certainly the films are colored by experience, as August and After for instance is clearly marked by grief, yet this is never what they are “about.” Trust is placed in the self-expression of the film stock — its luster and dusk.

Dorsky’s films will reintroduce you to what branches make of the sky and how the grass gladdens when the sun reappears from its shade. I think this is what people are talking about when they say the films remind them of childhood. “A child said What is the grass? fetching it to me with full/hands;/How could I answer the child? I do not know what it is any/more than he./I guess it must the flag of my disposition, out of hopeful/green stuff woven.” We could choose many lines of verse to say the same, but Whitman’s will do. There is something mystical in Dorsky’s slightly ajar illuminations of worldly objects and features. And yet so too is there something altogether sensible and almost courtly in their formal arrangements. The shots of dogs make us chuckle because we’re in a position to recognize our own recognition, all too human.

On first viewing The Return struck me as a deeply melancholy work, its darkly reflecting surfaces and doublings bearing the impression of lost sleep. August and After, on the other hand, is more immediate in its effect and a superior example of how Dorsky’s style can serve distinct emotional structures (threnody here). Tender impressions taken near the end of George Kuchar’s life, the filmmaker surrounded by family and friends, are framed in the light of long afternoons. Everything that follows is touched by these pictures of intimacy: two workers sliding down a skyscraper, a distant glass door sweeping a ray of light across a café, agitated steps into bramble. A rhythmic montage focuses on packages and fruits carried down the street, the actual things transfigured into pure color. When the film’s ship finally sails, it does so with such grace as to say love without saying.

“AFTERIMAGE: THREE NIGHTS WITH NATHANIEL DORSKY”

June 10, 17, and 24, 7:30pm, $5.50-$9.50

Pacific Film Archive

2575 Bancroft, Berk.

(510) 642-5249

bampfa.berkeley.edu

Rep Clock

Andrew Lam
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Schedules are for Wed/6-Tue/12 except where noted. Director and year are given when available. Double features (and more) are marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6. “Colectivo Cinema Errante presents: Brazilian Voices of Cinema:” Limite (Peixoto, 1931) with “Clarice’s Cups” (Piffer, 2011), Sun, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-11. Titanic 3D (Cameron, 1997/2012) Wed-Thu, 7 (also Wed, 2:30). Yellow Submarine (Dunning, 1968), Fri and Sun-Tue, 7, 9 (also Sun, 2:30, 4:45). Newly restored version. “Midnites for Maniacs: Killer Summer All-Day Five Film Fest:” •One Crazy Summer (Holland, 1986), Sat, 2:30; Wet Hot American Summer (Wain, 2001), Sat, 4:45; Friday the 13th (Cunningham, 1980), Sat, 7:15; Dead Alive (Jackson, 1992), Sat, 9:20; The Burning (Maylam, 1981), Sat, 11:30. $13 for one or all five films.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Bernie (Linklater, 2012), call for dates and times. First Position (Kargman, 2011), call for dates and times. I Wish (Kore-eda, 2011), call for dates and times. Bel Ami (Donnellan and Ormerod, 2012), June 8-14, call for times. Peace, Love and Misunderstanding (Beresford, 2011), June 8-14, call for times. Shining Night: A Portrait of Composer Morten Lauridsen (Stillwater, 2012), Sun, 7. With film subject Morten Lauridsen and filmmaker Michael Stillwater in person.

“FILM NIGHT IN THE PARK” This week: Central Field, Broadway at Bank, Fairfax; www.filmnight.org. Donations accepted. Rio (Saldanha, 2011), Fri, 8.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Peter Greenaway: Cinema and Painting:” Rembrandt’s J’Accuse (Greenaway, 2008), Fri, 7; Nightwatching (Greenaway, 2007), Sat. 6. “From the Collection:” “Trailer Trash: A Mini-Movie Extravaganza,” Fri, 8:50. “Three Czech New Wave Classics:” Daisies (Chytilová, 1966), Sat, 8:30. “Afterimage: Three Nights with Nathaniel Dorsky:” “Films of Nathaniel Dorsky: Recent Films (2010-2012),” Sun, 7:30.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. “New Czech Film Films US Tour 2012:” Long Live the Family (Sedlácek, 2011), Wed, 6:30; Leaving (Havel, 2011), Thu, 6:30. The Color Wheel (Ross Perry, 2011), Wed-Thu, 7:15, 9.

SF FILM SOCIETY CINEMA 1746 Post, SF. $10-11. Hide Away (Eyre, 2011), Wed-Thu, 3, 5, 7, 9. The Story of Film: An Odyssey, Part Two: Expressionism, Impressionism, and Surrealism: Golden Age of World Cinema (1920s) and The Arrival of Sound (1930s) (Cousins, 2011), Sat, noon. British TV series; new episodes every Sat through June 21. The Wages of Fear (Clouzot, 1953), June 8-14, 2:30, 5:30, 8:30. New 35mm print.

