Berkeley

Compassion and fervor in Berkeley Rep’s ‘Black n Blue Boys/Broken Men’

Sue Vaughan
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Compassion and fervor in Berkeley Rep’s ‘Black n Blue Boys/Broken Men’

“I want them to look at me, to look me in the eyes,” states Dael Orlandersmith, using a British accent to portray one of at least ten different characters she plays in her tour de force solo show Black n Blue Boys/Broken Men, at Berkeley Rep through June 23.
 
After 90 minutes, the audience was definitely squirming in its seats. Orlandersmith tackles a barrage of characters, each of whom related in some degree to the subjects of mental, physical, and sexual abuse of boys and men. But despite the challenging material, I do not think many viewers would have wanted the play to be any shorter. (“There was hope in it,” I heard an audience member say as we walked out of the theater.)

Orlandersmith, a Pulitzer finalist for her 2002 Yellowman, embodies a variety of people tied to the many facets of violence: onlookers, perpetrators, victims — and those who are perpetrators and victims. She represents a range of ages and ethnicities: children, a Latino father and mother, an African American hustler (aged 13), Irish parents. Her elocution is impeccable.

 Dressed in plain clothing, she remains onstage for the duration, signaling scene changes by turning and walking from the back to the front of the stage — where she resumes with completely different mannerisms. The stage looks a bit like a large ship plank or the abandoned foundation of a small apartment, very broken around the edges.
 
Huge, industrial-looking lights evoke the prisons, foster homes, crack dens, and seedy spots for sex solicitation that background her stories; they raise and lower for different monologues. Character names are projected along the wall after the first few appear, to help the audience keep track when they are revisited.

One character — a boy taunted in the school yard for being a “trick-baby,” a child of a prostitute  — escapes his abusive family life and becomes a writer (a character that Orlandersmith may have been able to draw most from her own experience as a writer who works to give voice to those who are oppressed by violent circumstances). As an adult, the writer works in foster homes, trying to break the cycle of violence and help children in a way he was never assisted in his darkest days.

But even though he understands why these children act out so badly, they still test his patience and he finds out one of the many corruptions in the foster care system — he does not get in trouble for hitting the child because they are allowed to spank children “who are bad.” When he learns about this rule, the character realizes his mistake; his awareness of his own actions and his need to challenge the system and make positive change inspires hope.

In the playbill, Berkeley Rep artistic director Tony Taccone speaks about Orlandersmith’s grace and understanding in approaching such a dark and seemingly impossible subject. He explains she shows us hope amid desperation and brutality. Although certain characters were much harder to handle than others, each one certainly gave the audience much to consider. Orlandersmith shows us how abuse is cyclical, it is a vicious cycle that is hard to break. Hard, but certainly possible.
 
Black n Blue Boys/Broken Men also addresses bureaucratic problems  — compounded by stereotypes and ignorance — that stand in the way of breaking this cycle of violence. A Latino boy growing up in the Brooklyn projects with his mentally ill, sexually abusive mother and in-denial father meets with a social worker, who tells him “It says here in your case file that you were molested by your mother. But you must be mistaken. Men molest men, women, girls, and boys. Women are mothers, mothers do not molest children — women do not molest their sons.”
 
With this example, Orlandersmith shows we still have some fundamental archetypes that need to be broken down, and double standards between the sexes is one of them. Both men and women can be aggressors. Although her play points out this harsh reality (and the frequent denial of it in our society), she also explores how characters break from their abusive pasts.

Thankfully, Orlandersmith provides enough balance in the play to keep the material from getting too uncomfortable and depressing. My personal favorite character was the “unofficial mayor of Central Park,” whose New York accent and physicality was hilarious and completely likeable.
 
I applaud Orlandersmith for her bravery in tackling this subject, and for her ability to explore her characters so deeply. Black n Blue Boys doesn’t engage in finger-pointing; instead, it presents each character openly. Although she knew certain details might cause revulsion, anger, and shock, this talented writer-performer encourages viewers to draw their own conclusions in the end. It is a truthful, compassionate look at a challenging topic, which, in the words of her final character, “doesn’t have to be all black and blue.”

Black n Blue Boys/Broken Men
Through June 23, $14.50-73
Berkeley Repertory Theatre
Thrust Stage, 2025 Addison, Berk.
www.berkeleyrep.org

Too dope to be free

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Too dope to be free

But it is! No ticket price required, but you might want to show up early for the wildly popular Queeriosity. 

It’s Youth Speaks’ annual queer poetry slam. The mostly high school age poets who will lay their stunningly well-worded wisdom upon you will be having fun tomorrow night, but they are not messing around. 

Neither is Youth Speaks. The national San Francisco-based organization works with 30,000 Bay Area youth per year, from school assembly performances to free after school poetry workshops to slams. Veteran Youth Speaks poet Milani Pelley will be co-hosting this year’s Queeriostiy show. Although a raging fire prevented me from meeting up with Pelley in Berkeley today, she told me over the phone about life, art, politics, and the aweomeness that Queeriosity attendees can expect. 

Pelley wrote her first poem at age 12.

“Actually a young lady who also was with Youth Speaks, she got me into writing,” Pelley told me. “In the 7th grade we were kind of tom boys, we were hanging out on the basketball courts and she said hey, want to hear a poem?  And she was little, like five feet,” Pelley laughed. 

“And everyone stopped what they were doing and listened. And after that, I went home and wrote a poem.  Because I said, this is how you get people to listen to you? I want to try it!”

She never stopped. Pelley went to Youth Speaks workshops at age 15, and later served on their Youth Board. She now makes it as an artist, working for Youth Speaks as a Poet Mentor and making jewelry on the side.

Pelley said that poetry sustained her through difficult times. “Once I was able to write down everything that I was going through and work out my pain and sadness I was able to see the bigger picture and really find a solution of how I was going to heal” she told me.

“It was basically me being my own therapist. Because you know how they take notes on you? I was taking notes on myself.”

I asked if Pelley sees her poetry as political.

“I talk about race, or I talk about sexuality, I talk about police brutality. These are regular things in my life,” said Pelley. “But people think it’s political or controversial. And some people think I should be considered pro-woman. People think it’s political because it’s a feminist perspective but I think Its just women being powerful as they should be.”

