Coffee

Theater Listings: March 5 – 11, 2014

Michael Redmond
-
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.

THEATER

OPENING

Crystal Springs Eureka Theatre, 215 Jackson, SF; www.crystalspringstheplay.com. $20-65. Previews Thu/6, 8pm. Opens Fri/7, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through March 23. Eureka Theatre presents Kathy Rucker’s world-premiere drama about parenting in the digital age.

BAY AREA

Accidental Death of an Anarchist Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-99. Previews Fri/7-Sat/8 and Tue/11, 8pm; Sun/9, 7pm. Opens March 12, 8pm. Runs Tue and Thu-Sat, 8pm (no show April 18; additional 2pm shows March 20 and April 17; also Sat, 2pm, but no matinee March 22); Sun, 2 and 7pm. Through April 20. Berkeley Rep presents comic actor Steven Epp in Dario Fo’s explosive political farce, directed by Christopher Bayes,

Once On This Island Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-73. Previews Wed/5-Fri/7, 8pm. Opens Sat/8, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through March 30. TheatreWorks performs the Tony-nominated musical about a star-crossed love affair in the tropics, inspired by Hans Christian Andersen’s The Little Mermaid.

ONGOING

The Altruists Shelton Theater, 533 Sutter, SF; www.shewolftheater.com. $19-34. Thu/6-Sat/8, 8pm. She Wolf Theater performs Nicky Silver’s “politically incorrect” play that exposes the real motivations behind altruistic behavior.

Children Are Forever (All Sales are Final!) Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. $15. Fri-Sat, 8pm. Through March 22. Writer-performer and comedian Julia Jackson’s well acted and consistently funny autobiographical solo show details her and her female partner’s attempt to adopt a newborn girl from a young African American mother in Florida. Along the way, Jackson’s smart script details the trials, red tape, and unexpected market incentives in the field of adoption for a same-sex, interracial couple. If the generally involving story nevertheless attenuates a little across its two-act structure, Coke Nakamoto’s precise direction (which builds on original direction by W. Kamau Bell) offers a lively framework for Jackson’s excellent characterizations as well as her frank and interesting commentary on the social, political messiness of certain natural urges. (Avila)

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat, 8pm; Sun, 7pm (Sun/9, performance will be a reading of Charlie Varon’s Fish Sisters). Through March 16. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Hundred Days Z Space, 450 Florida, SF; www.zspace.org. $10-100. Wed and Sun, 7pm; Thu-Sat, 8pm. Through April 6. Married musical duo the Bengsons (Abigail and Shaun) provide the real-life inspiration and guiding rock ‘n’ roll heart for this uneven but at times genuinely rousing indie musical drama, a self-referential meta-theater piece relating the story of a young couple in 1940s America who fall madly in love only to discover one of them is terminally ill. As an exploration of love, mortality, and the nature of time, the story of Sarah and Will (doubled by the Bengsons and, in movement sequences and more dramatically detailed scenes, by chorus members Amy Lizardo and Reggie D. White) draws force from the potent musical performances and songwriting of composer-creators Abigail and Shaun Bengson (augmented here by the appealing acting-singing chorus and backup band that also feature El Beh, Melissa Kaitlyn Carter, Geneva Harrison, Kate Kilbane, Jo Lampert, Delane Mason, Joshua Pollock). Playwright Kate E. Ryan’s book, however, proves too straightforward, implausible, and sentimental to feel like an adequate vessel for the music’s exuberant, urgent emotion and lilting, longing introspection. Other trappings of director Anne Kauffman’s elaborate production (including an inspired set design by Kris Stone that echoes the raw industrial shell of the theater; and less-than-inspired choreography by the otherwise endlessly inventive Joe Goode) can add texture at times but also prove either neutral figures or distracting minuses in conveying what truth and heft there is in the material. Ultimately, this still evolving world premiere has a strong musical beat at its core, which has a palpable force of its own, even if it’s yet to settle into the right combination of story and staging. (Avila)

Jerusalem San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-100. Wed/5-Thu/6, 7pm; Fri/7-Sat/8, 8pm (also Sat/8, 3pm). SF Playhouse presents the West Coast premiere of English playwright Jez Butterworth’s West End and Broadway hit, a three-act revel led by a larger-than-life rebel, a stout boozed-up drug-dealer, habitual fabulist, and latter-day Digger of sorts named Johnny “Rooster” Byron (Brian Dykstra). The dominion of this Falstaffian giant is the English countryside outside his squalid trailer door, not far from Stonehenge, where he seems to incarnate a rather dissipated version of an ancient English independence, like one of the great mythical beings of rural lore. Aptly enough, it’s Saint George’s Day, the feast day of England’s national saint, but it’s not all a party this time around. Authorities have issued a final 24-hour eviction notice on Rooster’s tin door; there are luxury apartments in the works; and there’s concern in town about the underage teens who flock to Rooster like so many fledglings — one, in particular, has gone missing: Phaedra (Julia Belanoff), who we see at the very outset of the play donning a fairy costume and singing the title song, based on the Blake poem and England’s unofficial national anthem. The next 24 hours will be either the breaking point or the apotheosis for all Rooster has made himself out to be. In Butterworth’s big-eyed comedy, we are meant to feel a stake in this outcome whether we actually like Rooster or not — his independence, the scope of his life and vision, suggests the outer limit of possibility in an ever more disciplined and circumscribed world. Director Bill English (who also designed the impressive bucolic-trailer-park set) and his large cast (which includes a strong Ian Scott McGregor as longtime Rooster sidekick, Ginger) dive into the comedy with gusto. But somehow the drama, the larger stakes in the storyline, falls short. A certain requisite intensity and momentum are only fitfully achieved. Dykstra, as the expansive antihero, has the biggest burden here. And while he has an appealing swagger throughout, his wayward brogue and unconvincing bellicosity undercut the culmination of the play’s (admittedly somewhat overwrought) mythopoeic proportions. (Avila)

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 8:30pm. Through March 15. Theater artist and comedian Marga Gomez presents the world premiere of her 10th solo show, described as “a rollicking tale of incurable romantics.”

Mommy Queerest Exit Studio, 156 Eddy, SF; www.divafest.info. $15-25. Fri-Sat, 8pm. Through March 29. DIVAfest and Guerrilla Rep present Kat Evasco (who co-wrote with John Caldon) in an autobiographical solo comedy about the relationship between a lesbian daughter and her closeted lesbian mother.

Napoli! ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $10-120. Wed/5-Sat/8, 8pm (also Sat/8, 2pm); Sun/9, 2pm. American Conservatory Theater offers Bay Area audiences a rare look at one of the Neapolitan plays by Italy’s famed writer Eduardo De Filippo (1900-1984). Set in a humble home in working-class Naples during and just after World War II, amid the transition from Fascism to the postwar order, the play’s broad comedy comes with a strong undercurrent of social drama, as well as unexpectedly poignant moments. Its hero is the head of the household, Gennaro (former ACT core company member Marco Barricelli in a boisterous and gently moving performance), whose upright nature proves increasingly out-of-step with the times and indeed his own family, as his wife, Amalia (a commanding Seana McKenna), begins a black-market trade in coffee beans that becomes an all-out family crime ring by war’s end. While this dynamic offers fodder for some rather hokey if not unenjoyable comedy, the play gathers itself into a serious and timely indictment of privilege and its corrosion of community, as well as the need for solidarity as the only viable, indeed the only satisfying way forward. If the message and the playwright-messenger (De Fillipo, also an actor, originated the part of Gennaro himself) come across today as somewhat heavy-handed, it remains hard to dismiss Napoli! as just a museum piece. That’s due in part to director Mark Rucker’s large and graceful cast, as well as a buoyant new translation by Linda Alper and ACT’s Beatrice Basso. But it’s also the prescience and appositeness for us, all these many years later and miles away, of the play’s fundamentally social and political concerns. (Avila)

“Risk Is This … The Cutting Ball New Experimental Plays Festival” Tides Theater, 533 Sutter, Second Flr; www.cuttingball.com. Free ($20 donation for reserved seating). Fri-Sat, 8pm. (Starting March 14, venue changes to Exit on Taylor, 277 Taylor, SF). Through March 29. Five new works in staged readings, including two from Cutting Ball resident playwright Andrew Saito.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-60. Thu-Fri, 8pm; Sat, 5pm. Through April 18. In his latest solo show, Brian Copeland (Not a Genuine Black Man; The Waiting Period) explores an infamous crime in his hometown of San Leandro: the 2000 murder of three government meat inspectors by Stuart Alexander, owner of the Santos Linguisa Factory. The story is personal history for Copeland, at least indirectly, as the successful comedian and TV host recounts growing up nearby under the common stricture that “rules are rules,” despite evidence all around that equity, fairness, and justice are in fact deeply skewed by privilege. Developed with director David Ford, the multiple-character monologue (delivered with fitful humor on a bare-bones stage with supportive sound design by David Hines) contrasts Copeland’s own youthful experiences as a target of racial profiling with the way wealthy and white neighbor Stuart Alexander, a serial bully and thug, consistently evaded punishment and even police attention along his path to becoming the “Sausage King,” a mayoral candidate, and a multiple murderer (Alexander died in 2005 at San Quentin). The story takes some meandering turns in making its points, and not all of Copeland’s characterizations are equally compelling. The subject matter is timely enough, however, though ironically it is government that seems to set itself further than ever above the law as much as wealthy individuals or the bogus “legal persons” of the corporate world. The results of such concentrated power are indeed unhealthy, and literally so — Copeland’s grandmother (one of his more persuasive characterizations) harbors a deep distrust of processed food that is nothing if not prescient —but The Scion’s tale of two San Leandrans leaves one hungry for more complexity. (Avila)

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blonde innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: the energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $60-90 (add-ons: casino chips, $5; dance lessons, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Through March 15. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

Tipped & Tipsy Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $15-50. Sat, 5pm; Sun, 7pm. Through April 6. Solo performer Jill Vice performs her Fringe Festival hit.

Ubu Roi Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Thu/6, 7:30pm; Fri/7-Sat/8, 8pm (also Sat/8, 2pm); Sun/9, 5pm. Cutting Ball Theater performs Alfred Jarry’s avant-garde parody of Shakespeare’s Macbeth, presented in a new translation by Cutting Ball artistic director Rob Melrose.

The World of Paradox Garage, 715 Bryant, SF; www.paradoxmagic.com. $12-15. Mon, 8pm (no show Mon/10). Through April 7. Footloose presents David Facer in his solo show, a mix of magic and theater.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through March 9. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

Yellow New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through March 23. New Conservatory Theatre Center performs the Bay Area premiere of Del Shores’ Mississippi-set family drama.

BAY AREA

Bread and Circuses La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $20-25. Thu-Sat, 8pm; Sun, 7pm. Through April 6. Impact Theatre performs “a cavalcade of brutal and bloody new short plays” by various contemporary playwrights.

Escanabe in da Moonlight Live Oak Theatre, 1301 Shattuck, Berk; www.theatrefirst.com. $10-30. Thu/6-Sat/8, 8pm. TheatreFIRST performs Jeff Daniels’ raucous comedy.

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Thu, 8pm; Sat, 5pm. Through April 26. Geoff Hoyle moves his hit comedy about aging to the East Bay.