TOP OF THE MARK InterContinental Mark Hopkins, One Nob Hill, SF; www.topofthemark.com. Free. “Summer Movie Nights:” Mary Poppins (Stevenson, 1964), Tue, 7:30. Wine tasting at 5:30.

2969 MISSION SF; www.answersf.org. $5-10 (no one turned away for lack of funds). Under the Bombs (Aractingi, 2007), Sat, 7.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “New Filipino Cinema:” Niño (Arcenas, 2011), Thu, 7:30; Kano: An American and His Harem (Jimenez, 2010), Fri, 1; “Poetry and Mystery: Films By John Torres,” Fri, 4; At the Corner of Heaven and Earth (de Guzman, 2011), Fri, 7; Boundary (Bautista, 2011), Fri, 9; “Sex, Drugs, and the Avant-Garde: Filipino Shorts,” Sat, 1; Six Degrees of Separation from Lilia Cuntapay (Jadaone, 2011), Sat, 4; Rakenrol (Henares, 2011), Sat, 7; Remington and the Curse of the Zombadings (Castro, 2011), Sat, 9:30; Friday Friday (Various directors, 2011), Sun, 1; Mondomanila (de la Cruz, 2011), Sun, 3; Crossfire (Mardoquio, 2011), Sun, 5; Amok (Fajardo, 2011), Sun, 7; Forever Loved (Gozum, 2012), Sun, 2 (free screening in YBCA Large Conference Room). Novellus Theater, 700 Howard, SF; www.qwocmap.org. Free. “Queer Women of Color Film Festival,” Fri-Sun.

Stage Listings

Andrew Lam
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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THEATER

OPENING

Aftermath Stagewerx, 446 Valencia, SF; www.brownpapertickets.com. $25. Previews Thu/7, 8pm. Opens Fri/8, 8pm. Runs Thu-Sat, 8pm. Through June 30. Theatre, Period presents Jessica Blank and Erik Jenson’s docu-drama, based on interviews with Iraqi civilians forced to flee after the US military’s arrival in 2003.

Lips Together, Teeth Apart New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Wed/6-Fri/8, 8pm. Opens Sat/9, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Terrence McNally’s play about two straight couples spending July 4 amid Fire Island’s gay community.

Reunion SF Playhouse, Stage Two, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20. Previews Wed/6-Thu/7, 7pm; Fri/8, 8pm. Opens Sat/9, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm. Through June 30. SF Playhouse presents a world premiere drama by local playwright Kenn Rabin.

“Risk Is This…The Cutting Ball New Experimental Plays Festival” Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. Free ($20 donation for reserved seating; $50 donation for five-play reserved seating pass). Opens Fri/8, 8pm. Runs Fri-Sat, 8pm. Through July 14. Cutting Ball’s annual fest of experimental plays features two new works and five new translations in staged readings.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Previews Fri/8 and June 15, 8pm; Sat/9, 8:30pm. Opens June 16, 8:30pm. Runs Sat, 8:30pm; June 22, 8pm. Through July 21. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

BAY AREA

Wheelhouse TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Previews Wed/6-Fri/8, 8pm. Opens Sat/9, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2); Sun, 2 and 7pm. Through July 1. TheatreWorks’ 60th world premiere is a musical created by and starring pop-rock trio GrooveLily.

ONGOING

A Behanding in Spokane SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through June 30. If Garth Ennis had been asked to write a comic book about a one-handed sociopath with a dark obsession, he might well have written something similar to Martin McDonagh’s A Behanding in Spokane. And admittedly, approached from that angle, a lot of the script’s dramatic flaws are more easily forgiven. There’s not a whole lot of subtle context or languid metaphor to be found in McDonagh’s criminal caper about the little-known “hand-dealing” trade, but as in Ennis’ best known work, Preacher, the pretty girl (Melissa Quine) is the smartest one in the room; the sociopath (Rod Gnapp) is interested in enacting as vicious a revenge on all humanity while spewing as many blatantly offensive invectives as possible; the boyfriend (Daveed Diggs) has some arrested development issues to work out; and the receptionist (Alex Hurt) takes the caricature of man-child to a whole new level. In fact, while all four actors deliver rock-solid performances of their mostly unsympathetic characters, it’s Hurt’s that impresses most. His spooky intensity and goofily tone-deaf determination plays like a combination of Adam Sandler and Arno Frisch, and if there’s a real sociopath in the room, the evidence suggests it’s probably him. Ultimately though the piece relies too heavily on hollow one-liners to remain interesting — a 20-minute farce stretched to 90 minutes — and quite unlike an Ennis comic, it does not leave one wanting more. (Gluckstern)