For one example of the personal-is-political-is-ridiculously-awesome Queeriosity experience, here’s a take on SF Pride from Yosimar Reyes at the 2010 Queeriosity slam. http://www.youtube.com/watch?v=XdZpRiOsdS8

If that doesn’t convince you, let Pelley: “I definitely think this is going to be an amazing show. It’s free, its way too dope to be free. Personally I think, they should be paying these youths because they’re very courageous, they’re very talented and what is going to be shown tomorrow shouldn’t be missed.”

15th Annual Queeriosity

Fri/15, 7pm

LGBT Center

1800 Market, SF

www.youthspeaks.org

Beach daze with buzzing brother act Wildlife Control

Tony Robles
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What would it be like if a day of your life was filmed then released into the wilds of the web? Better yet, what if you and your brother were musicians, and you produced, directed, and released your first big, innovative music video – shot over a full day at Ocean Beach in San Francisco – and it ended up going viral on Youtube, before the release of a full-length album?

Well, your band Wildlife Control would be a rather buzzed about act. And it would leave the people wanting even more (debut EP Spin was released this March). Brothers Neil and Sumul Shah, hailing from a rural Pennsylvania town – now based in Brooklyn and San Francisco respectively – spent a day in early February filming said music video for their new single “Analog or Digital” on a windswept beach, using a unique combination of time-lapse and stop-motion techniques.

In the video, it appears that the background is moving faster than real time, while the band’s movements are stagnant, choppy, like a slow-moving slideshow; it creates an effect that looks their feet are closely hovering over the sand.

This effect was created by a series of more than 3,000 individual photographs. The process was tiring for the brothers, holding the poses for such a long stretch of time, “We got really stiff” laughed Sumul during a conversation at Cafe Mediterranean in Berkeley.

Wildlife Control’s sound is far from rigid, it’s based in breezy pop – poppy enough to appeal to mainstream audiences – and layered with rock’n’roll riffs, and some jazz influences. There are layers to peel back with each listen, more depth than initially meets the ear.

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

“We grew up in a whole family of musicians, Sumul reflected. “Our parents both imparted the importance of music from an early age. They wanted us to dive deep into it. Our dad is a trained classical Indian musician.” In fact, he plays Tabla on their future full-length release. “Music was all around, all the time; from an early age we always heard good music.”

Sumul added that – along with that family of musicians – he was also inspired by teachers, other artists, and inspirational folk with a clarity of vision, ticking off a list that included Steve Jobs, the Beatles, and Johann Sebastian Bach.

“When we would go with our friends in their parents’ minivan, I didn’t get what they listened to. The cheesy kids’ music was just not what we were exposed to in our family,” he laughed. “There is a necessity to some extent to have music appropriate for kids, but I don’t believe they should need their own weird kids’ music. A child can appreciate music like the Beatles.”

While the brothers grew up surrounded by music and have been playing together for some time, they’ve just barely dipped their toes in the modern world of viral music videos. With the “Analog or Digital” video, they made a concerted effort to capture their personalities.

“We thought, what better way to do it then to film an entire day to ourselves, and then compress that down into the three minutes of the song,” Sumul said. “Certain aspects of it were very planned out, but otherwise we just wanted to have fun and be ourselves.”

The song is anchored by a steady drum line, and the story-telling of the lyrics instantly create a potential for nostalgia; the musical bridge adds a dramatic flair that makes the song all the more memorable.

“It’s interesting that it went viral; all we really want is to make music for anyone who wants to hear it and be exposed to it.”  Sumul said. “To live in an age where we can get so much fan response amazes us,” adding, “we totally live in the future and we love that.”

Wildlife Control
With Coast Jumper
Mon/18, 8pm, $13
Brick and Mortar Music Hall
1710 Mission, SF
(415) 800-8782
www.brickandmortarmusic.com

Localized Appreesh: Hooray for Everything

Tony Robles
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Localized Appreesh: Hooray for Everything

Localized Appreesh is our weekly thank-you column to the musicians that make the Bay. To be considered, contact emilysavage@sfbg.com.

What if the glory days of 1990s MTV beyond-video programming never faded into preggers teens and a never-ending onslaught of reality blech?  Those days, the dial – and we still had dials then kids –  remained fixed on the televised revolution when Liquid Television, Beavis and Butthead, and even Daria ruled space between vids.

While those animated programs may have appeared to be about something else entirely (moody teens, raunchy twits, oddball freaks) they were surreptitiously still steeped in the music we loved: lots of reverb, wild guitar riffs, noise, pain, Gen X angst.

Oakland trio Hooray for Everything, a band name as misleading as it is accurate (also taken from ’90s animation, remember Bart vs Thanksgiving?), has some of that awesomely weird post-punk spark.

Blue-hawked bassist Matt Peterson and singer-guitarist Faith Gardner, with flaming pink hair and punk-driven Kill Rock Stars-ish vocals, could easily have been friends with Daria and Jane, while drummer Jamie Sanitate, a long-hair with heavy hits, wouldn’t be out of place couch-surfing alongside metalheads of the Beavis and Butthead variety, though the DIY sound veers closer to angular Submission Hold than Metallica. So yes, Hooray for Everything  – hooray for loud parties and best friends and beer cups full of cigarette butts. And may this feeling never fade away.

http://www.youtube.com/watch?v=2c1f8TfrSL0

Year and location of origin: 2007, East Bay

Band name origin: The Simpsons

Band motto: Hooray.

Description of sound in 10 words or less: Loud, high energy, female-fronted punk rock’n’roll.

Instrumentation: Faith: guitar/vox, Matt: bass, Jamie: drums

Most recent release: 2012 For Pete’s Sake! Demo

Best part about life as a Bay Area band: Playing with other great Bay Area bands

Worst part about life as a Bay Area band: There are too many Bay Area bands!

First album ever purchased: Jamie: Kriss Kross, Totally Krossed Out, Faith: Paula Abdul, Forever Your Girl, Matt: Cypress Hill, S/T.

Most recent album purchased/downloaded: Jamie: Frumpy-2, Faith: SHARKPACT, Ditches, Matt: Boogie Nazis, No Coast.

Favorite local eatery and dish: Jamie: Taco Trucks/Tacos de carne asada, Faith: Troy Greek Cuisine in Berkeley, Falafel , Matt: Arinell, PIZZA!!!