Gideon’s Knot Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Wed/5-Sat/8, 8pm; Sun/9, 2 and 7pm. Aurora and director Jon Tracy’s Bay Area premiere of Johnna Adams’ two-hander features strong acting, strong enough almost to make us believe in its premise. A harried mother named Corryn (a terrific Jamie J. Jones) arrives at the empty middle-school classroom overseen by a distracted teacher, Heather (a subdued yet agitated Stacy Ross). Corryn, proud but somehow desperate, admits to having not slept. Heather initially doesn’t know why she’s there — until it becomes clear she’s the mother of a recent suicide, who has come to keep her appointment for a parent-teacher conference. The two women await the arrival of the absent principal, but Corryn presses for answers now to the circumstances surrounding her child’s final days, which included his suspension from school and a beating received at the hands of fellow students. Heather, who seems to be hiding some separate anxiety or grief of her own (and is, though what we don’t learn until nearly the end of the play), does her best to deflect any such conversation until the principal arrives but is soon embroiled in an argument with the headstrong and canny mother in front of her, a literature professor at a major university. Their dance centers on Corryn’s son’s last assignment, a short story, one his teacher sees as nothing but “hate-filled poisonous attacks,” but his mother calls “poetry.” In addition to the clash between a teacher’s authority and a mother’s regard, there’s a class component to these differing perspectives, we presume. Yet there is a real issue here, somewhere, about art and education and authority — or would be if it did not end up buried along with the young writer we never meet. Playwright Adams advances the dramatic tension by tacking this way and that around her subject, but loses sight of the shore meanwhile, as her characters debate whether or not the short story contains a virtuous accusation against an instance of child abuse, only to drop this crux a moment later in a hard-to-credit squeamishness on Corryn’s part over the potentially homoerotic longings of her deceased son. The final note lands in an even hokier key of mutual sorrow and understanding. (Avila)

The House That Will Not Stand Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $29-59. Tue and Thu-Sat, 8pm (also Sat and March 13, 2pm); Wed, 7pm; Sun, 2 and 7pm. Through March 16. July 4, 1836: As a white New Orleans patriarch (Ray Reinhardt) passes from the scene, under somewhat mysterious circumstances, his longtime mistress, Beartrice (an imposing, memorable Lizan Mitchell), and their daughters (the charmingly varied trio of Joniece Abbott-Pratt, Flor De Liz Perez, and Tiffany Rachelle Stewart) — all free women of color — vie for dominance while trying to secure their respective futures in Berkeley Rep’s sumptuous and beautifully acted world premiere. Nationally acclaimed playwright and Oakland native Marcus Gardley (And Jesus Moonwalked the Mississippi; This World in a Woman’s Hands) brews up a historically rich and revealing, as well as witty and fiery tale here, based on the practice of plaçage (common-law marriages between white men and black Creole women), grounding it in the large personalities of his predominately female characters — who include a nosy and angling intruder (played with subtlety by Petronia Paley) — and lacing it all with a delirious dose of magical realism via the voodoo charms of Beartrice’s slave, Makeda (Harriett D. Foy, who with Keith Townsend Obadike also contributes lush, atmospheric compositions to the proceedings). Gardley delves productively into the history overall, although he sometimes indulges it too much in awkward and ultimately unnecessary expository dialogue. When he allows his characters full scope for expression of their personalities and relationships, however, the dialogue sails by with brio and punch —something the powerhouse cast, shrewdly directed by Patricia McGregor, makes the most of throughout. (Avila)

Lasso of Truth Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Tue and Thu-Sat, 8pm (also Thu/6, 1pm; March 15, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through March 16. Marin Theatre Company performs Carson Kreitzer’s new play about the history of Wonder Woman.

The Lion and the Fox Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through March 30. Central Works performs a prequel to its 2009 hit, Machiavelli’s The Prince, which depicts a face-off between Niccolo Machiavelli and Cesare Borgia.

A Maze Ashby Stage, 1901 Ashby, Berk; www.justtheater.org. $20-25. Wed/5-Sat/8, 8pm; Sun/9, 5pm. Following a well-received run last summer at Live Oak Theater, Just Theater’s West Coast premiere of Pittsburgh-based playwright Rob Handel’s 2011 jigsaw drama gets a second life, courtesy of presenter Shotgun Players, in this remounting at Ashby Stage. Half the pleasure of a play like this is the unfolding of its serpentine plot, which becomes much more linear in the second half but initially seems to hover around three very disparate situations: 17-year-old Jessica (Frannie Morrison), recently escaped from eight years of captivity in the home and cellar of her kidnapper, prepares for an interview with a Barbara Walters-like TV journalist (Lauren Spencer); Oksana (Sarah Moser) and Paul (Harold Pierce), who head up their own highly successful rock band (suggestively titled the Pathetic Fallacy), are in the midst of a tough transition as Oksana checks Paul into rehab; and a fairytale King (Lasse Christiensen) responds to the Queen’s (Janis DeLucia) news that they are about to have an “heir” by beginning construction on a gigantic, seemingly endless maze emanating outward from their cozy den to the furthest reaches of the kingdom. Meanwhile, the director of the rehab clinic (Carl Holvick-Thomas) introduces Paul to another artist-resident, a fussy, eccentric author named Beeson (Clive Worsley) at work on a multi-volume graphic novel of maddening intricacy. As the three storylines begin to coalesce, the play asks us to consider questions about artistic liberty, authorship, responsibility, human connection — big themes like that. It does so in a mostly playful, only slightly eerie way, despite the grim central situation revolving around the bright and surprisingly outgoing Jessica. Employing almost the identical cast as last time, again under director Molly Aaronson-Gelb, the proceedings unfold with generally solid acting, if not always persuasive dialogue, at least where things are meant to be more or less realistic (to an extent, the fairytale segment comes across more compellingly for being strictly bound by the artificial nature of its narrative). There’s a quirky quality to the play, and the production, that amuses, even as the coy plotline bemuses. And much like an amusement park adventure, the play makes sure no one really gets lost. This is a play that is happy to tell you the various ways the central “maze” might be read metaphorically, for instance, so that everything is tidy and clear — like a fairytale, or a graphic novel — not so mysterious in the end, just tinged with a kind of comfortable melancholy. (Avila)

The Music Man Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $17-60. Fri and March 20, 7pm; Sat, 1 and 6pm; Sun, noon and 5pm. Through March 23. There’s trouble in River City! See it unfold amid all those trombones at Berkeley Playhouse.

PERFORMANCE/DANCE

“Acentos Revival” Red Poppy Art House, 2698 Folsom, SF; www.redpoppyarthouse.org. Thu/6, 7:30pm. $10-15. Three featured poets and two open mic segments.

“Bad Ass B!tches” Bindlestiff Studio, 185 Sixth St, SF; www.bindlestiffstudio.org. Sat/8, 9pm. $12. Performance extravaganza in honor of International Women’s Day, with comedy, burlesque, live music, dance, and more.

“The Balcony” Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. Sun/9, 1pm. Free. Cutting Ball Theater’s Hidden Classics Reading Series presents this reading of Jean Genet’s experimental play.

“Belles and Whistles Variety Show” Boom Boom Room, 1601 Fillmore, SF; www.boomboomblues.com. Tue/11, 8:30pm. $10. Comedian Danny Dechi hosts this variety show of music, comedy, magic, dance, and more.

“Black Choreographers Festival: Here & Now” ODC Theater, 3153 17th St, SF; www.bcfhereandnow.com. Thu/6-Sat/8, 8pm. $18-30. “Draft/By Series” presented by Robert Moses’ Kin in association with the Black Choreographers Festival and ODC Theater.

“The Buddy Club Children’s Shows” Randall Museum Theater, 199 Museum Wy, SF; www.thebuddyclub.com. Sun/9, 11am-noon. $8. With illusionist Timothy James.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/8, March 16, 22, and 30, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Comedy Bottle with Sean Keane” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Fri/7-Sat/8, 7pm. $10. The stand-up comedian performs.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. This week: Paula West, Thu/6-Fri/7, 8pm; Sat/8-Sun/9, 7pm (also Sat/8, 9:30pm), $35-50.

“Letter from Birmingham Jail” Grace Cathedral, 1100 California, SF; www.gracecathedral.org. Mon/10, 7:30pm. $30-50. Acclaimed actor and playwright Anna Deavere Smith perfoms in this performance of Martin Luther King, Jr.’s landmark document of the civil rights movement.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“The Magic Flute” Center for New Music, 55 Taylor, SF; themagicflute.brownpapertickets.com. Fri/7, 7pm. $15-20. Waffle Opera performs a stripped-down version of Mozart’s classic, with new English dialogue.

“Peiling Kao and Christy Funsch” Meridian Gallery, 535 Powell, SF; www.meridiangallery.org. Fri/7-Sat/8, 6pm. $8-10. Choreographer-performers Kao and Funsch perform a work inspired by Abby Leigh’s current exhibit in the gallery, with live music and additional performances by Aura Fischbeck and Celine Alwyn Parker.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Fri/7 and April 4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

“Rotunda Dance Series: Gamelan Sekar Jaya” San Francisco City Hall, 1 Carlton B. Goodlett Pl, SF; www.dancersgroup.org. Fri/7, noon. Free. The Balinese music and dance ensemble performs.

San Francisco A Cappella Festival Palace of Fine Arts, 3301 Lyon, SF; harmony-sweepstakes.com/bayarea.html. Sat/8, 8pm. $29.50. With hosts Ro Sham Bo and 38th Ave., Business Casual, Halfway to Midnight, Hearsay, Loose Interpretations, and others.

Sarah Berges Dance Dance Mission Theater, 3316 24th St, SF; www.sarahbergesdance.com. Fri/7-Sat/8, 8pm; Sun/9, 4pm. $10-15. Spring Season 2014 performance with premieres including The Black Dahlia, Kyrie, and The Kiss.

“Writers with Drinks” Make-Out Room, 3225 22nd St, SF; www.writerswithdrinks.com. Sat/8, 7:30pm. $5-10. With Clifford Chase, Rachel Cantor, AV Flox, and Melissa Broder.

BAY AREA

Bay Area Playback Theatre Open Secret, 923 C St, San Rafael; www.brownpapertickets.com. Sat/9, 8pm. $12-18. Improv based on true tales from the audience.

“Collage des Cultures Africaines Dance and Drum Conference” Oakland Technical High School Theater, 4351 Broadway, Oakl; www.diamanocoura.org. Sat/8, 8pm. $15-30. A gala performance highlights this weekend-long conference and class series hosted by the Diamano Coura West African Dance Company. Check website for complete schedule of events.

Diablo Ballet Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.diabloballet.org. Thu/6, 6:30pm. $26-52. The company celebrates its 20th anniversary with this special performance, featuring premieres, a film retrospective, and more.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“Di Megileh” JCC East Bay, 1414 Walnut, Berk; www.jewishmusicfestival.org. Thu/6 and Sat/8, 8pm; Sun/9, 2pm; Mon/10, $15-22. Yiddish Theater Collective presents a Purim musical by Itzik Manger, performed in Yiddish with English supertitles.

“Pinball Prom with Feminist Tendencies” Pacific Pinball Museum, 1510 Webster, Alameda; www.pacificpinball.org. Sat/8, 8pm. $15. All-women’s pinball league Belles and Chimes and the Pacific Pinball Museum present this night of political comedy with Feminist Tendencies, followed by a “pinball prom” with dancing and photos.

“Poetry Express” Himalayan Flavors, 1585 University, Berk; poetryexpressberkeley.blogspot.com. Mon, 7pm. Free. Ongoing. This week: Hao Tran, plus open mic.

“The Pump and Dump: A Parentally Incorrect Comedy Show” Sweetwater Music Hall, 19 Corte Madera, Mill Valley; www.pumpanddumpshow.com. Wed/5, 8pm. $20. Also Fri/7, 8pm, $20, Verdi Club, 2424 Mariposa, SF. Comedian Shayna Ferm and sidekick MC Doula host this raucous evening of mom-focused comedy, music, and more.

“Some Girl(s)” Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. Fri-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through March 16. $15. Dragon Theater’s 2nd Stages Program kicks off with this production of Neil LaBute’s dark comedy. *

 

Staying alive

Michael Redmond
-
3
Staying alive

By all accounts, Tez Anderson shouldn’t be alive today. When he contracted HIV in 1981, doctors gave him only two years to live. Somehow, he managed to outlast that prognosis by three decades.

“People ask me how I’m still here, and honestly, I don’t know,” he told the Guardian during an interview in his small office above Harvey’s Restaurant in the Castro. “I would get these little reprieves — two more years here and there — and I just got used to living like that.”

Muscular and energetic, Anderson has a surprisingly light-hearted demeanor for someone who has lived with death for his entire adult life, but there’s no denying that he has been through a severe and sustained trauma.

By 1992, AIDS had killed more residents of San Francisco than all four major wars of the 20th century combined. As a result, Anderson watched an entire generation of his friends — people whom he cared for and loved — succumb to the virus.

The loss has taken its toll. For years, Anderson suffered from severe anxiety, deep depression, and rage. At times he even considered suicide. While driving the windy hills of San Francisco, Anderson would occasionally imagine letting go of his steering wheel, sending his car careening down the hill.

“I was planning it out so that it would look like an accident,” he said. “I didn’t want people to be hurt by the fact that I killed myself.”

Like Anderson, many AIDS survivors suffer emotional ailments akin to post-traumatic stress disorder or survivor’s guilt. Walt Odets, a Berkeley-based psychologist who has worked with hundreds of gay men who lived through the AIDS epidemic, is convinced that a mental health crisis is unfolding among long-term HIV survivors.

“There’s an inability to live with vitality, to live with richness, to get up in the morning and feel like you have a future, if only for the day,” he told us. “We’re losing a lot of vital lives over this.”

Anderson believes that many AIDS survivors have a definable psychological syndrome. Last January he decided to give it a name: AIDS Survivor Syndrome, or ASS for short (the acronym was intentional). He and two friends, Michael Siever and Matt Sharp, have since formed the group Let’s Kick ASS.

Every Tuesday, they host a meditation class, and on Saturdays they convene at the Church Street Café for coffee and conversation. On the third Wednesday of each month, the group puts on large workshops and forums.