The Full Monty Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $25-36. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 30. In desperate times, how far would you go to turn a buck? The central premise of the 1997 movie and its namesake musical comedy The Full Monty, the answer to this question is right in the title, which limits the suspense, but amps up the expectations. Set not in Sheffield, England as in the movie, but the similarly economically challenged climate of Buffalo, New York circa the late nineties, the comical romp follows a group of unemployed steel workers who decide, rather optimistically, that spending one night as exotic dancers will solve their immediate financial woes. Banish all notions of a Hot Chocolate sing-along; the soundtrack of the stage musical has little in common with its cinematic predecessor, but there are a couple of toe-tappers, particularly the songs writ for the ladies: a belter’s anthem for their spry but elderly accompanist Jeanette (Cami Thompson), a snarky commentary on male beauty, “The Goods,” for the ensemble. On opening night, Ray of Light’s production ran about 15 minutes long after a late start, and the tempo seemed sluggish in parts, but once it hits its stride, The Full Monty should provide a welcome antidote to the ongoing, we’re-still-in-a-recession blues, red leather g-strings and all. (Gluckstern) Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Thu/7, 8pm; Sat/9, 8:30pm; Sun/10, 7pm. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

100 Saints You Should Know Thick House, 1695 18th St, SF; www.therhino.org. $10-30. Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 3pm. Through June 17. Theatre Rhinoceros performs Kate Fodor’s comedy-drama about family love, homosexuality, and adolescence.

Othello Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. $15-18. Thu/7-Sat/9, 8pm. Ninjaz of Drama performs Shakespeare’s classic in a contemporary setting.

Slipping New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Daniel Talbott’s drama about a gay teen who finds new hope after a traumatic breakup.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Extended run: June 14 and 21, 7:30pm; June 15-16 and 22-23, 8pm (also June 16 and 23, 2pm); June 18 and 24, 5pm. Annie Elias and Cutting Ball Theater artists present a world premiere “documentary theater” piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through July 7. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Black n Blue Boys/Broken Men Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue, Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 7pm). Through June 24. Berkeley Rep presents a world premiere from writer-performer Dael Orlandersmith (a Pulitzer finalist for 2002’s Yellowman).

Crevice La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu/7-Sat/9, 8pm. Just in case you were feeling panicked about the persistently recessed state of the economy and what might be your own less than ideal place in it, the Impact Theatre and Playground co-presentation of Lauren Yee’s Crevice might help to put your woes into perspective. That’s because slacker sibs Liz (Marissa Keltie) and Rob (Timothy Redmond) are only slightly exaggerated representatives of Generation Next whose penchant for making lackluster life choices has sentenced them to an indefinite prison term of couch-surfing and Teen Mom marathons in their childhood home. Naturally, they desire change, but it’s not until their mother (Laura Jane Bailey) starts having a hot fling with a younger man that things do. In an egregious breach of the TMI line, it appears that Mom’s orgasms open a “crevice” into an alternate reality that Rob and Liz subsequently fall into. Thus removed from the entropy of their former reality they begin testing the parameters of their new one, quickly coming to the realization that sometimes the alternatives to what you already have are even worse. Getting home again is a convoluted, not fully mapped-out process, but in the interim, their navigation of their erstwhile wonderland offers most of the play’s best lines as well as the uncomfortably effective transformation of Reggie D. White from Liz’s nerdish best buddy to multi-lingual Mafia killer and casual sadist. (Gluckstern)

God of Carnage Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $34-55. Tue and Thu-Sat, 8pm (also June 16, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through June 17. Marin Theatre Company performs Yasmina Reza’s Tony-winning comedy about two sets of parents who meet after their children get into a schoolyard fight.

The Great Divide Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through June 24. Shotgun Players performs Adamn Chanzit’s drama about the hot topic of fracking, inspired by Ibsen’s An Enemy of the People.

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through June 30. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

The Odyssey Angel Island; (415) 547-0189, www.weplayers.org. $40-76 (some tickets include ferry passage). Sat-Sun, 10:30am-4pm (does not include travel time to island). Through July 1. We Players present Ava Roy’s adaptation of Homer’s epic poem: an all-day adventure set throughout the nature and buildings of Angel Island State Park.

The Tempest Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; (510) 809-3290, www.calshakes.org. $35-71. Tue-Thu, 7:30pm; Fri-Sat, 8pm (also June 23, 2pm); Sun, 4pm. Through June 25. California Shakespeare Theater opens its season with this dance-filled interpretation of the Bard’s classic tale.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Fri, 6pm; Sun/10, June 16, 24, and 30, 11am. Through June 30. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

American Foundation for Equal Rights benefit Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; www.brownpapertickets.com. Mon/11, 8pm. $25-50. BATS Improv and Tom Bruett of marriageequalityplays.com present short plays by local playwrights, plus an improvised short play, on the theme of marriage equality.

“Beef Cake Comedy Show” Deco Lounge, 510 Larkin, SF; www.decosf.com. Sun/10, 8pm. $10. Comedy music group Saw Dem Eyes headlines this night of “straight guys telling jokes with their shirts off.”