Hooray for Everything
Sat/16, 9:30pm, $6
Hemlock Tavern
1131 Polk, SF
(415) 923-0923
www.hemlocktavern.com

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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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. *

On the Cheap Listings

Andrew Lam
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0

Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THURSDAY 14

Screening of Ken Russel’s Gothic Pacific Film Archive, 2575 Bancroft, Berk. bampfa.berkeley.edu. 7:30pm, $9.50. Director Ken Russell passed away this year, but his 1986 feature film continues to transport audiences. Gothic takes audiences into the country estate where Lord Byron (Gabriel Byrne), Mary Shelley (Natasha Richardson), and her partner Percy Bysshe Shelly (Julian Sands), give birth to the idea for Frankenstein’s monster. Prior to the screening, listen to a brief set by the world’s only Ken Russell tribute band Brale.

Oakland Landmarks book signing Cathedral Gift Shop, 2121 Harrison, Oakl. www.cltcathedral.org. Noon-1:30pm, free. Oakland historian and columnist AnnaLee Allen and artist Heidi Wyckoff raised enough donations through Kickstarter to publish their new book Oakland Landmarks, a melding of Wyckoff’s watercolor images and Allen’s detailed descriptions of historical sites. The project is a tribute to the city in honor of its 160th birthday this year. Today, come meet the author and illustrator, eager to sign your copy this afternoon.

Celebrate Flag Day with America the Philosophical Mechanic’s Institute, 57 Post, SF. (415) 393-0114, www.milibrary.org. 6pm, $12, members free. Just in time for Flag Day, award-winning book critic Carlin Romano challenges the idea that our nation is anti-intellectual. Using the examples of talk shows, social media, blogs, and an online trend he calls “cyber philosophy,” he argues that the USA is still a nation of innovation and public debate. Listen as Romano speaks up for the intelligence of you and yours at tonight’s reading.

FRIDAY 15

Rex Ray pop-up show and Information release Gallery 16, 501 Third St., SF. www.gallery16.com. Also Sat/16, 6pm-9pm, free. To celebrate Rex Ray’s new book, Information, this pop-up gallery displays images of his artwork, photographs, and private moments of inspiration. The new book highlights a collection of happenings that the artist says inspired his life’s work. Ask him more about it in person.

Faetopia reclaims vacant Castro space for public joy Vacant Tower Records building, 2286 Market, SF. www.faetopia.com. Through Fri/22, event times vary, $10 suggested donation. Faetopia imagines a world where queer people are honored and respected for their gifts and perspectives. Artists and collaborators have created a space for the LGBTQQ community and their allies in the long, vacant storefront. During the day, Faetopia will host a visual arts gallery, workshops, meditations, teach-ins, and more. Theater, poetry, cinema, and sexy book readings in a land where the arts reign supreme.

SATURDAY 16

“The Stuff That Dreams are Made of: San Francisco and the Movies” Old Mint, Fifth St. and Mission, SF. www.sanfranciscomuseum.org. Through Sat/24, 11am-4pm, $10. Thanks largely to cinema, people everywhere know about our city by the bay, even if they’ve never visited it. To highlight the movies and filmmakers that make San Francisco one of the world’s film capitals, the San Francisco Museum and Historical Society present this exhibition.

Father’s Day weekend at Playland-Not-at-the-Beach 10979 San Pablo, El Cerrito. www.playland-not-at-the-beach.org. 10am-5pm, $15. Don’t let Dad spend his special day sitting on the couch watching other people play. Accompany him to Playland, where the two of you can raise a ruckus with pinball and carnival games galore — there’s even an ugly tie contest. Pops also gets $3 off admission this weekend — perfect for Playland’s theme of the week: celebrating everyday American heroes.

San Francisco Crystal Fair Fort Mason Center, SF. www.crystalfair.com. 10am-6pm; also Sun/17 10am-4pm, $6. The Pacific Crystal Guild hosts a magical mix of crystals, minerals, beads, jewelry, and the healing arts today and tomorrow. Crystal enthusiasts can gawk at some of the most hard-to-find gems around, and those new to the world of geology can learn about the history and potential healing powers of these natural treasures.

North Beach Festival North Beach neighborhood, SF. www.sresproductions.com. Also Sun/17, 10am-6pm, free. One of the country’s original outdoor festivals, this 58th annual event brings you to the city’s Little Italy for 125 arts and crafts booths, 20 gourmet food booths, three stages of live entertainment, Italian street painting, beverage gardens, and the blessing of the animals. Join in this longstanding San Francisco tradition.

Marin Art Festival, Marin Civic Center, 3501 Civic Center Dr., San Rafael. (415) 388-0151, www.marinartfestival.com. 10am-6pm, $10. Enjoy the famed Marin oyster feast while you view the works of more than 250 fine artists. This annual event takes place in the spectacular Marin Civic Center designed by Frank Lloyd Wright, so be sure to look up and down and all around at the architecture while you’re there.

SUNDAY 17

Open Cockpit for Father’s Day Oakland Aviation Museum, 8252 Earhart, Building No. 621, Oakl. www.oaklandaviationmuseum.org. Noon-4pm, $9. Sit in a Korean War MiG-15 next to Dad, and feel what it would have been like to fly for the “other side” in America’s first war of the jet age. Learn about the training involved for naval flight officers in the 1970s via a Navy A-6 simulator trailer, horse around on a carrier deck in the Navy A-3 Sky Warrior, tour the Solent Flying Boat from Indiana Jones: Raiders of the Lost Ark.

MONDAY 18

Baasics.2: The Future Oberlin Dance Collective Theater, 3153 17th St., SF. www.baasics.com. 7:30pm-9:30pm, free. Do flying cars and android housekeepers to mind when you ponder the future? Will humanity populate other planets and interact with extraterrestrial beings? Or, do you fret about the imminent environmental catastrophe, the rise of a totalitarian mega-state, and the end of our species? This event brings together Bay Area artists, inventors, researchers, and musicians whose projects and musings provide a sense of what they think lies ahead.

TUESDAY 19

Activists read from The Harvey Milk interviews: In His Own Words HRC Store, 575 Castro, SF. (415) 387-2272. 6pm, free. This newly released collection of never-before published transcripts of unrehearsed interviews with Harvey Milk will be read live tonight by Bay Area activists and novelists. Learn about the local icon on a deeper level.

 

The perfect pre-Pride toast: Bayview vino at El Rio

Andrew Lam
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It’s best (they say) to treat Pride as the proverbial marathon in place of sprint — despite the fact that there is about one thousand openings-parties-dog walks happening this year that you’ll no doubt be careening between. May we recommend a darling divey wine happy hour as your own personal kick-off for this year of queer festivities? El Rio‘s semi-weekly Mugsy Wine Bar on Fri/15 would fit the bill nicely — and will give you the chance to try local pours made by local queers, people of color, and families that will be perfect for your larder as you traipse ever-closer to Gay Christmas.