Just like during the 1980s and 1990s, when HIV-positive people built a social movement around AIDS, Let’s Kick ASS is trying to unite the community in the face of hardship.

“There’s nothing that will take away or fully heal this wound,” said Gregg Cassin, who has had HIV since the 1980s and works closely with Let’s Kick ASS. “But as we learned from the early days of the epidemic, coming together as a community is where the healing takes place.”

 

COMING TOGETHER

On a warm evening last September, Anderson hustled to set up tables and chairs in a large event space at the LGBT center on the outskirts of the Castro. It was the first town hall meeting for Let’s Kick ASS, and he had no idea what to expect. At most, he thought that 50 people would show up.

At around 6:30pm the first guests started to arrive. Then a few more people trickled into the room. By 7pm, every seat in the house was taken, and people were wedging into any available nook and cranny. Some of the attendees hadn’t seen each other in years and were hugging each other.

“I was blown away by how many people wanted to hear about the group,” Anderson recalled. “It felt like a class reunion.”

In the end about 200 people — almost all HIV-positive men over the age of 50 — came to the town hall. People shared stories from the past and discussed how to support each other in the future. Siever noted that many of those who came to the meeting had lost touch with the broader gay community.

“We opened up a space for them to come together that needed to be opened up, but wasn’t there anymore,” he said. “It was, and still is, amazing.”

It may seem odd that only now, more than 30 years after the Center for Disease Control first reported HIV in the United States, survivors are showing symptoms of severe emotional trauma. But such a delay isn’t uncommon; it wasn’t, for example, until the mid-1960s that psychologists first noticed “survivor guilt” among those who lived through the Holocaust.

“Many people believe that after a huge disaster, whether it’s AIDS or something else, it takes about two decades for people to finally get to a place where they’re ready to process and heal,” said Robert Grant, who has studied AIDS since 1982 and is now a researcher at UCSF’s Gladstone Institute. “People are just now starting to figure out what happened to them.”

Processing such a massive loss can cause a host of psychological ailments. Last year the San Francisco AIDS Foundation started a group for aging gay men called the 50-Plus Network. When asked what their “biggest issue” was, an overwhelming majority of the participants said social isolation.

“If you have strong connections with people and they keep dying, pretty soon you pull back,” said Jeff Liephart, senior director of programs and services at the SF AIDS Foundation. “The unconscious sense is, ‘if I create a new relationship, they’re just going to die too’.”

Along with feelings of isolation, Liephart said many AIDS survivors are bewildered by the fact that they survived the epidemic. Being HIV-positive during the crisis years was like knowing you had a time bomb inside of you that could go off at any moment.

“If you’re in a life-threatening situation like that you can’t process stuff,” he explained. “Your brain just won’t let you do it.”

 

STILL HERE

Anderson has spent over three decades fighting HIV. In 1993 — just prior to being diagnosed with AIDS — he had his first opportunistic infection and came down with pneumocystis pneumonia. Several years later his T-cell count dropped to 12, a dangerously low level. Today, Anderson suffers from severe neuropathy in his hands and feet and is technically disabled.

Still, he has the virus more-or-less under control, and in 2005 he decided that AIDS wasn’t going to kill him in the immediate future. This seemingly positive insight triggered a full-blown psychological crisis.

While working on a movie production with an ex-boyfriend (Anderson co-wrote the screenplay for the 2006 movie The Night Listener starring Robin Williams) he became noticeably agitated and was quick to get into verbal altercations. Within a year he had pushed away most of his friends.

Anderson partially attributes his self-destructive behavior to the realization that he might live into old age, a thought he never considered during his entire adult life.

“I spent so many years planning my own funeral, preparing everyone around me for my death, and I never planned for my future,” he explained. “Being so intimate with death does something to your head. It makes you unable to make long term plans.”

Only now, at age 53, is Anderson getting ready to live a full life. When asked about retirement, he let out a chuckle. He has no 401(K), Roth IRA, or contingency plan. Many of his HIV-positive friends over 50 are in a similar predicament, but he’s optimistic that if they come together, they’ll be able to figure out a solution.

Over half of the people with AIDS in San Francisco are older than 50. As a result, AIDS service providers in the city have started paying much more attention to the mental and physical health ailments unique to long-term survivors. In 2012 UCSF started the Silver Project, which offers medical and social services to older people with HIV. The AIDS Foundation runs the 50-Plus Network, and the Alliance Health Project has been running a support group for gay men over 50 for the past five years.

These organizations all do similar work to Let’s Kick ASS, but Anderson believes his group is different in one fundamental way: It’s a nonhierarchical grassroots effort focused on peer-to-peer support. This philosophy was apparent at a recent Let’s Kick ASS town hall meeting, where a group of about two dozen men — mostly older, gay, and white — sat in a circle and shared why they had come to the event.

“I’ve put all of my experiences into a box, and I’m here to open up that box,” one man said. “I’m here to find my community again,” another added. Anderson was quiet throughout most of the meeting, but he chimed in a few times. At one point, he reminded everyone in the room that the space belonged to them.

“We have 20 years until the real curtains fall,” he said, “and we have a chance to make those next 20 years amazing.”

After Anderson made his comments, he sat down, crossed his arms, and listened closely as the group continued sharing its stories. The man, who had recently contemplated suicide, now has a new appetite for life.

“I read Joseph Campbell a while ago, and I remember him saying, ‘follow your bliss’, find that thing that you’re passionate about and do it whatever it takes,” he said. “I’ve found my passion, and now I’m not angry, I’m not depressed, I’m not anxious, I have a happy home life. I’ve found my passion, and I have a community again.”  

On March 15, Lets Kick ASS is hosting a benefit at the Castro Theatre, where actress Rita Moreno will be interviewed on stage after the screening of her film, Putting on the Ritz. The group is also planning the first National HIV/AIDS Long-Term Survivors Awareness Day on June 5.

Theater Listings: February 26 – March 4, 2014

Michael Redmond
-
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.

THEATER

OPENING

Mommy Queerest Exit Studio, 156 Eddy, SF; www.divafest.info. $15-25. Opens Fri/28, 8pm. Runs Fri-Sat, 8pm. Through March 29. DIVAfest and Guerrilla Rep present Kat Evasco (who co-wrote with John Caldon) in an autobiographical solo comedy about the relationship between a lesbian daughter and her closeted lesbian mother.

“Risk Is This … The Cutting Ball New Experimental Plays Festival” Tides Theater, 533 Sutter, Second Flr; www.cuttingball.com. Free ($20 donation for reserved seating). Opens Fri/28, 8pm. Runs Fri-Sat, 8pm. (Starting March 14, venue changes to Exit on Taylor, 277 Taylor, SF). Through March 29. Five new works in staged readings, including two from Cutting Ball resident playwright Andrew Saito.

Tipped & Tipsy Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $15-50. Opens Sat/1, 5pm. Runs Sat, 5pm; Sun, 7pm. Through April 6. Solo performer Jill Vice performs her Fringe Festival hit.

ONGOING

The Altruists Shelton Theater, 533 Sutter, SF; www.shewolftheater.com. $19-34. Thu-Sat, 8pm. Through March 8. She Wolf Theater performs Nicky Silver’s “politically incorrect” play that exposes the real motivations behind altruistic behavior.

Children Are Forever (All Sales are Final!) Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. $15. Fri-Sat, 8pm. Through March 22. W. Kamau Bell directs Julia Jackson in her solo show about adoption.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat, 8pm; Sun, 7pm (Sun/2, performance at 2pm; March 9, performance will be a reading of Charlie Varon’s Fish Sisters). Through March 16. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Hundred Days Z Space, 450 Florida, SF; www.zspace.org. $10-100. Previews Wed/26, 7pm; Thu/27-Fri/28, 8pm. Opens Sat/1, 8pm. Runs Wed and Sun, 7pm; Thu-Sat, 8pm. Through April 6. Z Space presents the world premiere of a folk rock odyssey conceived and created by Abigail and Shaun Bengson.

An Indian Summer Exit Theatre, 156 Eddy, SF; www.wehavemet.org. $20-40. Thu/27-Sat/1, 8pm. Multi Ethnic Theater presents local playwright Charles Johnson’s parable of race relations in the Deep South of the 1980s. On a small stage split into two alternating scenes by a movable wall in director-designer Lewis Campbell’s set, two sets of working-class residents of rural Alabama, one white and one black, have their discrete worlds unexpectedly collide. Musician Charlie Ray (a less than convincing Kevin Wisney) is fresh from the pen and living with girlfriend Pearle (AJ Davenport). Plucking at his guitar, he dreams of getting some money to afford time in a recording studio. But his brother Bobby (Paul Rodriguez) has a way of talking him into sketchy schemes, which has Pearle worried, especially after a visit from the Sheriff (Richard Wenzel). For his part, Bobby is hoping to make some money to appease his pregnant wife, Sarah (Bree Swartwood), who wants Bobby to move her and their baby to Maine. Meanwhile, Junior (a forceful Bennie Lewis, alternating nights with Stuart Hall) is a feisty wheelchair bound African American man living in a small trailer. Junior’s friend Emmitt (Fabian Herd, alternating with Vernon Medearis) tries to convince him he should put his money in a bank rather than keeping it in his trailer — especially now that Junior is selling his land for a tidy sum — but Junior doesn’t trust banks. Next, Junior gets a letter from a lawyer claiming half the profit from the land sale on behalf of a long lost, half-white relative — the offspring of an illicit romance between Junior’s father and a white woman, related to Pearle. The situation, of course, spells trouble. But while we see it coming, there’s meant to be pathos in the tangled connections among these parallel stories. Unfortunately, the artificial nature of the plot makes it hard to credit, while the desultory pace and uneven acting make the going harder still. (Avila)

Jerusalem San Francisco Playhouse, 450 Post, SF; www.sfplayhouse.org. $20-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through March 8. SF Playhouse presents the West Coast premiere of English playwright Jez Butterworth’s West End and Broadway hit, a three-act revel led by a larger-than-life rebel, a stout boozed-up drug-dealer, habitual fabulist, and latter-day Digger of sorts named Johnny “Rooster” Byron (Brian Dykstra). The dominion of this Falstaffian giant is the English countryside outside his squalid trailer door, not far from Stonehenge, where he seems to incarnate a rather dissipated version of an ancient English independence, like one of the great mythical beings of rural lore. Aptly enough, it’s Saint George’s Day, the feast day of England’s national saint, but it’s not all a party this time around. Authorities have issued a final 24-hour eviction notice on Rooster’s tin door; there are luxury apartments in the works; and there’s concern in town about the underage teens who flock to Rooster like so many fledglings — one, in particular, has gone missing: Phaedra (Julia Belanoff), who we see at the very outset of the play donning a fairy costume and singing the title song, based on the Blake poem and England’s unofficial national anthem. The next 24 hours will be either the breaking point or the apotheosis for all Rooster has made himself out to be. In Butterworth’s big-eyed comedy, we are meant to feel a stake in this outcome whether we actually like Rooster or not — his independence, the scope of his life and vision, suggests the outer limit of possibility in an ever more disciplined and circumscribed world. Director Bill English (who also designed the impressive bucolic-trailer-park set) and his large cast (which includes a strong Ian Scott McGregor as longtime Rooster sidekick, Ginger) dive into the comedy with gusto. But somehow the drama, the larger stakes in the storyline, falls short. A certain requisite intensity and momentum are only fitfully achieved. Dykstra, as the expansive antihero, has the biggest burden here. And while he has an appealing swagger throughout, his wayward brogue and unconvincing bellicosity undercut the culmination of the play’s (admittedly somewhat overwrought) mythopoeic proportions. (Avila)

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 8:30pm. Through March 15. Theater artist and comedian Marga Gomez presents the world premiere of her 10th solo show, described as “a rollicking tale of incurable romantics.”