“The BY Series” ODC Theater, 3153 17th St, SF; www.odcdance.org. Thu-Sat, 8pm; Sun, 2pm. Through June 17. $25. Robert Moses’ Kin Dance Company presents work by guest choreographers Molissa Fenley, Ramon Ramos Alayo, and Sidra Bell, plus the world premiere of Moses’ Scrubbing the Dog.

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Ongoing through Nov 6. $15-50. Will Durst and friends perform in this weekly political humor show that focuses on the upcoming presidential election.

“Elementary, My Dear Watson, It Was Crack” Purple Onion, 140 Columbus, SF; (415) 956-1653. Thu/7, 9pm. $20. Comedian Will Franken performs his latest one-man sketch comedy show.

“A Funny Night for Comedy” Actors Theatre of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/10, 7pm. $10. Natasha Muse and Ryan Cronin host a comedy talk show, followed by “A Funny Night for Improv” at 9pm.

“Feel the Power of the Dork Side” Exit Theatre, 156 Eddy, SF; www.brownpapertickets.com. Fri/8-Sat/9, 8pm. $15. Engineering professor by day, stand-up comedian by night: Dr. Pete Ludovice performs his solo show.

“Get In Front” Herbst Theater, 401 Van Ness, SF; www.getinfront.org. Wed/6, 7pm. $35-250. A benefit for Cancer Prevention Institute of California, this event features performances by principal dancers from San Francisco Ballet, Alonzo King LINES Ballet, ODC/Dance, and more.

“House of Matter” Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Fri/8-Sat/9, 8pm; Sun/10, 7pm. $15-25. Nicole Klaymoon’s Embodiment Project presents its latest installment of urban dance theater.

“Idina Menzel: Barefoot at the Symphony” Davies Symphony Hall, 201 Van Ness, SF; (415) 864-6000. Thu/7, 8pm. $69.50-125. The Tony winner performs a show of Broadway and modern pop songs.

“Kunst-Stoff Arts/Fest 2012” Kunst-Stoff Arts, One Grove, SF; kunststoffartsfest2012.eventbrite.com. Thu/7-Sat/9 (Program One) and June 14-16 (Program Three), 8:30pm; Tue/12, 8pm (Program Two). $15. Program one: Dance Elixir and Kunst-Stoff Dance Company; program two: Silvia Girardi performing multimedia theater work All I Wanted to Say; program three: Bruno Augusto and Meisha Bosma.

“Performance Night at the Strand” Strand Theater, 1127 Market, SF; maryarmentroutdancetheater.com. Fri/8, 8:15pm. Free (donations accepted). Mary Armentrout Dance Theater, Oakland’s Milkbar, and Paz de la Calzada present an evening of site-specific performances and installations inspired by de la Calzada’s mural on the shuttered Strand Theater.

“R16 North American B-Boy Championships” Palace of Fine Arts Theater, 3301 Lyon, SF; www.r16usa.com. Sat/9, 2-6pm. $10-25. Come check out dancers popping, locking, and otherwise vying to represent North America at the Supreme World Championship finals in South Korea.

San Francisco Ethnic Dance Festival de Young Museum, 50 Hagiwara Tea Garden, Golden Gate Park, SF; www.worldartswest.org. Sat/9, 2pm. $15. Artist dialogue with “American Tribal Style Belly Dance” creator Carolena Nericcio, followed by a performance by FatChanceBellyDance. Also Sun/10, 2pm, Asian Art Museum, 200 Larkin, SF; www.worldartswest.org. Sun/10, 2pm. Free with museum admission ($7-12). Shamanic dance performace by Korean dance master Il Hyun Kim.

“Sex and the City: Live!” Rebel, 1760 Market, SF; www.brownpapertickets.com. Tue, 7 and 9pm. Through June 26. $25. Heklina, D’Arcy Drollinger, Lady Bear, Trixxie Carr play the fab four in this drag-tastic homage to the HBO series.

“Talkies” Artists’ Television Access, 992 Valencia, SF; www.atasite.org. Fri/8, 8pm. $6. Stand-up comedy and short comedic films hosted by Anna Seregina and George Chen.

“Voca People” Marines’ Memorial Theatre, 609 Sutter, Second Flr, SF; www.marinesmemorialtheatre.com. Tue-Fri, 8pm; Sat, 6:30 and 9:30pm; Sun, 3 and 6pm. Through June 17. $49-75. A capella from outer space.

“X” Garage, 715 Bryant, SF; www.brownpapertickets.com. Wed/6-Thu/7, 8pm. $10-20. Australian performer Sunny Drake presents his new show in conjunction with the National Queer Arts Festival.

BAY AREA

“Jazz Hams” Odell Johnson Performing Arts Center, Laney College, 900 Fallon, Oakl; www.brownpapertickets.com. Sat/9, 8pm; Sun/10, 1pm. $10. The plus-sized performers of Big Moves present a new, full-scale production featuring an array of dance styles.