“El Rio is a lot more gay-friendly than cabernet-friendly,” Granate Sosnoff, Mugsy’s organizer, told me over the phone yesterday. Sosnoff, whose girlfriend works behind the bar at the Outer Mission dive, was sick of El Rio’s wine selection being somewhat of an afterthought (let’s be real, order the margarita.) But the space had potential — you’d be hard-pressed to find a better spot for a casual glass. Picture the scene: El Rio’s standard Friday afternoon batch of free oysters (deployed on the tranquil patio at 5:30pm, swoop them while they last), La Piada Randagia serving Italian piadina, or flatbread sandwiches, and of course, the well-curated wines. 

This Friday, Mugsy will feature pours from Gratta Wines, Barbara Gratta’s mini-winery that the queer vintner started in her Bayview basement. Gratta’s 2010 Dry Creek cabernet — of which only a barrel was made — will be on offer, as will the entrepreneur herself, for queries and comments on the fruits of her fermentation.  

Looking for something from farther afield? Mugsy will also be offering a pinot noir from Stomping Girl Wines, a multi-generational endeavor out of Russian River and Sonoma that first started pressing in a Berkeley basement. Not to mention wine from African American family-owned Brown Estate. 

“High and low is the best, right?” said Sosnoff. “Especially in these troubling times.” D’accord. Cheers! 

Mugsy Wine Bar pop-up happy hour

Fri/15 5-8pm, $5-$10 per glass of wine

El Rio

3158 Mission, SF

(415) 282-3325

mugsywinebar.tumblr.com

www.elriosf.com

The great car slowdown

Andrew Lam
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49

EDITORIAL It’s going to be hard to reach San Francisco’s official bike transportation goal, which calls for 20 percent of all vehicle trips to be taken by bicycle by 2020. Everyone in town knows that; everyone at City Hall and in the biking community agrees that some profound and radical steps would need to be taken to increase bike trips by more than 500 percent in just eight years.

It starts with safety — you’re not getting anywhere near that number of people on light, two-wheeled vehicles unless, as international bicycling advocate Gil Peñalosa recently told San Franciscans, people between the ages of eight and 80 feel safe riding on the city streets.

At the San Francisco Bicycle Coalition’s 20th Annual Golden Wheel Awards, Peñalosa — executive director of 8-80 Cities, a nonprofit that promotes creation of cycling infrastructure that is safe and inviting — laid out a prescription for designing cities around pedestrians and bicyclists (he sees riding a bike as ” just a more efficient way of walking.”) Peñalosa laid out an agenda for achieving that goal — one that includes a step San Francisco can start taking immediately: Cut vehicle speeds on all city streets to no more than 20 miles an hour.

Even if that were only done in residential areas, it would have a huge impact, and not just on bicyclists. Peñalosa cited statistics showing that only about 5 percent of pedestrians hit by cars driving 20 mph will die — but the fatality rate shoots up to 80 percent when the vehicles are traveling 40 mph.

If there are some streets where it’s impractical to have such a low speed limit, it’s imperative to have bike lanes that are separated from cars by physical barriers.

San Francisco’s Municipal Transportation Agency director, Ed Reiskin, told us after Penalosa’s speech that the notion of reducing speed limits made sense: “The logic is unquestioned that slowing speeds reduces the risk of fatality.”

But the city, it turns out, doesn’t have the power to unilaterally lower speed limits: State law requires speed limits to be set based on formulas determined by median vehicle speeds. That seems awfully old-fashioned and out of touch with modern urban transportation policy, which increasingly emphasizes bikes, pedestrians, and transit, and city officials ought to be asking the state Legislature to review those rules and give more latitude to cities that want to control traffic speed.

In the meantime, Reskin argues that a lot can be done by redesigning streets, using bulb-outs and barriers to discourage speeding. That’s fine, and part of the city’s future bike-lane policy should start with traffic-calming measures (Berkeley, to the chagrin of many nonlocal drivers, has done a great job making residential streets into bike-friendly places where cars can’t travel very fast).

Peñalosa had some other great ideas; he noted that cities such as Guadalajara, Mexico require developers to give free bikes away with each home, a program that has put 102,000 more bikes on the streets. That’s a cheap and easy concept — except that so much of the new housing in the city is so expensive, and comes with so much parking, that it’s hard to believe the millionaires who are moving into these units will be motivated by a free bicycle.

But the notion of working with Sacramento to slow down car traffic makes tremendous sense — and that ought to be one of the transportation priorities of Mayor Ed Lee’s administration.

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

Tony Robles
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3
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.”

Sutter’s CPMC deal isn’t healthy

Zelda Bronstein
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Sutter’s CPMC deal isn’t healthy

At 10am on Friday, June 15, at the main chambers of the Board of Supervisors, the first of a series of public hearings will be held on specific aspects of the  development agreement governing the $1.9 billion Sutter Health/California Pacific Medical Center proposal to expand and centralize the giant health-care outfit’s health center by building a new 555 bed hospital at Geary and Van Ness. The deal involves demolishing the existing 220-bed hospital at St. Luke’s at Mission and Cesar Chavez and rebuilding a new 80-bed facility, expanding the Ralph K. Davies hospital at Duboce and Noe and closing down the old Children’s Hospital in Laurel Heights.

The hearing will be the first before the Board of Supervisors. Thus far, the project has been before only the executive branch: the Planning Commission and the mayor. After a brief introduction on the overall project the hearing will focus on the issue of jobs.

This is the largest project to be negotiated by the Lee administration — and although the mayor introduced it to the board in May, not one supervisor has yet joined him to sponsor the legislation. That’s an an odd situation given the importance of the project – and the fact that Mayor Lee can usually count on an automatic four votes from the conservative faction of the board. But not this time.

The hearing was requested by a coalition of more than 60 community, neighborhood, labor, and environmental organizations — San Franciscans for Healthcare, Housing, Jobs and Justice (SFHHJJ) — which has been closely following the project for the last two years.  Members of the coalition have already appealed the project’s environmental impact report, passed last month by the Planning Commission, and SFHHJJ has developed a series of amendments to the agreement that it has been pressing on the Board of Supervisors.  Board President David Chiu agreed to set a series of hearings on the project before it voted on, along with the determination of the appeal of the EIR, in  late July.  SGHHJJ hopes to use the hearings to get across the serious shortcoming of the agreement.  In addition, depending upon the appeal of the EIR,  a law suit may well be filed by some members of the Coalition.