Napoli! ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $10-120. Wed-Sat, 8pm (also Sat, 2pm); Sun, 2pm; Tue, 7pm (Tue/4, show at 8pm). Through March 9. American Conservatory Theater offers Bay Area audiences a rare look at one of the Neapolitan plays by Italy’s famed writer Eduardo De Filippo (1900-1984). Set in a humble home in working-class Naples during and just after World War II, amid the transition from Fascism to the postwar order, the play’s broad comedy comes with a strong undercurrent of social drama, as well as unexpectedly poignant moments. Its hero is the head of the household, Gennaro (former ACT core company member Marco Barricelli in a boisterous and gently moving performance), whose upright nature proves increasingly out-of-step with the times and indeed his own family, as his wife, Amalia (a commanding Seana McKenna), begins a black-market trade in coffee beans that becomes an all-out family crime ring by war’s end. While this dynamic offers fodder for some rather hokey if not unenjoyable comedy, the play gathers itself into a serious and timely indictment of privilege and its corrosion of community, as well as the need for solidarity as the only viable, indeed the only satisfying way forward. If the message and the playwright-messenger (De Fillipo, also an actor, originated the part of Gennaro himself) come across today as somewhat heavy-handed, it remains hard to dismiss Napoli! as just a museum piece. That’s due in part to director Mark Rucker’s large and graceful cast, as well as a buoyant new translation by Linda Alper and ACT’s Beatrice Basso. But it’s also the prescience and appositeness for us, all these many years later and miles away, of the play’s fundamentally social and political concerns. (Avila)

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-60. Thu/27-Fri/28, 8pm; Sat/1, 5pm. Brian Copeland’s fourth solo show takes on “privilege, murder, and sausage.”

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri/28-Sat/1, 8pm. D’Arcy Drollinger is Champagne White, bodacious blonde innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: the energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $60-90 (add-ons: casino chips, $5; dance lessons, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Through March 15. Boxcar Theatre presents Nick A. Olivero’s re-creation of a Prohibition-era saloon, resulting in an “immersive theatrical experience involving more than 35 actors, singers, and musicians.”

Twelfth Night Intersection for the Arts, 925 Mission, SF; www.calshakes.org. $20. Thu/27-Sun/2, 8pm (also Sun/2, 2pm). California Shakespeare Theater kicks off its 40th anniversary season with a touring performance of Shakespeare’s classic romance, featuring an all-female cast.

Ubu Roi Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through March 9. Cutting Ball Theater performs Alfred Jarry’s avant-garde parody of Shakespeare’s Macbeth, presented in a new translation by Cutting Ball artistic director Rob Melrose.

The World of Paradox Garage, 715 Bryant, SF; www.paradoxmagic.com. $12-15. Opens Mon/24, 8pm. Runs Mon, 8pm (no show March 10). Through April 7. Footloose presents David Facer in his solo show, a mix of magic and theater.

Yellow New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through March 23. New Conservatory Theatre Center performs the Bay Area premiere of Del Shores’ Mississippi-set family drama.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through March 9. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

BAY AREA

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-35. Fri/28, 8pm; Sat/1, 8:30pm. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Note: review from an earlier run of the show. (Avila)

Escanabe in da Moonlight Live Oak Theatre, 1301 Shattuck, Berk; www.theatrefirst.com. $10-30. Thu-Sat, 8pm; Sun, 5pm. Through March 8. TheatreFIRST performs Jeff Daniels’ raucous comedy.

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. Thu/27, 8pm; Sat/1, 5pm. Geoff Hoyle moves his hit comedy about aging to the East Bay.

Gideon’s Knot Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Wed-Sat, 8pm; Sun, 2 and 7pm. Through March 9. Aurora and director Jon Tracy’s Bay Area premiere of Johnna Adams’ two-hander features strong acting, strong enough almost to make us believe in its premise. A harried mother named Corryn (a terrific Jamie J. Jones) arrives at the empty middle-school classroom overseen by a distracted teacher, Heather (a subdued yet agitated Stacy Ross). Corryn, proud but somehow desperate, admits to having not slept. Heather initially doesn’t know why she’s there — until it becomes clear she’s the mother of a recent suicide, who has come to keep her appointment for a parent-teacher conference. The two women await the arrival of the absent principal, but Corryn presses for answers now to the circumstances surrounding her child’s final days, which included his suspension from school and a beating received at the hands of fellow students. Heather, who seems to be hiding some separate anxiety or grief of her own (and is, though what we don’t learn until nearly the end of the play), does her best to deflect any such conversation until the principal arrives but is soon embroiled in an argument with the headstrong and canny mother in front of her, a literature professor at a major university. Their dance centers on Corryn’s son’s last assignment, a short story, one his teacher sees as nothing but “hate-filled poisonous attacks,” but his mother calls “poetry.” In addition to the clash between a teacher’s authority and a mother’s regard, there’s a class component to these differing perspectives, we presume. Yet there is a real issue here, somewhere, about art and education and authority — or would be if it did not end up buried along with the young writer we never meet. Playwright Adams advances the dramatic tension by tacking this way and that around her subject, but loses sight of the shore meanwhile, as her characters debate whether or not the short story contains a virtuous accusation against an instance of child abuse, only to drop this crux a moment later in a hard-to-credit squeamishness on Corryn’s part over the potentially homoerotic longings of her deceased son. The final note lands in an even hokier key of mutual sorrow and understanding. (Avila)

The House That Will Not Stand Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $29-59. Tue and Thu-Sat, 8pm (also Sat and March 13, 2pm); Wed, 7pm; Sun, 2 and 7pm. Through March 16. July 4, 1836: As a white New Orleans patriarch (Ray Reinhardt) passes from the scene, under somewhat mysterious circumstances, his longtime mistress, Beartrice (an imposing, memorable Lizan Mitchell), and their daughters (the charmingly varied trio of Joniece Abbott-Pratt, Flor De Liz Perez, and Tiffany Rachelle Stewart) — all free women of color — vie for dominance while trying to secure their respective futures in Berkeley Rep’s sumptuous and beautifully acted world premiere. Nationally acclaimed playwright and Oakland native Marcus Gardley (And Jesus Moonwalked the Mississippi; This World in a Woman’s Hands) brews up a historically rich and revealing, as well as witty and fiery tale here, based on the practice of plaçage (common-law marriages between white men and black Creole women), grounding it in the large personalities of his predominately female characters — who include a nosy and angling intruder (played with subtlety by Petronia Paley) — and lacing it all with a delirious dose of magical realism via the voodoo charms of Beartrice’s slave, Makeda (Harriett D. Foy, who with Keith Townsend Obadike also contributes lush, atmospheric compositions to the proceedings). Gardley delves productively into the history overall, although he sometimes indulges it too much in awkward and ultimately unnecessary expository dialogue. When he allows his characters full scope for expression of their personalities and relationships, however, the dialogue sails by with brio and punch —something the powerhouse cast, shrewdly directed by Patricia McGregor, makes the most of throughout. (Avila)

An Ideal Husband Douglas Morrison Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-29. Thu/27-Sat/1, 8pm; Sun/2, 2pm. Douglas Morrison Theatre performs Scott Munson’s adaptation of the Oscar Wilde classic, reset in 1959 Washington, DC.

Lasso of Truth Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Tue and Thu-Sat, 8pm (also Sat/1 and March 15, 2pm; March 6, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through March 16. Marin Theatre Company performs Carson Kreitzer’s new play about the history of Wonder Woman.

The Lion and the Fox Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through March 30. Central Works performs a prequel to its 2009 hit, Machiavelli’s The Prince, which depicts a face-off between Niccolo Machiavelli and Cesare Borgia.

A Maze Ashby Stage, 1901 Ashby, Berk; www.justtheater.org. $20-25. Wed-Sat, 8pm; Sun, 5pm. Through March 9. Following a well-received run last summer at Live Oak Theater, Just Theater’s West Coast premiere of Pittsburgh-based playwright Rob Handel’s 2011 jigsaw drama gets a second life, courtesy of presenter Shotgun Players, in this remounting at Ashby Stage. Half the pleasure of a play like this is the unfolding of its serpentine plot, which becomes much more linear in the second half but initially seems to hover around three very disparate situations: 17-year-old Jessica (Frannie Morrison), recently escaped from eight years of captivity in the home and cellar of her kidnapper, prepares for an interview with a Barbara Walters-like TV journalist (Lauren Spencer); Oksana (Sarah Moser) and Paul (Harold Pierce), who head up their own highly successful rock band (suggestively titled the Pathetic Fallacy), are in the midst of a tough transition as Oksana checks Paul into rehab; and a fairytale King (Lasse Christiensen) responds to the Queen’s (Janis DeLucia) news that they are about to have an “heir” by beginning construction on a gigantic, seemingly endless maze emanating outward from their cozy den to the furthest reaches of the kingdom. Meanwhile, the director of the rehab clinic (Carl Holvick-Thomas) introduces Paul to another artist-resident, a fussy, eccentric author named Beeson (Clive Worsley) at work on a multi-volume graphic novel of maddening intricacy. As the three storylines begin to coalesce, the play asks us to consider questions about artistic liberty, authorship, responsibility, human connection — big themes like that. It does so in a mostly playful, only slightly eerie way, despite the grim central situation revolving around the bright and surprisingly outgoing Jessica. Employing almost the identical cast as last time, again under director Molly Aaronson-Gelb, the proceedings unfold with generally solid acting, if not always persuasive dialogue, at least where things are meant to be more or less realistic (to an extent, the fairytale segment comes across more compellingly for being strictly bound by the artificial nature of its narrative). There’s a quirky quality to the play, and the production, that amuses, even as the coy plotline bemuses. And much like an amusement park adventure, the play makes sure no one really gets lost. This is a play that is happy to tell you the various ways the central “maze” might be read metaphorically, for instance, so that everything is tidy and clear — like a fairytale, or a graphic novel — not so mysterious in the end, just tinged with a kind of comfortable melancholy. (Avila)

The Music Man Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $17-60. Fri and March 20, 7pm; Sat, 1 and 6pm; Sun, noon and 5pm. Through March 23. There’s trouble in River City! See it unfold amid all those trombones at Berkeley Playhouse.

PERFORMANCE/DANCE

“The Aftermath Affair” ODC Theater, 3153 17th St, SF; www.odcdance.org. Fri/28-Sun/2, 8pm. $20-35. Blind Tiger Society performs a world premiere by choreographer Bianca Cabrera.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/1, March 8, 16, 22, and 30, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Collected Stories” Cartwright Hotel, 524 Sutter, SF; www.collectedstoriessf.com. Thu/27-Sat/1, 8pm (also Sat/1, 2pm); Sun/2, 2pm. $21-28. Expression Productions performs a “pop-up theater” take on Donald Margulies’ drama about a university professor and her protégé.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/26, 9:30pm. Free. Drag with Collette LeGrande, Ruby Slippers, Sophilya Leggz, Bobby Ashton, and more.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. This week: Paula West, Thu/27-Fri/28, 8pm; Sat/1, 7 and 9:30pm, $35-50.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“The Magic Flute” Center for New Music, 55 Taylor, SF; themagicflute.brownpapertickets.com. Thu/27 and March 7, 7pm; Sun/2, 2pm. $15-20. Waffle Opera performs a stripped-down version of Mozart’s classic, with new English dialogue.

“Partyiac Arrest: A Post-Valentine’s Hangover Cabaret” Mojo Theatre, 2940 16th St, #27, SF; www.mojotheatre.com. Fri/28-Sat/1, 8pm. $10-15. Raucous variety show (comedy, music, circus acts, short films, and more) with Mojo Theatre.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. March 7 and April 4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.pacoromane.com. Wed/26, 8-10pm. $10. With Bay Area comedy all-stars Paco Romane, Will Durst, Karina Dobbins, and Nick Palm.

BAY AREA

“Black Choreographers Festival: Here & Now” This week: Laney College Theater, 900 Fallon, Oakl; www.bcfhereandnow.com. Fri/28-Sat/1, 8pm. $10-25.The festival, which runs through March 8, continues its 10th anniversary with “BCF Oakland,” featuring works by Joanna Haigood, Gregory Dawson, Marc Bamuthi Joseph, Portsha Jefferson, and Kendra Kimbrough Barnes.

“The Buddy Club Children’s Shows” JCC of the East Bay Theater, 1414 Walnut, Berk; www.thebuddyclub.com. Sun/2, 11am. $8. With acrobat and juggler Dana Smith. Also Sun/2, 11:30am, $8, Kanbar Center for the Performing Arts, 200 N. San Pedro, San Rafael; www.thebuddyclub.com. With magician Brian Scott.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“Poetry Express” Himalayan Flavors, 1585 University, Berk; poetryexpressberkeley.blogspot.com. Mon, 7pm. Free. Ongoing. This week: Zora Raab, plus open mic. *

 

Kick the can

Michael Redmond
-
27
Kick the can

joe@sfbg.com

At least 720 San Francisco businesses oppose the controversial Sugary Beverage Tax proposed for the November ballot, according to the proposed ballot measure’s opponents. But a Guardian investigation shows that claim is overstated.

Some businesses were listed with the consent of employees who couldn’t speak for the business, not their owners, and some businesses listed aren’t even open anymore.

The measure is opposed by Unfair Beverage Taxes: Coalition for an Affordable City, which is funded by the American Beverage Association and fronted by public relations firm BMWL and Partners. They have been trying to enlist allies from local restaurants and liquor stores, trying to show the community is against the Sugary Beverage Tax.