The funny money against Prop. B

Zelda Bronstein
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The funny money against Prop. B

Credit where it’s due: My competitor and sometimes journalistic adversary Joe Eskenazi has a nice little piece on the weird money behind the campaign against Prop. B, a policy statement about the privatization of Coit Tower. He points out that such varied groups as the California Dental Association and the San Manuel Band of Mission Indians have coughed up money to protect the right of San Francisco officials to close Coit Tower to the public and rent it out for fancy corporate parties.

And how exactly did that happen?

Well, Eskenazi manages to tie Willie Brown into it. (He also calls this “Nimby against the Swells,” which isn’t quite fair — I don’t think the supporters of Prop. B are trying to keep anything out of their back yards. If anything, they want more noisy tourists and fewer quiet, subdued rich-people events. And I don’t think the “swells” are against it as much as the mayor, his Rec-Park director and big businesses that generally back the privatization of public resources.)

But there’s another interesting twist: I’m not sure the folks who gave to the Golden State Leadership Fund Political Action Committee, which is running a No on B independent expenditure, had any clue where their money was going.

Sure, the Chamber of Commerce and BOMA know what’s up, and it’s pretty clear why they like the idea of raising money for the parks by holding exclusive private events instead of by raising taxes. But the Indians? And the dentists? By what possible stretch do they care about a San Francisco ballot measure that has nothing to do with Native American rights or oral health?

Eskenazi may be right — maybe Brown called the Indians and asked, and they threw the money his way to help his buddy the mayor (while keeping the mayor’s fingers out of this particular political pie). But the Golden State Leadership PAC, through which all this money flowed, has been around for years and gives money to candidates all over the state. (It’s definately something of a slush fund for local races — files in the Secretary of State’s office show that in 2008, money from Pacific Gas and Electric Co. flowed in and out of the PAC as it ran a campaign against the San Francisco public-power measure, Prop. H. PAC money went to David Chiu, Phil Ting and Ed Lee for mayor.) It’s based in West Hollywood and the treasurer is a guy named William Molina.

I called the San Manuel Band of Mission Indians and the California Dental Association and asked them why there were helping fund a campaign against Prop. B in San Francisco. The press person at the dental group apparently had no idea what I was talking about and asked for more details about the contribution. I gave her the date and the PAC and I haven’t heard back.

The Indians didn’t seem to clear on Prop. B, either. Kenneth Shoji, a spokesperson for the group, told me by email:

The San Manuel Band of Mission Indians made a contribution of $25,000 to the Golden State Leadership Fund PAC with the expectation of helping to support candidate(s) for public office in the 2012 elections.  We do not control where or how the PAC might extend its support beyond that.

In other words: This Coit tower thing is news to us.

UPDATE: I got essentially the same message from the dentists. Alicia Malaby at the CDA writes:

 When an organization such as CalDPAC contributes to an independent expenditure committee, that committee may spend money on races and issues that CalDPAC supports, but may also spend money on other campaigns. CalDPAC does not control how those committees spend money, and in this case, CalDPAC has no interest in and no position on Proposition B.

UPDATE TWO: Ron Cottingham at PORAC just called me and said his group has no position on or interest in Prop. B. The money that went to the PAC was earmarked to support Rob Bonta for Assembly in the East Bay. Presumably the PAC folks keep track of such things.

Maybe not. Maybe Willie or someone else made a call. It happens all the time.  I mean, somebody clearly was raising money for this PAC, which right now isn’t doing a hell of a lot besides No on B in San Francisco. (Oh, I called Brown, too. He hasn’t called back. He never does. I still always try.)

Either way, it’s a classic San Francisco political story — and it reflects how muddy and corrupt local politics can still be, even in an era of electronic disclosure and ethics laws. Why, if the dentists and Indians don’t like Prop. B, didn’t they (or any of the others in the PAC) create a No on B committee, disclose who was behind it and let the voters know a little more about the real money trail? Why funnel all this cash through a little-known Southern California PAC?

And for that matter, why is there a sudden influx of late money in this race? Has the mayor and the Chamber types suddenly discovered that Prop. B might pass — and might set a precedent against future privatization efforts?

June 5 is Election Day. Vote early and often.

 

 

 

 

 

2012 East Bay Open Studios

Maria Poblet
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East Bay Open Studios, presented by Oakland’s Pro Arts, is the largest and most exciting arts event in the region!

This year, over 400 artists from 16 cities in the East Bay open their studiosto the public, offering an opportunity for art fans of all ages to visit artists’ studios, to glimpse their creative process, and purchase works directly from local artists. Since 1979, this event remains the largest art event in the region and draws an annual audience over 50,000!

Pro Arts invites critics, writers, and gallerists to curate their own tour picks to offer studio-goers new starting points for their East Bay Open Studios experience. The curated tour itineraries will be available at Pro Arts and online.