In short, what starts next Friday is a big deal.

Not only is it a big deal in the development war that is at the heart of San Francisco politics, but it also is a big deal given what may well be done by the Supreme Court in deciding the constitutionality of all or part of the Affordable Health Care Act. If Obama’s health reform is struck down by the court, in all or in part, which seems almost certain, Sutter/CPMC’s plan will most definitely take on even more importance for the future of health care and its costs in San Francisco.

Sutter currently controls about a third of the market for health care in San Francisco.  With the construction of this project, it will control about 40 percent — a portion most knowledgable observers feel will give it market dominance  and an ability to actually set health care costs in San Francisco. Sutter’s business model — as shown in Berkeley when it took over Alta Bates and elsewhere in the state – demonstrates that  with a dominate market position, it jacks up prices.

As the San Francisco Chronicle noted in 2010: “…Sutter Health Co. has market power that commands prices 40 to 70 percent higher than its rivals per typical procedure — and pacts with insurers that keep those prices secret”.

A US Supreme Court that weakens or strikes down health care reform will simply re-establish the status-quo ante, a situation in which Sutter will thrive.

And that’s why the board’s conservative members are not supporting Mayor Lee’s deal: it simply does not protect the city — itself a major health care consumer for both its workforce and Healthy San Francisco — from Sutter’s history of turning market power into high health care charges.

SFHHJJ want the development agreement amended to place a cap on the costs charged to the city, allowing Sutter no more than 115 percent of the average charged  by  San Francisco’s other private, nonprofit hospitals.  It also wants Sutter/CPMC low charity care payments pegged at an average of what other nonprofit hospitals contribute, and it is calling for rebuilding St. Luke’s in San Francisco medically underserved south east to 180 beds, not the sure-to-fail size of 80 beds.

But there’s even more to deplore about the proposed deal.

In housing, although the EIR showed that a demand would be created for some 1,500 new two-bedroom homes, Sutter/CPMC agreed to only provide funds to build about 90 such homes. Such a massive shortfall will boost housing prices all other San Franciscans will pay.

The project’s impact on public transit at the Geary / Van Ness intersection will be large and ongoing. More than 20,000 new car trips will be generated at that intersection by the new hospital. Plans for a Bus Rapid Transit raised roadway for the 38 Geary — the most used bus line in the city — will have to be altered at an unknown price since the project calls for all auto traffic to enter the site on the Geary Avenue side.

Again, San Francisco taxpayers will be on the hook to pay for these new costs.

But it is the jobs aspect of the deal that is the most distressing. Sutter/CPMC has a long history of labor disputes with its workforce. Last year it replaced nurses who took a day off to protest their working conditions, and a replacement nurse hired by Sutter accidentally killed a patient. Sutter/CPMC refuses to agree to hire all of its 6,000 current employees for the new facilities. It’s requiring them all to apply as new workers, losing all of their seniority, with a real prospect that many currently employed San Francisco residents will lose their jobs once the new facility opens. All that Sutter/CPMC has agreed to do is hire 50 residents a year for four years – 200 new local jobs, total.

The  June 15 hearing will focus on the jobs issue and public comment is sure to be hot on this laughable “commitment” agreed to by the “jobs” administration.

Calvin Welch is a longtime community organizer living in San Francisco. He currently teachs a course in the development history of San Francisco at San Francisco State University and the University of San Francisco.

Rites of passage

Jesse Hawthorne Ficks
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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.

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. Complete listings are located at www.sfbg.com.

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

The Full Monty Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $25-36. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 30. Ray of Light Theatre performs the hit musical.

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.

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. 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. Slacker sibs Liz (Marissa Keltie) and Rob (Timothy Redmond) are only slightly exaggerated representatives of Generation Next; when their mother (Laura Jane Bailey) starts having a hot fling with a younger man, her orgasms open a “crevice” into an alternate reality that Rob and Liz fall into. 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)

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.

‘Wanted Man’: resurrecting Johnny Cash’s San Quentin concert

Sue Vaughan
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1

What did it mean for Johnny Cash to “Walk the Line”? At First Person Singular‘s one night only (May 28) performance of Wanted Man: Johnny Cash at San Quentin at Berkeley’s Ashby Stage, star Josh Pollock argued that we can all relate to the fine line that Cash walked his entire life.
 
He was never jailed for his drinking or drug problems, but as he performed at San Quentin prison — recorded for his now-classic 1969 album At San Quentin, the follow-up to 1968’s At Folsom Prison — he is said to have looked out at the inmates and thought how close he had been, so many days and nights, to tipping over a precarious edge. June Carter, God, and his guitar kept him on the right side of the law (rock ‘n’ roll fun fact: he was arrested, once, for picking flowers).

Pollock and backing band the East Bay Three did an amazing job capturing the spirit of Cash’s material. Before the show Pollock told me that he was proud to consider this reinterpretation sacrilege, though the audience certainly took nothing but raw pleasure in the performance.

Although the seats were mostly filled with older Cash aficionados, it was a still fairly diverse crowd, and boy did they join in when foot-stomping and hand clapping was encouraged. It was the kind of musical experience where you felt yourself completely enveloped with a feeling of community, and the passion of the music made you forget any trivial problems that had preoccupied your mind earlier that day.
 
Pollock’s theatrical idiosyncrasies, including some creative hand gestures when he did not have his guitar occupying his arms, were quite entertaining — he was sure giving it his all. The same can also be said for the East Bay Three, comprised of musicians well-known for their other projects.
 
Violinist Anton Patzner is an Oakland native, and his musical skills have brought him on world tours with the likes of no less than Bright Eyes, including a Late Show with David Letterman performance. His band Judgement Day (with his brother Lewis Patzner) is a “string metal” trio, accompanied by drums.

The Cash show gave Patzner the chance to utilize his violin skills, but he also played such offbeat instruments as a barrel drum (literally a barrel, upright). Watching Patzner bang the hell out of that barrel encapsulated a little taste of the level of fervor I imagine Cash faced, playing before those San Quentin fans over four decades ago.
 
Laura Weinbach of Foxtails Brigade offered a spitfire interpretation of June Carter, duetting with Pollock on “Jackson”. Weinbach’s inflection and guitar playing were both quite enjoyable. Joe Lewis on upright bass was also fascinating to watch; he played with pluck and great timing. An added treat was that Weinbach’s younger twin brothers made an appearance on trumpet and saxophone — and even had a whistling musical break. Their hand-snapping and dance moves were certainly among the most charming moments of the show.
 