The ABA is funded primarily by Coca-Cola Company and PepsiCo, and they certainly have cause to worry about a measure that aims to reduce consumption of sodas and other sugary drinks to help curb obesity, using a 2 cent per ounce tax on sugary beverages sold in San Francisco.

The resolution to place the measure on the fall ballot is sponsored by Sups. Scott Wiener, Eric Mar, Malia Cohen, John Avalos, and David Chiu.

The estimated $31 million in taxes collected would go to the SFUSD to fund physical education for kids and active and healthy living programs in the San Francisco Recreation and Park Department and the Department of Public Health.

We called over 70 of the businesses on the list of opposition to the tax in San Francisco. Not all of the businesses responded to our calls, nor were owners easily available, and some of the businesses listed did not have English-speaking staff available to talk.

Update 2/26: Want to see the list for yourself? Click here for the PDF of the opposition list to the Sugary Beverage Tax sent to us by Affordable City. 

But about 20 of the businesses did respond, and what they told us calls into question the veracity of the opposition list.

Mohammed Iqbal, owner of All Nite Pizza on Third Street, said he only learned about the Sugary Beverage Tax only after we called. Following up later, he said he found that one of his employees signed onto the list.

records“We’re not really sure about the tax, we’d rather stay out of it,” Iqbal told us.

Swanky coffee and wine bar Ma’Velous, a spot popular with City Hall politicos, was also on the list. The owner’s wife, Lean Chow, told us opposition canvassers presented the tax in a one-sided way, and she wasn’t told her signature would place the business onto an opposition list.

“We didn’t get the full details,” she told us in a phone interview. “We also didn’t know the taxes would go towards education.” Her husband owns the coffee bar, and she said they are both fully in support of the beverage tax.

Noe’s Bar and the formerly co-owned Basso’s restaurant are also on the opposition list, but both businesses are permanently closed, according to their Yelp listings and county business data, which we confirmed with phone calls.

Most of the store owners we talked to who did confirm they were on the opposition list said they were not told the funding would go to schools, activities in parks, or public health. Some said they were actively misinformed.

Aijez Ghani, the owner of the restaurant Alhamra, told us, “The one gentleman come, and he say in favor or against? I said in favor.”

When we asked him if he knew he was on the opposition list, Ghani said, “I think it was a mistake. But I am totally in favor of the tax, 100 percent. They’re going to spend money on the schools, the health of kids, and health is more important than business.”

Chuck Finnie, who runs the opposition group for BMWL, invited us up to his firm to inspect the signatures for the opposition list. Along the office walls were dozens of silver and gold award statues from the American Association of Political Consultants “Pollies” awards. One was a 2013 Overall Campaign win for No on N, when the firm trounced the Sugary Beverage Tax in Richmond.

Finnie suspected that the Guardian was sniffing around the list at the behest of Wiener, who Finnie said had raised concerns about the list’s credibility at various meetings in the business community.

“I was a journalist for 20 years, and this is bullshit,” the ex-San Francisco Chronicle investigative reporter and city editor told us. “The gloves are off.”

On the table was a large bin of records. Each business had a sheet with, supposedly, an owner’s name and contact information. We found one listing Mohammed Iqbal, of All Night Pizza, but Iqbal told us the signature was from an employee whose English was not good. Chow was also in there representing Ma’Velous, even though her husband, Philip Ma, is the only registered owner in county records.

As for the closed businesses, Noe’s Bar only closed three weeks ago, but Finnie and his associate Nick Panagopoulos (a former City Hall staffer) said they comb through the opposition list for mistakes every week, showing the Guardian a list of 12 businesses that were removed due to errors in the outreach process.

“I’m responsible for this coalition we’re building, and I’m serious about our political organizing,” Panagopoulos told us, saying he’s rigorous about the standards his organizers use, but that “they’re human beings, so there may be mistakes.”

But Wiener isn’t buying it.

“When I first saw this list, it looked fishy to me,” he wrote to the Guardian in an email, saying his office found irregularities similar to what we found, but from different businesses. “I’m concerned that, given this start to the campaign, the beverage industry is going to flood San Francisco with enormous amounts of money spreading misinformation. This kind of tactic isn’t acceptable.”

Francisco Alvarado, Bryan Augustus, and Brian McMahon contributed to this story.

Live Shots: Hether Fortune gets cathartic at the Night Light

Steven T. Jones
-
0

Last Friday it was Valentine’s Day, but all I saw was tears. I’ve wondered before how some musicians can sing some of their more emotional songs during live performance without becoming visibly emotional themselves. Aren’t they attached to those lyrics (especially if they’ve written them)? Are they desensitized by the one-hundredth time they play that song about having their heart ripped out by the one who doesn’t even love them anymore? Or worse yet — the one who never did? It wasn’t full-on sobbing, but last Friday, Hether Fortune wouldn’t hold it in.

Peculiarly sandwiched on the bill at the most recent installment of the experimental/industrial-focused REPLICANT Presents series at Oakland’s Night Light, Fortune was scheduled in between opening and headlining acts to deliver an intimate solo set, sans Wax Idols. I had gone anticipating that it would be a rare treat.

hether fortune
Heather Fortune photos by Sadie Mellerio

You’re supposed to be with your lover on Valentine’s. You’re not supposed to be alone. That’s the worst-case scenario if you buy into the norms and expectations placed on yet another commercialized holiday. But imagine being alone, not only because you don’t have your bandmates (Wax Idols) to musically support you, but because you’re going through a divorce. Meanwhile, you’re up on stage about to perform in front of an audience. Certainly not one to hide or shy away from the spotlight, Fortune embraced her predicament. Instead, she announced that in fact, this is her situation.

After Vestals (armed with a guitar and gear that looped layers of complimentary noise) finished her opening set, DJs mixed acid techno with whatever tracks Barn Owl saw fit for spinning that night. But then the room seemed different. One could sense the changing of the atmosphere right down to the molecules because of Fortune’s poised, gothic and graceful presence.

hether fortune

Standing tall without a band or a man; her lanky, trademark androgynous figure appeared on an un-lit stage. Draped in a lacy, button-down blouse; our dually-wounded, heavy-hearted warrior had to face the harsh reality of her bandaged finger that had been crushed and ripped open by an amplifier in an accident a week earlier.

She carefully tuned her weapon of choice — a beautiful black-and-white Danelectro 12-string guitar. The instrument, combined with a hard-cover bound journal (perhaps containing a set list, lyrics, or maybe just her thoughts) that lay at her feet, conjured bohemian images of a hippie-freak, pre-T.Rextasy-era Bolan about to play Middle Earth or some coffee shop.

hether fortune

Stripped of arrangement and with not much more than her soul to bear, the vibe of her set was very much singer-songwriter with an emphasis on despair. While her vocal-style seemed to channel the aura of Bowie, it was her strumming of that jangling guitar, with its larger-than-life sound, that seemed like it could fill the universe with its unwavering, doleful tone.

In a genuinely honest moment and without any dramatic intonation, she quickly uttered “This is tough” into the microphone. Lyrics to a cover song were muddled in the sound system, and then we were treated to a new song, apparently never heard by anyone before. By that point, the words almost didn’t matter since we were already running high on emotion.

hether fortune

Towards the end, tears welled up, overflowing onto her thick eye-liner, mid-song. I was somewhat stunned by the display of emotion, but not at all alienated. The entire thing could have been awkward for both audience and performer, but in reality everyone seemed receptive to what she had to express that night. It was an opportunity to connect on a deeper level or however those who were subjected saw fit.

One could interpret it all as a damaged, agonizing wail and while that may hold some validity, it would trivialize the more noble qualities of a veteran, seasoned ahead of her time, demonstrating strength in sharing vulnerability while ultimately remaining in control. Numbness worn off, Fortune delivered something beautiful only the lonely might fully understand.

Goldies 2014 Dance: RAWdance

Michael Redmond
-
0
Goldies 2014 Dance: RAWdance

GOLDIES “Anybody want more popcorn? How about coffee?”

Ryan T. Smith is calling out to a packed audience in the oddest-shaped dance studio in San Francisco — long and narrow, like a bowling alley. The occasion is the latest installment in RAWdance’s popular bi-annual CONCEPT series, started in 2007 by Smith and partner Wendy Rein in their Duboce Triangle neighborhood.

CONCEPT is an occasion where dance watching and socializing go hand in hand. You pay what you can … and you pitch in with moving the furniture. An old-fashioned salon of serious fun but also serious art, the series has become one of the most congenial places to watch dance in SF.

And yet the project started as something like a self-help group. When Smith and Rein moved to the city, they came into an environment rich in dance theater, multimedia, text-based dance, and identity- and gender-inspired material. “This is not who we are,” Rein explains while sitting at their kitchen table. “Our dances are abstract.” And, continues Smith, “We also didn’t know anybody [at the time].”

Looking around, however, they found artists who — like themselves — had pieces that had been seen only once, or were works in progress. Artists who wanted to rework something, or just try out new material. Today, over 60 choreographers have shown at CONCEPT; anyone can apply, though the team curates the show lightly to ensure a good mix.

Another reason behind CONCEPT arises from the duo’s desire to make dance more generally accessible. “We are so tired of going to dance concerts and seeing the same people all the time,” they agree. Rein remembered a couple who just walked into CONCEPT off the street. “I just loved that.”

rawdance

Guardian photo by Saul Bromberger and Sandra Hoover

They don’t complain about the lack of attention paid to theatrically demanding dance. They don’t wait for audiences — they go to them. Locally, they have performed in public spaces like Union Square and beneath the SF City Hall Rotunda.

The duo calls its choreography “abstract;” in truth, that’s something of a misnomer since there is no such thing as abstract dance. When you put a human being on a stage, abstraction goes out the back door. RAWdance derives its strength from the fact that the pieces tell stories without relying on explicit narratives. “We don’t spoon-feed our audiences. We just want to go so deep that the experience becomes visceral,” they agree.

For Two by Two: Love on Loop, they created a 20-minute dance on themselves, and then taught it to 12 very different couples who performed it over an eight-hour period in the middle of the UN Plaza. For A Public Affair, a 10-minute duet performed at the height of the dinner hour at the now closed Orson Restaurant, they condensed gestures and movements that would have looked familiar to the patrons. The Beauty Project, first performed in an empty storefront, eventually made it into a theater — but its inspirations (mannequins, a fashion-show runway) remained unmistakable.

In their own duets — still their preferred way of working — Smith and Rein often move like liquid sculptures; we see them as one even as they strive to pull apart. They were at first drawn to each other in college because choreographers so frequently paired them together. It makes sense.

Both of them are tall and long-limbed, with superb techniques. Rein looks fragile but she is fierce. “I feel more comfortably working with Wendy, trying out things that are physically bizarre, than with anybody else in a studio,” Smith says. “I trust her with my weight.”

Rein feels the same way but explains the trust also comes from the fact that “we create everything together, so we are interested in seeing the interactions between us.” Chatting with them in their kitchen, you get the sense that they are completely in tune with each other. They finish each other’s sentences like an old married couple (which they are not).

At the most recent CONCEPT series last August, RAWdance showed the beginnings of new piece, Turing’s Appel, inspired by Alan Turing, the pioneering British scientist who was driven to suicide because of his homosexuality. (The piece is set to premiere this summer at Z Space.) Dance critic Heather Desaulniers described the excerpt in terms of the questions she saw the choreographers raising: “How do constraints affect physicality; how do situations differ when change is purposeful or accidental; what circumstances make the most sense in the body?”

Who influenced the Google-bus policy?

Michael Redmond
-
7

On SFBG.com last week, we published a list of the attendees (and corporate affiliations) who were recorded as having attended stakeholder meetings with the San Francisco Municipal Transportation Agency to discuss that private shuttle pilot program that caused such a dustup last month. The list is a matter of public record and was submitted to the Bay Guardian by a source who wished to remain anonymous.

Google was in the room, of course, but not all attendees were affiliated with corporate shuttle providers who bus employees to their workplaces. One company, called Leap Transit, has started a private luxury bus in San Francisco that is not affiliated with any particular employer.

“Our buses are clean and our staff is friendly,” according to Leap’s website. “Sip your morning coffee in peace.” (Leap did not respond to our request for an interview about its future plans.)

Another participant who seemed a bit far afield from the transportation sector was a representative from TMG Partners, a real-estate developer. Also included in the meeting was a representative from a law firm called Morrison Foerster which has represented major tech investors such as Kleiner Perkins, according to its website, which can be found at mofo.com.

How did these individuals manage to get invites? We emailed SFMTA spokesperson Paul Rose to ask that question. He told us, “When we started the work, we received a set of shuttle sector contacts from the [San Francisco County Transportation Authority], who started looking at this issue. One of the first things we did was reach out to these companies and confirm the right contact people. We also reached out to companies who we’d heard had shuttles.”