Saturdays and Sundays, June 2 & 3 and June 9 & 10 from11am-6pm. Call (510) 763-4361 or visit this website for more info.

 

 

 

Sunshine eclipse: Supervisors ramp up their war on sunshine

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And so the San Francisco supervisors ramped up their war on sunshine on Tuesday (May 22) when they rejected five qualified candidates for the sunshine task force and substituted five in experienced in candidates with no experience or visible qualifications.

The key vote was to reject Bruce Wolfe, an experienced task force member, and substitute Todd David, a self-employed investor whose application for the task force said he had never attended a task force meeting and left blank the statement of his qualifications. Here’s the story I wrote for the current Guardian:

http://www.sfbg.com/2012/05/30/sunshine-eclipsed

Sunshine eclipsed

Jesse Hawthorne Ficks
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Sunshine eclipsed

As an advocate for the passage of the San Francisco Sunshine Ordinance in the early 1990s, I felt obligated to take my first and only City Hall position and serve as a founding member of the Sunshine Ordinance Task Force. I served for l0 years and helped with many other good members to build the task force into a strong and respected agency for helping citizens get access to records and meetings and hold city officials accountable for suppressing access and information.

The task force is the first and best local sunshine task force of its kind in the country, if not the world. It is the only place where citizens can file an access complaint without an attorney or a fee and force a city official, including the mayor, to come before the task force for questioning and a ruling on whether they had violated sunshine laws. The task force lacked enforcement powers, but it still annoyed city officials, including Mayor Willie Brown.

In fact, Brown spent a good deal of time trying to kick me off the task force. He used one jolly maneuver after another, even getting an agent to make a phony complaint against me for violating the ordinance with an email (The complaint went nowhere). I refused to budge and decided to stay on until Brown left office—on the principle that neither the mayor nor anybody else from City Hall could arbitrarily kick members off the task force.

That principle held until about 3pm last Thursday (May 17) at the meeting of the Board of Supervisors Rules Committee to appoint candidates to the task force. At that meeting, without proper notice, advance warning, explanation, apology, or even a nice word or two, the supervisors suddenly turned a normal drowsy committee meeting into an unprecedented bloodbath for the task force and its independence. Sup. Mark Farrell played the heavy, Jane Kim was the facilitating chair, and David Campos was the reluctant third party, working together to bring Willie Brownism back at the task force with a vengeance.

The committee rejected four qualified candidates from three organizations who are mandated by the Sunshine Ordinance to choose representatives for the task force because of the organizations’ special open government credentials. (Doug Comstock, editor of the West of Twin Peaks Observer; Attorney Ben Rosenfeld from the Northern California chapter of Society of Professional Journalists, sponsor of the ordinance; Allyson Washburn from the League of Women Voters and Suzanne Manneh from America New Media.)

The committee without blushing asked the organizations to come up with a “list of names,” a whiff of grapeshot aimed at members and organizations who had served the public well for years. Who wants to go before the supervisors on a list of names for a bout of public character assassination? Meanwhile, while knocking off the qualified, knowledgeable candidates, the committee approved four neophytes without experience and then unanimously appointed David Pilpel, a former task force member known for delaying meetings with bursts of nitpicking. He almost always comes down on the side of City Hall and against citizens with their complaints.

Farrell also tried to bounce Bruce Wolfe, an excellent member, but Kim and Campos supported him and his name was sent on to the full board for approval.

Then, when Wolfe’s name got to the board on May 22, it was a repeat of Willie Brownism and this time to the max. Sup. Scott Wiener moved to amend the motion and substituted Todd David. Farrell seconded. The vote was 6-5, meaning that Willie Brownism wiped the sunshine slate clean of anybody who would raise a pesky question of city officials and the City Attorney’s Office.

The infamous votes against Wolfe: Wiener (ah, yes, the heir of the Harvey Milk and Harry Britt seat in the Castro), Farrell (where is Janet Reilly when we need her?), Malia Cohen (who comes from the Potrero Hill/Bay View/Hunters Point district that needs all the sunshine it can get in facing an Oklahoma-style land rush of development), David Chiu (who was reportedly angry over the unanimous task force opinion finding he violated the Sunshine Ordinance with late submission of documents before the controversial vote to redevelop Parkmerced), Carmen Chu and Sean Elsbernd (neighborhood supes way out in West Portal and the Sunset who almost always vote the downtown line at City Hall). The good votes for Wolfe: John Avalos, Eric Mar, Cristina Olague, Jane Kim, and David Campos.

Campos told me that the organization candidates were “eminently qualified,” that they should have been appointed, and that he would fight for them. He advised the organizations to “stand by their candidates.” He is urging that the issue of organization candidates come back to the next Rules Committee.

Rick Knee, SPJ’s mandated journalist on the task force surveying the carnage, said the supervisors’ actions stem “partly from a desire by some supervisors to sabotage the task force and ordinance itself, and partly from a vendetta by certain supervisors after the task force found several months ago that the board violated local and state open meeting laws when it railroaded some last minute changes to a contract on the Parkmerced development project without allowing sufficient time for public review and comment.”