During his rendition of “Starkville City Jail” — written about that infamous flower-picking incident — Pollock paused to ruminate on how much Cash’s shoes (“I started pacin’ back and forth and now and then, I’d yell/ And kick my forty dollar shoes against the steel door of my cell”) would cost now with inflation (he guessed $200).

 

Next up for First Person Singular — according to host Joe Christiano, “a performance series that draws from a variety of media to showcase the American voice” — is an all-duets installment of its “Hoot!” open mic night, Sun/10 at St. Alban’s Episcopal Church in Albany. 

Trans-formation

Jesse Hawthorne Ficks
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0
Trans-formation

arts@sfbg.com

MUSIC After touring on 2009’s Words of the Knife with his band Os Beaches, Mark Matos’ world fell crashing from the cosmos. Internal struggles compelled him to fire his producer and his guitarist; Os Beaches’ practice space that doubled as a crash pad burned down (relegating the fresh-off-the-road group back to van sleeping); and Matos began to develop a destructive relationship with drugs.

When I meet up with him over an extremely tall glass of weizen beer at German restaurant Suppenküche, Matos — an eloquent, bearded 30-something who comes off as much like a shaman as the front person of a psychedelic rock collective — explains how he somewhat-recently hit rock bottom; and how psychedelics enabled him to climb out of a debilitating death hole and build a mountain on top of it.

“I was up all night on cocaine. I hate cocaine. I felt it all slipping away. And I was like, ‘I’m going to take the heroic dose’ — five grams of mushrooms,” Matos recalls. “It’s what the shamans of South America say is the proper dose. It’s not fun.”

Matos says after he emerged from his heroic experience, he felt completely reborn. “I didn’t want to do coke. I didn’t care about being famous, and I really, really felt high. I was so high that people thought I was losing it.”

He says his consumption of the heroic dose, coupled with a series of vision quests, spawned the creation of his enlightened self — Trans Van Santos — and drew him toward the concept of communal musicianship.

The Trans Van Santos identity came to Matos during a vision quest in the desert. He remembers big hands lifting him onto a pyramid, and voices beckoning him to embrace his spirit name, Trans Van Santos.

“Santos is my grandmother’s maiden name, and in our [Portuguese] tradition we often take the matriarch’s name. When I think ‘Santos,’ it reminds me to honor the feminine.”

Coyote and the Crosser, Mark Matos & Os Beaches’ recent release, tells the story of Matos’ transformation into Trans Van Santos and his quest for “the ball of light” — a metaphor for illumination and enlightenment. The band will debut the Coyote and the Crosser live show this week at the Rickshaw Stop.

“This show will be a rock’n’roll extravaganza: loud, psychedelic, and very electric,” Matos says. “The album is a malleable rock opera, so it’s a rock opera in a sense that there’s a narrative structure — a group of [six songs] — but there are other [songs] too. There’s a mythological universe coming across, so certain songs of mine fit into that world.”

With the help of Joel Dean (who’s built sets for Phil Lesh and extravagant art pieces for Burning Man), Matos has constructed visually compelling stage props for his performance, including “the Spirit Molecule Sound Chambers with spinning disco balls hovering inside,” eight-foot tall glowing cacti, and a 13-foot tall dream catcher.

“I think having intention in the visual aspect of [Coyote and the Crosser] will bring people to the point where we can have a shared experience,” Matos anticipates.

Matos’ cosmic alter-ego Trans Van Santos will perform at Starry Plough the following night, which should be a calmer, quieter ceremony. Trans, along with his Trans Band, will explore “Americalia”: a synthesis of American folk and Brazilian Tropicalia.

For his Trans Van Santos other self and Trans Band, Matos says he “kept the direction to a minimum, focusing on the spiritual approach to the material. I want to hear the choices these folks make, to feel the spirit of discovery between us.”

Matos’ mystical transformation has compelled him to share his “acid gospel” with the community. “What I am trying to do with my little corner of rock’n’roll is to treat it as a new psychedelic ceremony,” Matos explains. “That and throw a birthday party for the whole galaxy!”

MARK MATOS & OS BEACHES’ COYOTE AND THE CROSSER

With Zodiac Death Valley, Little Owl, Ash Reiter

Fri/1, 8pm, $10

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

TRANS VAN SANTOS

With the Bottlecap Boys, The Know Nothings

Sat/2, 9:30 p.m., $7-10 sliding scale

Starry Plough

3101 Shattuck, Berkeley

(510) 841-2082

www.starryploughpub.com

 

Oakland gets jilted

Jesse Hawthorne Ficks
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Oakland gets jilted

By Frank Artrage

news@sfbg.com

After a secret whirlwind courtship that lasted a mere five months, Mayor Ed Lee and the Golden State Warriors tied the knot May 22 at Piers 30-32, announcing their unexpected union at the site they intend to occupy with a new basketball arena by 2017.

The Warriors’ entrepreneurial new owners — Joe Lacob and Peter Guber — say they love this “iconic site” and promised to build a “spectacular sports and entertainment complex” that is “architecturally significant.”

But what about Oakland, the team’s unceremoniously jilted current homemaker? The perception from the East Bay is that Lacob and Guber were duplicitous and underhanded in their dealings with city officials that were desperately trying to retain the city’s three main sports franchises — the Oakland Athletics baseball club, the Oakland Raiders football team, and the Golden State Warriors basketballers — all of whom have recently signaled interest in moving.

Several sources told us that the Warriors’ new owners have been lying to Oakland officials about their intentions for months. For example, Oakland City Councilmember Larry Reid told me “that when our staff had conversations with the new owners, they always indicated they hadn’t yet come to a final decision.”

Reid told me what happened next. “I get a call Sunday night at 9:30 telling me about their move like a thief in the night.” Reid said. “It’s upsetting.”

On the fan site GoldenStWarriors, Lacob seemed to belittle Oakland. In an 18-minute video, Lacob predicts that Oakland will be left with only one sports team someday. “I think they’re challenged,” he said when asked what’s wrong with Oakland, adding the city is in “a difficult situation.”

Sports talk radio hosts, fan sites, and bloggers, however, seem to be evenly divided on the move. Even hardcore Oakland and Warriors blogger Ethan Sherwood Strauss prefers the San Francisco site. At his Warriorsworld site, Strauss wrote: “I’d never leave Oakland…. I have everything at arm’s length. There’s food from around the world, teeming farmers markets, lush green hills, Redwood trees, Mosswood Park, Grand Lake Theatre — this is all within two miles.”