He added, “Over time, additional shuttle service providers and companies that offer shuttles for their employees contacted the agency to let us know that they were either providing service or considering to provide shuttle service and wanted to know about our policy development process. This also grew our list. And, as we heard about new shuttle programs, we reached out the companies to make contact. Also, at meetings with shuttle providers, we also asked if there were other providers we should include. Some members of the shuttle sector brought their legal or PR reps with them to the meetings — they were not on our list.”

Here’s who attended those SFMTA meetings about the private shuttle program

Sasha Cuttler And Mary Magee
-
17
Here’s who attended those SFMTA meetings about the private shuttle program

Here is a list of the attendees (and corporate affiliations) who were recorded as having attended stakeholder meetings with the San Francisco Municipal Transportation Agency to discuss that private shuttle pilot program that caused such a dustup last month. The list is a matter of public record and was submitted to the Bay Guardian by a source who wished to remain anonymous.

Google was in the room, of course, but not all attendees were affiliated with corporate shuttle providers who bus employees to their workplaces. One company, called Leap Transit, has started a private luxury bus in San Francisco that is not affiliated with any particular employer.

“Our buses are clean and our staff is friendly,” according to Leap’s website. “Sip your morning coffee in peace.” (Leap did not respond to our request for an interview about its future plans.)

Another participant who seemed a bit far afield from the transportation sector was a representative from TMG Partners, a real-estate developer. Also included in the meeting was a representative from a law firm called Morrison Foerster which has represented major tech investors such as Kleiner Perkins, according to its website, which can be found at mofo.com.

How did these individuals manage to get invites? We emailed SFMTA spokesperson Paul Rose to ask that question, and here is what he said in response.

“When we started the work, we received a set of shuttle sector contacts from the [San Francisco County Transportation Authority], who started looking at this issue. One of the first things we did was reach out to these companies and confirm the right contact people. We also reached out to companies who we’d heard had shuttles.”

He added, “Over time, additional shuttle service providers and companies that offer shuttles for their employees contacted the agency to let us know that they were either providing service or considering to provide shuttle service and wanted to know about our policy development process. This also grew our list. And, as we heard about new shuttle programs, we reached out the companies to make contact. Also, at meetings with shuttle providers, we also asked if there were other providers we should include.  Some members of the shuttle sector brought their legal or PR reps with them to the meetings – they were not on our list.”

This Week’s Picks: February 12 – 18, 2014

Michael Redmond
-
0

WEDNESDAY 12

When The Landscape Is Quiet Again: North Dakota’s Oil Boom

In a land far, far away, the greedy hands of oilmongers are ripping apart Sarah Christianson’s home state. “Almost every local person I spoke with out there expressed some version of this sentiment: ‘I’m so glad so-and-so is dead, so they don’t have to see what’s happened to this place,'” says the photographer. Over the past year, Christianson documented the consequences of North Dakota’s newest oil boom: oil wells built on her parent’s mineral acres, drilling rigs planted on desolate horizons, natural gas flare pits disrupting untouched valleys. Her latest project, “When the Landscape is Quiet Again” hosted by SF Camerawork through April 19, examines the lasting repercussions of North Dakota’s 1973 oil boom, the new damages being inflicted today and the dichotomous effects on this economically depressed region. Opening reception will be held the following day at 6pm. (Laura B. Childs)

Free

SFCamerawork

1011 Market, 2nd floor, SF

www.sfcamerawork.org

 

Octopalooza

Are you a two-fisted drinker? Think you can keep up with an eight-armed party animal? Tonight’s your chance to do exactly that, and drink like a fish — literally! Head down to the waterfront tonight for “Octopalooza,” an SF Beer Week event celebrating cephalopods that will allow people to eat, drink and dance, all under the water. Featuring beers from San Francisco’s Pacific Brewing Laboratory (with labels such as “Squid Ink” and “Nautilus”) the fete will also include food from Pier 39 restaurants, octopus talks, squid dissections, squid ink block printing and a silent disco. Price of admission includes four drink tickets. (Sean McCourt)

6:30-9:30pm, $35

Aquarium of the Bay

Pier 39, SF.

www.aquariumofthebay.com

(415) 623-5300


THURSDAY 13

Breakfast: A History

Many modern Americans might have struggled with breakfast in the mid-1800’s, according to author Heather Arndt Anderson: “Bacon and eggs, pancake with syrup, and hot coffee were now considered as ‘injurious’ to one’s health as masturbation.” Anderson explains in her book Breakfast: A History how Americans’ healthy living attitudes at that time spurred the development of granola as a popular food. Anderson’s origin stories and accessible anthropological analysis showcase how the early day cuisine from different eras shape what we eat today. “Breakfast” also explores how culture, linguistics, religion and mass media elevated the morning meal’s status to the most important meal of the day. (Kevin Lee)

6:30pm-7:30pm

Omnivore Books

3885 Cesar Chavez, SF

(415)282-4712

www.omnivorebooks.com

Free

 

Valentine’s Day Gay Romance from Cleis Press

Don’t mind the fogged-up windows at Books Inc. in the Castro on Wednesday night. Cleis Press has a steamy evening in store for you! This pre-Valentine’s Day book reading will celebrate the best parts of gay romance with tales of first times, young love, and longtime commitments. The independent queer publishing company has lined up three celebrated gay erotica authors for a night of hot-and-heavy prose followed by a book signing. Rob Rosen will share a titillating excerpt from one of his recent erotic novels, while Felice Picano and Lewis DeSimone will read from Best Gay Romance 2014, a sexy and lustful anthology that tackles all matters of the heart, soul, and bedroom. (Laura B. Childs)

7:30pm, free

Books Inc. The Castro

2275 Market, SF

www.booksinc.net

 

FRIDAY 14

Thao and The Get Down Stay Down

Hometown hero Thao Nguyen has been very busy of late, touring her band’s newest album We the Common, writing and recording short films with the likes of Ira Glass for Funny or Die, shooting music videos (and getting shut down by the SFPD) on the new Bay Bridge, and volunteering frequently for the California Coalition for Women Prisoners. Thao and the Get Down Stay Down’s music, a folk-rock blend, is simultaneously intimate and socially conscious, with her most recent work featuring themes of community and gratitude. Nguyen has been playing San Francisco shows semi-frequently for years, but this night will see her headlining the beloved and historied Fillmore for the first time, so this gig is sure to be electric. (Haley Zaremba)

With Sonny and the Sunsets

9pm, $20

The Fillmore

1805 Geary, SF

(415) 346-3000

www.thefillmore.com

 

CCR Headcleaner

Does your ideal Valentine’s Day date entail seeing a mixture of psych-infused sludge rock and girl-dominated punk bands, all for thecost of $5? If yes, then consider your plans made. CCR Headcleaner, Quaaludes and Mane are throwing a bash during everybody’s favorite Hallmark holiday at Hemlock Tavern. Local raucous rockers CCR Headcleaner recently made waves with its split EP alongside Ty Segall’s stoner garage rock band, Fuzz, for the “Less Artists More Condos” 7″ series. Playing with CCR Headcleaner is Quaaludes, a San Francisco punk girl band that draws influences from the likes of grunge and riot grrrl. Opening is ’80s goth-tinged post-punk girl band, Mane. Though each band draws from different influences, each band brings an unfiltered, raw quality to its performance. So grab your partner, sweetie, S.O. – or whatever you call them – and march on over to the Hemlock for a grimy punk show. (Erin Dage)

With Quaaludes, Mane

9pm, $5

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

Hubba Hubba Revue

Looking for a Valentine’s event that’s sure to blow all the others away? Slip into the world of scandalous speakeasies, flirtatious flappers and gun-toting gangsters tonight when Bay Area burlesque group Hubba Hubba Revue presents a special “St. Valentine’s Day Massacre” themed show. Enjoy bootlegged beverages while watching a bevy of beauties from around the world perform on stage, including Lilly Tiger from Berlin and Fever Blister from LA — expect spats to be stripped, and fedoras to be flung — all giving a racy take on romance from the roaring twenties. (Sean McCourt)

9pm, $15-$30

DNA Lounge

375 11th St., SF

(415) 626-1409

www.dnalounge.com

www.hubbarevue.com

 

Company C Contemporary Ballet

Some 12 years ago, Company C Contemporary Ballet started modestly with student performers; it now has a fine group of professional dancers and an infrastructure that supports it. After this season they’ll change to a “project-based” format that is less financially demanding and artistically more flexible. Artistic Director Charles Anderson has always had a knack for programming his own pieces in conjunction with intriguing works by other. That’s not likely to change. His is and will remain a ballet company featuring choreography that showcases 21st century dance. Among two of Anderson’s works, this program features Charles Moulton’s ingenious Nine Person Precision Ball Passing; Susan Jaffe’s Weather — who knew that the great ABT Ballerina choreographed? — and Yuri Zhukov’s expanded Railroad Joint. (Rita Felciano)

Feb. 13 and 14, 8pm. $25-48

Feb. 15, 6pm Gala. Feb. 16, 3pm

YBCA, LAM Research Center Theater, SF

(415) 978-2787

www.ybca.org

 

SATURDAY 15

Myron & E

The Stones Throw record label is sort of the indie Motown of the 21st century, and their latest output, Myron and E, has instantly become some of the coolest cats on the LA-based cadre of vinyl evangelists. The deliciously soulful duo will be bringing its spunky horns, soothing rhythms, and hypnotic vocals to the Independent in support of their debut LP Broadway. The lead single “If I Gave You My Love” showcases the duo’s one-two punch of Barry White-esque vocals on the chorus, surrounded by peppy falsetto. Myron and E got together in the Bay after Myron escaped from LA, where he was working on the sketch comedy show “In Living Color.” If there ever was an occasion to bust out your special bowtie and fancy dancing shoes, it’s this show. (George McIntire)

9pm, $20 adv, $22 door

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

 

B.A.R.F.

February 15 is the date that many people will join in one area for their common love of BARF (Bay Area Record Label Fair). Vomit word-play aside, here are the details: local organizations Father/Daughter Records and Professional Fans have come together to spearhead the first annual event honoring record labels across the Bay Area. Labels such as Polyvinyl, Castle Face, 1-2-3-4 Go! Records, Slumberland, and many more will be selling their music all under one roof for such an occasion. To sweeten the deal, uber-talented bands representing local labels such as “difficult” punks Twin Steps, pop-punk sister duo Dog Party, power-pop sensations Cocktails, and psych-rocker Al Lover will be performing at the gig! And the best part about this event? There’s no need to cough up cash to get in. (Erin Dage)

With Twin Steps, Dog Party, Cocktails, Al Lover

12pm, Free

Thee Parkside

1600 17th St, SF

(415) 252-1330

www.theeparkside.com

 

John Talabot at Icee Hot

After slow simmering yet heavy hitting releases like ‘Sunshine,’ John Talabot released his debut ƒIN in 2012 to crossover attention. Add in a single live performance with collaborator Pional leading to touring with The xx, the only question would be what 2013 bring. The answer: an equally lauded entry into DJ-Kicks mix series, with Talabot taking his ability to sustain an emotional moment in time — dark, melancholic, tender, whatever — and extended it into a career-up to-here defining set. It’s perhaps the best entry yet into his sound, as much forward looking (including new songs “Without You” and “Siderall”) as tied to the past, with obscurities like Jurgen Paape’s remix of “Kron” by Sillikron reaching back to nights spent as a windowlicking trainspotter in Barcelona clubs, notebook in hand. (Ryan Prendiville)

With Galcher Lustwerk, Ghosts on Tape, Shawn Reynaldo, DJ Will

10pm-4am, $5-15 presale

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com

 

SUNDAY 16

East Bay Comic Con

You don’t have to go all the way down to San Diego this year to get your comic book and pop culture fix — just check out East Bay Comic Con, a brand new event that will feature a host of comic book vendors along with several special guests including Richard Kiel (who played “Jaws,” the towering villain with metal teeth in two James Bond films) and John Stanley (author and host of KTVU’s classic TV show “Creature Features”). James O’Barr, the creator of The Crow, will also be on hand, and will kick off the party with a screening of the film based on his comic the night before. (Sean McCourt)

Movie screening and Q&A

7pm Sat/15, Free for first 350 fans

Brenden Theater

1985 Willow Pass Rd., Concord

East Bay Comic Con

10am-4:30pm, $5 (children 8 and under free)

Concord Hilton 1970 Diamond Blvd., Concord

www.eastbaycomiccon.com

 

TUESDAY 18

“Committed Cinema: Tony Buba” Braddock, Penn., got its big-screen moment last year with the release of Out of the Furnace, Scott Cooper’s occasionally overwrought tale of two brothers battling grim destinies in the crumbling steel town. As it turns out, documentarian Tony Buba has been lensing his blue-collar hometown for decades, and the filmmaker dubbed “a national treasure” by the Anthology Film Archives is coming to Berkeley to share his work and converse with USF education professor Rick Ayers. Tonight, “The Braddock Chronicles” compiles shorts from 1972-85. More shorts precede screenings of narrative Lightning Over Braddock: A Rustbowl Fantasy (1988), and his most recent doc, 2013’s We Are Alive! The Fight to Save Braddock Hospital, on consecutive nights. (Cheryl Eddy)

Feb 18-20, 7pm, $5.50-$9.50

Pacific Film Archive

2575 Bancroft, Berk.

bampfa.berkeley.edu

A comedian cursed

Steven T. Jones
-
0
A comedian cursed

For those of us who’ve been following Michael Showalter since he was but a flop-haired 20-something on MTV’s The State — where he gave us, among other absurdist treasures, Doug, a rebellious teenager whose cool dad gave him frustratingly little to rebel against — there is no Showalter project too silly, too cranky, too obscure to love. Whether it was Stella, Michael and Michael Have Issues, or, say, the training montage from Wet Hot American Summer that burrowed its way weirdly into your heart, there’s something about the comedian that’s eminently, endearingly watchable.