Knee is right, and it isn’t just Parkmerced, but all the high-stakes development deals flowing through City Hall these days, with their advocates preferring to cut backroom deals rather than being subjected to the full scrutiny of the public and the task force.

James Chaffee, a former chair of the task force, watched the board proceedings with outrage and fired off a letter to all supervisors later that day. He charged that the board in sacking Wolfe violated the Sunshine Ordinance on several counts. Among them: the board changed the committee recommendation on Wolfe without allowing public comment and it passed over Wolfe even though the ordinance requires at least one member of the task force to be “physically handicapped.” That was Wolfe.

Thus, Chaffee wrote, the orchestrated coup was “the perfect example of a failure to follow the sunshine ordinance that led to the sort of problem that it was intended to forestall, namely the supervisors taking an action without being informed of what they are doing.  If Scott Weiner and David Chiu and the rest of the crew did not consider the citizens the enemy and exercize judgment about whether they were complying with the spirit of open government rather than just shaving off the letter of the law as closely as possible, this could have been avoided.”

Chaffee said he couldn’t tell if David was physically handicapped but he said nothing in his application for the task force nor was any disability apparent from the video of the rules committee meeting.

Chaffee said David’s  application showed he  was “self-employed as an investor, obtained a BA from Stanford in 1993, has never attended a task force meeting, and left the statement of his qualifications blank.”

Chaffee said, “It’s easy to see why Scott Wiener likes him. He said it would be a long road before he would go against the city attorney’s office and when it came to constitutional law, he would place the city attorney’s opinion above his own because the city attorney is an ‘expert.'”

I sent Chaffee’s letter and my Bruce Blog post ( “The return of Willie Brown to the Sunshine Task Force,” 5/21) to City Attorney Dennis Herrera for comment: How can his office sit by while the letter and spirit of the sunshine laws are being violated in the move to sabotage the sunshine ordinance and task force? I also sent Chaffee’s letter, with the Bruce blog, to the supervisors with similar questions: Why  are you violating the sunshine laws to kick out the best candidates? For their answers (coming)  and the latest on this evolving controversy, follow along at  www.sfbg.com/bruce.

There you have it:  the state of sunshine and open government in city hall in San Francisco in May of 2012. Todd David over Bruce Wolfe. David  Pilpel uber alles.  Five inexperienced candidates over five experienced candidates. David Pilpel uber alles. A city attorney who rolls over and over and over again. And a whiff of grapeshot for the three organizations mandated by the charter to have represenatives on the task force  because of their open government and public access credentials (the Northern California chapter of the Society of Professional Journalists, the League of Women Voters, and America New Media.)  On guard,  b3

 

Deep dish

Jesse Hawthorne Ficks
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Deep dish

SUPER EGO Ooh, she's windy! And everybody knows it. I'm writing you from Chicago, specifically and improbably from the Hard Rock Hotel in the gorgeous old Union Carbide building. It's not so tacky (I'm staying on the Prince Floor, displaying several of his blouses), even though it's brimming with hopefuls for the International Mr. Leather Competition-related "Grabbys," the big annual gay porn awards. Someone please tell their hairdressers that 2005 was seven years ago! No more gay porn cockatoos, please. It is also big, hairy bear week here — officially called Bearpawcalypse 2012, I shit you not — so everything is thuper-thuper-gay.

I'll be back to join you at the following ragers, but right now I'm off to "grabby" me some drinks in the stunning Second City. First stop: a strong sidecar and some live Latin jazz at Al Capone's favorite hang, the Green Mill. Straight mobbin', y'all.

OMAR SOULEYMAN


Are you ready to completely lose it, hypnotic synth-groove hi-NRG Syrian folk-pop style? Even just thinking of how this hyper-energetic, legendary Middle Eastern singer somehow came to be embraced by Western ravers makes me smile — but we'll all be too busy bouncing and trying to sing along to deconstruct all that.

Fri/1, 8pm doors, $20 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

STOMPY 20-YEAR REUNION


The Stompy label, party crew, and music production powerhouse has helped keep the chunky, funky, banging SF house sound alive (DJ Deron, Stompy's honcho, is one of my favorites when I just wanna let loose). To celebrate its second decade, Berlin's sunny tech-house wiz Ian Pooley is joining Jonene, Tasho, Sweet P, and Deron to stomp us good.

Fri/1, 9pm, $10 before 11pm, $20 after. Monarch, 101 Sixth St., SF. www.stompy.com

DOPPLEREFFEKT


Keepers of the true mad scientist techno flame, this mysterious, essential group — headed by mental lab technician Heinrich Mueller, a.k.a. Gerald Donald, a.k.a. Rudolf Klorzeiger — was all the rage, and one of the actual quality offspring, of the electro clash scene, which is now experiencing a full-blown revival. Dark thoughts and porn dreams burble up through insanely catchy melodies and sci-fi Kraftwerk affect. With C.L.A.W.S., Robot Hustle, Josh Cheon, Caltrop, and the No Way Back crew.