But: “Guess which is the better place for the Golden State Warriors? It’s that west bay city national broadcasters keep showing during Warriors games while pretending Oakland doesn’t exist.”

Thus far, neither Oakland Mayor Jean Quan nor Mayor Lee have made any comments regarding the other side’s situation or whether their mutually reported “good relationship” has been strained. But it must be devastating to Quan, given all of her work and hoopla over her recent announcements surrounding her ambitious plans for the “Coliseum City” project.

Not unlike the Warriors’ “world class arena” planned for their new San Francisco home, Coliseum City, according to Quan, will be a “world-class sports and entertainment district.” Ryan Phillips, writing on the Oakland North blog in March, said that the project includes “building hotels, retail, office and residential space in the Coliseum complex…as well as building an Oakland Airport Business Park just across the freeway on the way to the airport. The business park will be developed to attract tech companies.”

Mayor Quan issued a press release following the Warriors’ bombshell to announce that she remains “bullish” on her Coliseum City project. Her new spin is that, “Coliseum City is a long-term development project that was never dependent on any one tenant. It was always a larger project than just one sports team.”

But if there’s even one team missing from the original trinity, then they have no choice but to lower their expectations and scale back their plans. Therefore, the Warriors’ move could trigger a complete unraveling of not only her recent plans to keep the Oakland A’s baseball team in Oakland, but also efforts to keep any team there.

For example, a case study published by the Airport Area Business Association (AABA) in conjunction with Coliseum City principal and manager Oakland-based JRDV Urban International, and students at UC Berkeley’s Haas School of Business found, “The Coliseum complex presents a unique opportunity to prepare a pioneering business model that generates revenue for both public and private interests.”

Presciently, in the wake of this announced move by the Warriors and how that hurts Oakland, the study asked: “Are the withdrawal of redevelopment monies, the negative perception of Oakland (and especially Deep East Oakland) by investors and the soft commercial real estate market insurmountable? Can the City of Oakland and Alameda County garner the public support required to approve the necessary public financing and inspire investor confidence?”

Manning up, Councilmember Reid told me that Oakland bears some responsibility for this fiasco. “I’ve been agitating for 10 years to get this Coliseum project going. But let me tell you about two critical mistakes Oakland has made over the last decade,” he said. “One, Oakland has always taken the position that these teams had no place to go. Well, you see where that thinking got us today…Two, 10 years ago the decision was made to invest in the old [Oakland] Army Base. Yet, to this day, not one spade of dirt has been unearthed to symbolize any kind of progress is underway there. In fact, the whole project is at a standstill.”

Maybe, but Oakland and Warriors’ fans should not despair. It is not a done deal because a million things could go wrong. For example, this will be the fifth attempt to develop Piers 30-32 into something spectacular over the last several years.

Also, environmental groups and local activists are already squawking about the site. It has to pass a notoriously tough approval process of at least four major agencies. Financing might fall through, at least until Warriors ownership present to the press, government, and citizens some details: Tuesday’s press conference was basically a pep rally — the only thing missing were the pom-poms. Finally, Pier 30-32 and the site have yet to pass muster over the environmental and safety concerns and myriad other requirements of the California Environmental Quality Act (CEQA).

If any obstacle dooms the Warriors’ plans, Oakland’s Assistant City Administrator Fred Blackwell said they’d keep the door open for these prodigal owners: “And in the end, we will leave a space for the Warriors after they are exhausted from the CEQA litigation and cost increases required to be on the San Francisco Waterfront.”

“In a nutshell,” according to a City Hall press aide, Blackwell “means that waterfront development is expensive and requires an extensive and complex environmental review and permitting process involving review and approval by a number of local, state, and sometimes federal agencies.”

But what if it is a success? Oakland loses even more than just the Warriors. At least one politician pointed out, and I also heard this on 95.7 FM The Game, that what’s to stop circuses, ice shows, and major rock stars from ditching Oakland and following the Warriors to this splashy and scenic new entertainment venue?

 

Stage Listings

Jesse Hawthorne Ficks
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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

The Full Monty Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $25-36. Opens Thu/31, 8pm. Runs Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 30. Ray of Light Theatre performs the hit musical.

100 Saints You Should Know Thick House, 1695 18th St, SF; www.therhino.org. $10-30. Previews Thu/31, 7:30pm and Fri/1, 8pm. Opens Sat/2, 8pm. Runs 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.

BAY AREA

Black n Blue Boys/Broken Men Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Opens Wed/30, 8pm. Runs 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).

The Tempest Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; (510) 809-3290, www.calshakes.org. $35-71. Previews Wed/30-Fri/1, 8pm. Opens Sat/2, 8pm. Runs 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.

ONGOING

Endgame and Play American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-95. Wed/30-Sat/2, 8pm (also Wed/30, Sat/2-Sun/3, 2pm). The stage is bare save for three cocoon-like urns in a row, each containing an emergent head, literally trapped side by side as in an existentialist’s nightmare. In staccato bursts of speech punctuated by the rapid jumping of a follow-spot, the three heads (Anthony Fusco, Annie Purcell, and René Augesen) narrate their respective sides of an adulterous triangle, not once, but twice, incorporating subtle variations on delivery and cadence during the second go-round. The static staging and deconstructed syntax of Samuel Beckett’s seldom-produced short Play is a good introduction to Beckett’s sensibilities, and sets the mood for the main event, the better-known Endgame. This ferocious exploration of habit, habitat, cruelty and fealty has a lot of food for thought to chew on no matter who produces it, but ACT’s version does lack a certain meaty heft. There’s just something a little too smooth in Bill Irwin’s manner as the chairbound, petty tyrant Hamm, and all too often his poisonous ire comes off as merely petulant. Nick Gabriel, as his beleaguered servant Clov, fares somewhat better (or in fact worse), inhabiting his painful mobility with an appropriately long-suffering manner and frustrated despair, and Hamm’s two legless “cursed progenitors” Nell (Barbara Oliver) and Nagg (Giles Havergal) inject some much appreciated warmth into the generally bleak atmosphere. (Gluckstern)

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Thu, 8pm; Sat, 8:30pm; Sun, 7pm. Through June 10. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