Ahead of his appearances Jan. 31 and Feb. 1 at SF Sketchfest, we caught up with Showalter as he took a break in the writers’ room of the Rebel Wilson TV show Super Fun Night (he’s a producer) to talk cats, comedy, and what makes him feel like a loser.

San Francisco Bay Guardian: You have several projects going on right now, but the first thing I need to ask about is a male-centric cat ownership guidebook you published last October: Guys Can Be Cat Ladies Too. How many cats do you have?

Michael Showalter: Right now I’m living in LA, and we have four indoor cats here. And then at our place in Brooklyn, there’s a small posse of cats that live in my backyard, that are now being taken care of by the people subletting our place. At any given moment there are between three and six cats back there…so using the law of averages, I’ll say I have seven.

SFBG: Why did the world need a book about how to be a male cat lady?

MS: Basically, I really took to heart the saying “Write what you know.” I looked around me and said “What do you know?” As I was saying that I probably had two cats on my lap. My next book is going to be about drinking coffee.

SFBG: Since it’s premiering at Sundance this week, what can you tell us about They Came Together (in theaters Jan. 24) , the Paul Rudd-Amy Poehler rom-com you made with your usual partner-in-crime David Wain? Do you think it will appease the hordes of Wet Hot American Summer fans who are hungry for a sequel — or prequel, as has been discussed?

MS: I’d say it’s a parody/homage to the romantic comedies of the ’80s and ’90s that myself and David Wain sort of grew up on and loved. It’s a combination send-up/love letter, based in New York. Obviously it’s got a great cast…and yeah, it’s very similar in a lot of ways [to Wet Hot]. It has a lot of the same sensibility to it, the reference points, the sense of humor.

SFBG: Because I have to ask anyway: Is there still a Wet Hot prequel in the works?

MS: Yeah. We’re figuring it out. But I’ve been instructed by David Wain not to talk about it, because we want it to be shrouded in mystery. Like the new Star Wars movie.

SFBG: Fair. Shall we talk about your podcast with Michael Ian Black? How is that kind of writing different from screenwriting or, say, cat books?

MS: Topics! Topics is actually all improvised. Basically the two of us are in character as two guys who take themselves very seriously and think very highly of their own opinions. The main thing with Topics is we try not to tell jokes — we’re just being these characters who are really, really serious about what they’re talking about, but they don’t actually know anything. We just start out with a topic and we improvise for half an hour. [Ed. note — December brought us such topics as “Regret,” “The Middle East,” and “Paranormal Activity.” It’s excellent.]

SFBG: There are some of us for whom The State is still the gold standard in sketch comedy. Do you think it would work on TV right now? There hasn’t really been anything like it since.

MS: You know, I think we were very much a product of our generation. It was Kids in the Hall and The State and the Upright Citizens Brigade…and I think at that time, sketch comedy was still a kind of theatrical thing; it hadn’t yet become so video-based. I don’t know if sketch in that traditional sense is still as viable. But I’m sure another great sketch show will come along, figure out the next thing.

SFBG: As for Sketchfest — of the events you’re scheduled to perform in, I’m most excited about the Uptown Showdown debate on breakfast vs. dinner. Can you say what side you’re on?

MS: (Sighs deeply.) OK, which do you think will win, should win?  

SFBG: I would say breakfast, hands down.  

MS: Yeah. So I am on dinner. I did not choose to be on dinner; dinner was given to me. Here’s the thing: This will be my fourth time competing in Uptown Showdown. The first time was cats vs. dogs. I was on cats, and we lost to dogs. The second time was Christmas vs. Hanukkah. I was on Christmas, and we lost to Hanukkah. The third time, last year, we did the ’80s vs. the ’90s, and I was on the ’80s, and we lost to the ’90s. So this year — dinner vs. breakfast — I already know I’m going to lose, and I’m livid about it. I’m not even joking. I could read you my emails back and forth with [the organizers] where they’re asking me to do this and I’m saying I don’t like it — here, I’ll pull it up. I wrote, “I’m sick and tired of losing at this.” I’m not being facetious. It’s making me feel bad about myself. Like a loser. It really pisses me off.

SFBG: How did this happen, exactly? Who gets to choose? 

MS: Here, let me find this email: “David Wain prefers that his team defend breakfast as the superior meal.” Sure. What’s the point? I know we’ll lose. I have the Uptown Showdown curse.  

SFBG: You sound pretty defeatist about this. Are you even going to prepare?  

MS: Oh, yeah. I mean, don’t get me wrong. When it’s game time, I’ll come to do battle.  

Uptown Showdown: Breakfast vs. Dinner  
Sat/1, 10pm, $30
Marines Memorial Theatre  
609 Sutter, SF
www.sfsketchfest.com


A first glance at ‘Looking’

Jesse Hawthorne Ficks
-
20
A first glance at ‘Looking’

Imagine a place where all the gay men are masculine, well-built, physically unselfconscious, and fashionably tousled; where young male artists and young male people of color mingle with young white male techies (yet are still happily banished to Oakland or work the door at Esta Noche); where having a “lazy eye” or being “slightly portly” renders you disqualified for relationships; where HIV, addiction, and politics barely exist; and where everyone is drenched in soft-spoken sophistication, vague existential ennui, and puppy-eyed cuteness.

This isn’t quite San Francisco (yet), but it is the San Francisco of gorgeously produced, play-it-safe-so-far gay-themed HBO series Looking (it begins airing Jan. 19) — at least the first two episodes, which previewed tonight at the Castro Theater. It’s too early of course to pass any kind of judgment on the entire series, which in many ways may be an accurate reflection of current gay culture, and I maintain very high hopes, especially with such good actors, writers, and attention to detail involved.

But let me tell you: I have never wished more for a stereotypically sassy drag queen to stomp onscreen and break some shit in my life.

The dramatic comedy series so far is so polite, well-crafted, and unassuming that even though you gotta applaud the desire to produce a mainstream gay program whose mission is to avoid gay stereotypes — no flaming creatures here — the end result seems to be a warm apple pie with no teen dick stuck in it, let alone a Cockette. And while Looking is more representative when it comes to ethnicity than initially feared (two Latinos!), it doesn’t seem too keen on taking any risks when it comes to social issues or body types. There is nothing remotely “queer” about Looking so far. Sad trombone!

Hopefully, Looking isn’t shooting itself in the expensive workboots with its own good intentions: to present gay men as basically “normal.” Trouble is, normal gay men at this point on our yellow brick road toward complete assimilation are basically just straight people with an extra hot dog between them. It’s simply not enough anymore to have gay men do normal things — like experience typical relationship problems or worry about getting older — and consider it interesting just because they’re gay. There have to actually be interesting things. And so far the most interesting thing here, besides the yummy SF-centric particulars, might be the characters’ varying degrees of facial hair. (Is contemporary gay exceptionalism hiding behind its own beard?)

http://www.youtube.com/watch?v=wnGwmP8qg2c

Here are the dilemmas the three hunks we’re following on Looking face so far: the young, cute videogame designer keeps flubbing dates by saying the not-quite-right thing; the beautiful artist and his beautiful boyfriend just moved in together and one’s worried they’re not going out enough; and the smokin’ hot late-30ish career waiter is having mild symptoms of a midlife crisis and ambient ex-in-the-picture anxieties. Except for the primly presented three-way, a fumbling public hand job, and a brief Grindr hookup, we might as well be inside a Cathy cartoon. Seriously: one of the characters even ends up guiltily diving into a late-night bowl of naughty starch to eat his problems away. ACK.    

To be sure: this show is also in many ways a scruffy dream date, all scrubbed up for dinner at farmerbrown. Hot Chip and Hercules and Love Affair replace Britney and Rihanna at Castro bars. Characters who surely have never seen a real backroom before wave around coffee mugs from The Cock in NYC and other super-insidery gay culture totems. There has been no gym scene. And some of the lines are pretty funny, especially from the requisite saucy gal pal. San Francisco looks absolutely perfect, and well-wrought local details abound. The Brit director is Andrew Haigh, whose dreamy, oh-so-indie “gay boys on fixies” romance Weekend (2011) was like a cool, refreshing splash of the Smiths — or more like the Sundays, or, for the young’uns, James Blake — onto an overheated gay film scene that seemed skewed more towards Katy Perry.  

But transplanted to TV mode, the yearning hipster mumblecore aesthetic isn’t casting quite the same spell yet. 

Maybe I’m jaded/spoiled, but I remember the feeling of the top of my head being ripped off during the first episodes of the British Queer as Folk (still the high water mark of guilty-pleasure gay television) and parts of The L Word and Six Feet Under — that wondrous sense of audacity that fully dimensional queer people with epic faults, uncanny similarities, and infuriating differences were being flaunted in plain sight. Even the severely problematic American Queer As Folk and Will and Grace, with their flaming stereotypes and frustrating pop culture naivety, at least gave us some fascinating characters. I hated the fact that Middle America probably thought all gay men were like Jack, but I really couldn’t wait to hear what outrageous zinger would come flying out of his mouth next. 

There isn’t much of that so far on Looking, although it’s still holding my curiosity. (An after-screening Q&A with writer Michael Lannan indicated that there would be lesbian and trans characters as the series progressed, as well as some actual male nudity finally — come on, HBO). I realize that the show owes as much verisimilitude to the actual San Francisco gay scene as Queer as Folk USA owed to Pittsburgh. But for goddess’s sake, someone protest a condo eviction, somebody get blocked on Grindr for being too fem, someone eat a whole burrito drunk on a unicycle, somebody be nude or pagan or Asian, hopefully all three!

Again, this is just the start of a show whose initial demographic may quite possibly be a swath of gay men hoping for nothing more than to look hip and fit in. But if fitting in means blanding out, we might want to start Looking for something different.        