Sat/2, 10pm, $25. Monarch, 101 Sixth St., SF. www.monarchsf.com

KONTROL GRAND FINALE


What would the city's techno scene be like without Kontrol? Ace new crews like As You Like It and Rocket might not be around if it hadn't been for the seven-year-old monthly blast of live news from the global techno underground. Originally started at the storied Rx Gallery as a clean, minimal-pumping break from all the baroque, bombastic clutter that was techno in the early 2000s (and as a showcase for the burgeoning international touring circuit created by the Internet and advancing digital technology), Kontrol grew at the EndUp into one of our invaluable electronic faces to the world. Now the Kontrollers — Greg Bird, Alland Byallo, Sammy D, Nokloa Baytala, and Craig Kuna — have way too much going on, damn their popular talents! This seventh anniversary event is also the end of the line for the monthly party, although Kontrol will live on in other forms, including, I'm sure, one day, a 21st anniversary party, at which I will be raving in my hover-wheelchair. Berlin master Heiko Laux performs. Danke and aufweidersehn!

Sat/2, 10pm-6am, $20. EndUp, 401 Sixth St., SF. www.tinyurl.com/kontrolbye

WICKED 21-YEAR ANNIVERSARY


After last year's incredible reunion (and a hugely successful world tour) one of SF's original rave crews — the one that brought a tasty touch of pagan British psychedelia to its eclectic productions — gathers again to howl. DJs Garth, Jeno, Thomas, and Markie, plus a signature cast of beloved characters, get devilish all night. *

Sat/2, 10pm-7am, $20. Mighty, 119 Utah, SF. www.mighty119.com

Rep Clock

Jesse Hawthorne Ficks
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Schedules are for Wed/30-Tue/5 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. “Unexpected View,” sound and film performances by Paul Clipson and more, Thu, 8.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-11. •Written on the Wind (Sirk, 1956), Wed, 3:05, 7, and The Tarnished Angels (Sirk, 1958), Wed, 5:05, 9. •A Fistful of Dollars (Leone, 1964), Thu, 2:30, 7, and The Outlaw Josey Wales (Eastwood, 1976), Thu, 4:25, 9. Grand Illusion (Renoir, 1937), Fri-Sun, 7, 9:20 (also Sat-Sun, 2, 4:30).

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Bernie (Linklater, 2012), call for dates and times. First Position (Kargman, 2011), call for dates and times. Marley (Macdonald, 2012), call for dates and times. I Wish (Kore-eda, 2011), June 1-7, call for times. The Color Wheel (Ross Perry, 2011), Sun, 7. Filmmakers Carlen Altman and Alex Ross Perry in person.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. No screenings scheduled; programming resumes June 8.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Indie Game: The Movie (Pajot and Swirsky, 2012) Wed-Thu, 9:15. Keyhole (Maddin, 2012), Wed-Thu, 7:15, 9:15. “New Czech Film Films US Tour 2012:” Identity Card (Trojan, 2010), Wed, 6:30; Walking Too Fast (Špacek, 2010), Thu, 6:30. The Color Wheel (Ross Perry, 2011), June 1-7, 7:15, 9 (also Sat-Sun, 3:15, 5). “Club Chuckles presents On Cinema with Tim Heidecker and Gregg Turkington:” Moment By Moment (Wagner, 1978), Sat, 11. This event, $15.

SF FILM SOCIETY CINEMA 1746 Post, SF. $10-11. Once Upon a Time in Anatolia (Ceylan, 2011), Wed-Thu, 2, 5:30, 8:30. Hide Away (Eyre, 2011), Fri and June 4-7, 3, 5, 7, 9; Sat-Mon, 3. The Story of Film: An Odyssey: Part One, The Birth of Cinema (1900-1920) (Cousins, 2011), Sat, noon. British TV series; new episodes every Sat through June 21. “An Evening of Wholphin Love,” Sat, 7, 9.

TOP OF THE MARK InterContinental Mark Hopkins, One Nob Hill, SF; www.topofthemark.com. Free. “Summer Movie Nights:” Gone With the Wind: Part Two (Fleming, 1939), Wed, 7:30; North By Northwest (Hitchcock, 1959), Tue, 7:30. Wine tasting at 5:30.

VOGUE 3290 Sacramento, SF; www.cinemasf.com. $20. “City Scenes: Installments One and Two:” Foul Play (Higgins, 1978), presented by Vetiver, Thu, 9; The Conversation (Coppola, 1974), presented by Chuck Prophet, Fri, 9. With live music performances at 8 both nights.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. “War and Remembrance: The Films of Aleksei Guerman:” Trial on the Road (Guerman, 1971), Thu, 7:30. *

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