My Tia Loca’s Life of Crime Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $20. Thu/31-Sat/2, 8pm. “No Human is Illegal,” the immigrant rights activists like to remind, a message adeptly conveyed by Roy Conboy’s My Tia Loca’s Life of Crime, presented by Guerrilla Rep at Bindlestiff Studio. A pointed yet comical commentary on the “crimes” of one Tia Loca (Cat Callejas) which include sneaking back over the border between Mexico and the US after being illegally deported from her actual native country by “La Migra” and impersonating a plainclothes cop in order to find her long-lost daughter, the central message of the play is one of solidarity — familia first. The family bond is most strikingly evident between Callejas’ feisty, independent eccentric and Melvign Badiola as her goofy nephew Memo, who shares her tendency for extralegal action as well as a love for mole. The comedic chemistry between the two is tough and tender, and full of casually hilarious, bickering repartee. The staging is mostly a delight with great jams provided by Brandon Bigelow and Jonah Pavon, strong acting support from Lainey Garrity, Matt Gunnison, and Kirsten Broadbear, and a snappy pace. Regrettably the play’s ending, a dreamlike nod to magical realism and low-riders, feels somewhat tacked on and not fully plotted out, unlike the down-to-earth retelling of events that illustrate Tia’s “criminal” past. But “life aint no pinche bowl of cherries,” and even imperfect, Tia is important. (Gluckstern)

Othello Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. $15-18. Thu-Sat, 8pm. Through June 9. 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.

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

Crevice La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm. Through June 9. 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 Sat/2 and June 16, 2pm; Tue/7, 1pm); 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.

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 June 10. 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 and Fri/1, 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 World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Fri, 6pm; Sun/3, June 10, 16, 24, and 30, 11am. Through June 30. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“The Bilarious Show” LGBT Center Rainbow Room, 1800 Market, SF; www.qcomedy.com. Sat/2, 7:30pm, $12. The National Queer Arts Festival presents this all-bi line-up of comedy, music, and performance.

“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.

“Larry Hankin’s Street Stories” Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Fri/1-Sat/2, 8pm. $20-35. The San Francisco comedy legend performs his solo show.

“The News” Somarts Cultural Center, 934 Brannan, SF; www.somarts.org. Tue/5, 7:30pm. $5. New and experimental queer performance works from Nic Alea, Hallie Dalsimer, and more.

“Parkour Deux” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/1-Sun/3, 8pm (also Sun/3, 2pm). $15-22. Scott Wells and Dancers perform new work.

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; romaneeventcomedyshow.eventbrite.com. Wed/30, 7:30pm. $10. Stand-up with Ms. Pat and the Bay Area Comedy All-Stars.

San Francisco Ethnic Dance Festival Fort Mason Center, Cowell Theater, Marina at Laguna, SF; www.worldartswest.org. Sat/2, 4pm; Sun/3, 4pm. $12-20. Weekend one of the 34th annual festival, “The World United Through Dance,” features a world premiere by Bay Area troupe Gamelan Sekar Jaya, in collaboration with Sudanese gamelan Pusaka Sunda.

“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.

“Shadow of a Doubt” Dance Mission Theater, 3316 24th St, SF; www.dancecontinuumsf.org. Fri/1-Sun/3, 8pm. $20. Dance Continuum SF performs a dance-theater concert with four premieres and one repertory work.

“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.

“The Water is Clear and Still” Z Space, 450 Florida, SF; www.brownpapertickets.com. Thu/31-Sat/2, 8pm; Sun/3, 2pm. $25. Liss Fain Dance performs a world premiere performance installation inspired by short stories by Jamaica Kincaid.

“X” Garage, 715 Bryant, SF; www.brownpapertickets.com. June 5-7, 8pm. $10-20. Australian performer Sunny Drake presents his new show in conjunction with the National Queer Arts Festival.

BAY AREA

“Dances for Oakland” Laney College Theater, 900 Fallon, Oakl; www.savagejazz.org. Thu/31-Sat/2, 8pm; Sun/3, 3pm. $5-20. Savage Jazz Dance Company performs in celebration of its 20th anniversary.

“RoCo Dance Onstage” Marin Veterans’ Memorial Auditorium, Marin Center, 10 Avenue of the Flags, San Rafael; (415) 499-6800. Fri/1, 8pm; Sat/2, 7pm. $19.50-29. RoCo Dance and Fitness presents two nights of performance featuring over 700 dancers of all ages. *

 

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. *

Ash Reiter and Idea the Artist keep it sunny at Cafe Du Nord

Tony Robles
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Cafe Du Nord always feels cozy, and the sounds of Bay Area based Ash Reiter and Idea the Artist were a perfect fit for Wednesday night’s crowd of rapt listeners. Although Idea the Artist’s music was sometimes slower paced and more sentimental than Reiter’s rocking pop ballads, both vibes struck the right chord with this crowd.

A group of girls danced wildly during Reiter’s set, one wearing a glittery pink globe attached to a headband. While Idea the Artist (a.k.a. singer-songwriter Ines Beltranena) closed off the night with her soulful folk songs, Reiter’s set warmed up the audience on a chilly San Francisco night, giving us tunes to dance to and a reason to feel that the fun of summer is well on its way. And during that so-called summer, keep an eye out for Ash Reiter’s upcoming sophomore album Hola, which will be released later this summer. Along with a penchant for the warm months, the band thoroughly reps Bay Area. Lead singer Reiter and her eponymous band are based in the Berkeley Hills, and included a song called “Oakland” on most recent release release, Heatwave.

Idea the Artist’s album The Northern Lights Are On… was just released May 23, and recorded in Victoria, British Columbia (by Grammy-nominated producer Joby Baker). Her sound, recorded and in person, is lush and incredibly beautiful – it would be a perfect accompaniment to a dramatic coastal drive along Highway 1.

Beltranena’s voice is harmonized with beautifully, and also accompanied by piano, strings, guitar, bass, and drums. Purchasing a physical copy of her album is well worth it – each track is accompanied by her handcrafted artwork in the booklet, including photos of sculptures, paintings, and pastels.

She’ll be releasing a novel soon as well, which is a retelling of the Grimm Brother’s fairytales and Greek myths and legends, but according to Beltranena, darker. In her artist’s bio she explains that “ to ‘idea the artist’ is to realize that you alone are the creator of your colorful and potentially explosive existence, and that to see this, to know this, and to act on this, is to idea your artist”.

These are certainly two bands to watch for and, lucky you, both California native-led bands are set to go on tours soon. That is, California is coming to a town near you.

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