Music Listings: January 8-15, 2014

Jesse Hawthorne Ficks
-
0

WEDNESDAY 8
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. A Lot Like Birds, Sianvar, Stolas, The Venetia Fair, 8:30 p.m., $12.
El Rio: 3158 Mission, San Francisco. Apogee Sound Club, Grandma’s Boyfriend, UFOFBI, 8 p.m., $1.
Hemlock Tavern: 1131 Polk, San Francisco. Augurs, North, Bloodmoon, 8:30 p.m., $7.
Milk Bar: 1840 Haight, San Francisco. Bonnie & The Bang Bang, Strange Vine, Down & Outlaws, Wag, 8:30 p.m., $5.
Rickshaw Stop: 155 Fell, San Francisco. Rickshaw Stop 10th Anniversary: Mikal Cronin, Cool Ghouls, Cocktails, 8 p.m., $15.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. The Young Dubliners, 8 p.m., $19-$23.
DANCE
111 Minna Gallery: 111 Minna St., San Francisco. “Qoöl,” w/ D.F. Tram, Marshall Watson, Dulce, Will Spencer, Dan Sherman, Spesh, 5-10 p.m., free.
Beaux: 2344 Market, San Francisco. “BroMance: A Night Out for the Fellas,” 9 p.m., free.
The Cafe: 2369 Market, San Francisco. “Sticky Wednesdays,” w/ DJ Mark Andrus, 8 p.m., free.
Cat Club: 1190 Folsom, San Francisco. “Bondage A Go Go,” w/ DJs Damon, Tomas Diablo, & guests, 9:30 p.m., $5-$10.
Club X: 715 Harrison, San Francisco. “Electro Pop Rocks,” 18+ dance night with Tittsworth, Jays One, DJ Dials, Cocaine at the Disco (SwitchBlade & Mr. Brandon), Jazz-E, Shane Fontane, Dmitri Reign, Cosmo Koyote, 9 p.m., $15-$20.
Edinburgh Castle: 950 Geary, San Francisco. “1964,” w/ DJ Matt B & guests, Second and Fourth Wednesday of every month, 10 p.m., $2.
Elbo Room: 647 Valencia, San Francisco. “Commune,” w/ Pixel Memory, Niteppl, Alien Angel Brigade, Popgang DJs, 9 p.m., free.
The EndUp: 401 Sixth St., San Francisco. “Tainted Techno Trance,” 10 p.m.
F8: 1192 Folsom St., San Francisco. “Housepitality,” 9 p.m., $5-$10.
Infusion Lounge: 124 Ellis, San Francisco. “Indulgence,” 10 p.m.
The Knockout: 3223 Mission, San Francisco. “Disorder,” w/ The Victoriana, PSSNGRS, DJ Nickie, 10 p.m.
Lookout: 3600 16th St., San Francisco. “What?,” w/ resident DJ Tisdale and guests, 7 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Rock the Spot,” 9 p.m., free.
MatrixFillmore: 3138 Fillmore, San Francisco. “Reload,” w/ DJ Big Bad Bruce, 10 p.m., free.
Q Bar: 456 Castro, San Francisco. “Booty Call,” w/ Juanita More, Joshua J, guests, 9 p.m., $3.
HIP-HOP
Skylark Bar: 3089 16th St., San Francisco. “Mixtape Wednesday,” w/ resident DJs Strategy, Junot, Herb Digs, & guests, 9 p.m., $5.
Slate Bar: 2925 16th St., San Francisco. “Special Blend,” w/ resident DJs LazyBoy & Mr. Murdock, 9 p.m., free.
ACOUSTIC
Cafe Divine: 1600 Stockton, San Francisco. Craig Ventresco & Meredith Axelrod, 7 p.m., free.
Club Deluxe: 1511 Haight, San Francisco. Happy Hour Bluegrass, 6:30 p.m., free.
Hotel Utah: 500 Fourth St., San Francisco. The Verms, Sister Exister, Octomutt, 8 p.m., $7.
JAZZ
Amnesia: 853 Valencia, San Francisco. Gaucho, Eric Garland’s Jazz Session, The Amnesiacs, 7 p.m., free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. The Cosmo Alleycats featuring Ms. Emily Wade Adams, 7 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. “Cat’s Corner,” 9 p.m., $10.
SFJAZZ Center: 205 Franklin St., San Francisco. John Santos Listening Party, 7:30 p.m., $5-$10.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Ricardo Scales, Wednesdays, 6:30-11:30 p.m., $5.
Zingari: 501 Post, San Francisco. Sherri Roberts, 7:30 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. Timba Dance Party, w/ DJ WaltDigz, 10 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. “Bachatalicious,” w/ DJs Good Sho & Rodney, 7 p.m., $5-$10.
Pachamama Restaurant: 1630 Powell, San Francisco. Cafe Latino Americano, 8 p.m., $12.
EXPERIMENTAL
Meridian Gallery: 535 Powell, San Francisco. Composers in Performance: Todd Lerew, 7:30 p.m., $8-$10.
FUNK
Vertigo: 1160 Polk, San Francisco. “Full Tilt Boogie,” w/ KUSF-in-Exile DJs, Second Wednesday of every month, 8 p.m.-1:30 a.m., free.

THURSDAY 9
ROCK
Boom Boom Room: 1601 Fillmore, San Francisco. Koobi Fora, Jay Trainer Band, 9:30 p.m., $5-$8.
Bottom of the Hill: 1233 17th St., San Francisco. Maus Haus, Tiaras, Memory Motel, 9 p.m., $10.
The Chapel: 777 Valencia St., San Francisco. Pickwick, Elliott Brood, Fine Points, 9 p.m., $15-$17.
Hemlock Tavern: 1131 Polk, San Francisco. Brookhaven, Commissure, The Silhouette Era, 8:30 p.m., $5.
Make-Out Room: 3225 22nd St., San Francisco. Chain & The Gang, The Shivas, Skate Laws, 7 p.m., $8.
Milk Bar: 1840 Haight, San Francisco. Turn Me On Dead, Cash for Gold, The Gold Medalists, The Sweet Bones, 8 p.m., $8.
Monarch: 101 6th St., San Francisco. Dangermaker, Odd Owl, Margaret the King, 9 p.m., $5-$10.
Rickshaw Stop: 155 Fell, San Francisco. Rickshaw Stop 10th Anniversary: Geographer, Trails & Ways, DJ Aaron Axelsen, 8 p.m., sold out.
S.F. Eagle: 398 12th St., San Francisco. La Plebe, The Meat Sluts, The Bloody Hells, 9 p.m., $10.
Tupelo: 1337 Green St., San Francisco. Hot Einstein, 9 p.m.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. “Gem & Jam: A Light in the Attic S.F. Preparty,” w/ Govinda, Love & Light, Nico Luminous, Insightful, The Flying Skulls, Matt Haze, 10 p.m., $10 advance.
Abbey Tavern: 4100 Geary, San Francisco. DJ Schrobi-Girl, 10 p.m., free.
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “Tubesteak Connection,” w/ DJ Bus Station John, 9 p.m., $5-$7.
The Cafe: 2369 Market, San Francisco. “¡Pan Dulce!,” 9 p.m., $5.
Cat Club: 1190 Folsom, San Francisco. “Throwback Thursdays,” ‘80s night with DJs Damon, Steve Washington, Dangerous Dan, and guests, 9 p.m., $6 (free before 9:30 p.m.).
The Cellar: 685 Sutter, San Francisco. “XO,” w/ DJs Astro & Rose, 10 p.m., $5.
Club X: 715 Harrison, San Francisco. “The Crib,” 9:30 p.m., $10, 18+.
Danzhaus: 1275 Connecticut, San Francisco. “Alt.Dance,” Second Thursday of every month, 7 p.m., $7, 18+.
Elbo Room: 647 Valencia, San Francisco. “Afrolicious,” w/ DJs Pleasuremaker, Señor Oz, and live guests, 9:30 p.m., $5-$8.
Infusion Lounge: 124 Ellis, San Francisco. “I Love Thursdays,” 10 p.m., $10.
Madrone Art Bar: 500 Divisadero, San Francisco. “Night Fever,” 9 p.m., $5 after 10 p.m.
Q Bar: 456 Castro, San Francisco. “Throwback Thursday,” w/ DJ Jay-R, 9 p.m., free.
Raven: 1151 Folsom St., San Francisco. “1999,” w/ VJ Mark Andrus, 8 p.m., free.
The Tunnel Top: 601 Bush, San Francisco. “Tunneltop,” DJs Avalon and Derek ease you into the weekend with a cool and relaxed selection of tunes spun on vinyl, 10 p.m., free.
Underground SF: 424 Haight, San Francisco. “Bubble,” 10 p.m., free.
Vessel: 85 Campton, San Francisco. “Base,” w/ Lisa Rose, Jaime James, OneMoHit, Monchis the DJ, 10 p.m., free.
HIP-HOP
Eastside West: 3154 Fillmore, San Francisco. “Throwback Thursdays,” w/ DJ Madison, 9 p.m., free.
John Colins: 138 Minna, San Francisco. “Party with Friends,” w/ resident DJs IllEfect, GeektotheBeat, Merrick, and Delrokz, Second Thursday of every month, 9 p.m., free.
Skylark Bar: 3089 16th St., San Francisco. “Peaches,” w/ lady DJs DeeAndroid, Lady Fingaz, That Girl, Umami, Inkfat, and Andre, 10 p.m., free.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. The Dull Richards, Dinner with the Kids, Demimonde, Old Belle, 9 p.m., $7-$10.
Atlas Cafe: 3049 20th St., San Francisco. Mountain Dojo, 8 p.m., free.
Bazaar Cafe: 5927 California, San Francisco. Acoustic Open Mic, 7 p.m.
Hotel Utah: 500 Fourth St., San Francisco. Minor Birds, Robert Deeble, Caitlin Eadie, 9 p.m., $8-$10.
The Lost Church: 65 Capp St., San Francisco. Andrew St. James & Scott Mickelson, 8 p.m., $10.
Plough & Stars: 116 Clement, San Francisco. John Caulfield & Friends, 9 p.m.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Andy McKee, Janet Noguera, 8 p.m., $31.
JAZZ
Blush! Wine Bar: 476 Castro, San Francisco. Doug Martin’s Avatar Ensemble, 7:30 p.m., free.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, Second Thursday of every month, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Steve Lucky & The Rhumba Bums, 7:30 p.m.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Jam with Eddy Ramirez, 7:30 p.m., $5.
SFJAZZ Center: 205 Franklin St., San Francisco. “Hotplate,” w/ Le Jazz Hot (playing Django Reinhardt), 8 & 9:30 p.m., $15-$20.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Stompy Jones, 7:30 p.m., $10.
Zingari: 501 Post, San Francisco. Barbara Ochoa, 7:30 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Pa’Lante!,” w/ Juan G, El Kool Kyle, Mr. Lucky, 10 p.m., $5.
Pachamama Restaurant: 1630 Powell, San Francisco. “Jueves Flamencos,” 8 p.m., free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Gary Flores & Descarga Caliente, 8 p.m.
Verdi Club: 2424 Mariposa, San Francisco. The Verdi Club Milonga, w/ Christy Coté, DJ Emilio Flores, guests, 9 p.m., $10-$15.
REGGAE
Make-Out Room: 3225 22nd St., San Francisco. “Festival ‘68,” w/ Revival Sound System, Second Thursday of every month, 10 p.m., free.
Pissed Off Pete’s: 4528 Mission St., San Francisco. Reggae Thursdays, w/ resident DJ Jah Yzer, 9 p.m., free.
BLUES
50 Mason Social House: 50 Mason, San Francisco. Bill Phillippe, 5:30 p.m., free.
Biscuits and Blues: 401 Mason, San Francisco. Toronzo Cannon, 7:30 & 9:30 p.m., $20.
COUNTRY
The Parlor: 2801 Leavenworth, San Francisco. “Twang Honky Tonk & Country Jamboree,” w/ DJ Little Red Rodeo, 7 p.m., free.
EXPERIMENTAL
The Luggage Store: 1007 Market, San Francisco. “Trance Mutations,” w/ I.C.P.C.P., Demon Sleeper, Loachfillet, 8 p.m., $6-$10.
SOUL
Cigar Bar & Grill: 850 Montgomery, San Francisco. Big Blu Soul Revue, Second Thursday of every month, 7:30 p.m., free.
Lookout: 3600 16th St., San Francisco. Queen B, Beyoncé tribute night with the Rice Rockettes and DJ Brenda Dong., 9 p.m., $5.

FRIDAY 10
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. Tennis, Kyle M. Terrizzi, 9:30 p.m., sold out.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Death Valley High, Flexx Bronco, Happy Fangs, 9 p.m., $5-$8.
DNA Lounge: 375 11th St., San Francisco. Girls Rock!, Fundraiser for victims of drunk drivers with music by Punk Funk Mob, MoonFox, Victoria & The Vaudevillains, and Coffee Shop Dropout., 9 p.m., $10-$12.
Hemlock Tavern: 1131 Polk, San Francisco. Eyes on the Shore, Spidermeow, The Midnight Snackers, 9:30 p.m., $6.
Hotel Utah: 500 Fourth St., San Francisco. Panic Is Perfect, My Stupid Brother, Salty De Vito, 9 p.m., $10.
Make-Out Room: 3225 22nd St., San Francisco. The Minks, Matthew Edwards & The Unfortunates, 7:30 p.m., $8.
Milk Bar: 1840 Haight, San Francisco. Fritz Montana, The Meat Packers, Peachelope, 9 p.m., $7-$10.
Rickshaw Stop: 155 Fell, San Francisco. Rickshaw Stop 10th Anniversary: YACHT, Shock, plus Three Kinds of Stupid DJs Brother Grimm, Chris Baty, and BAS, 9 p.m., $20.
Slim’s: 333 11th St., San Francisco. Battlehooch, Sun Hop Fat, Hungry Skinny, The Rotten Kids, Jazzy Fox, 8 p.m., $15.
DANCE
1015 Folsom: 1015 Folsom St., San Francisco. “Trap City,” w/ Ookay, Caked Up, Sasha Go Hard, UltraViolet, VNDMG, Napsty, Jocelyn, 10 p.m., $15 advance.
Amnesia: 853 Valencia, San Francisco. “Indie Slash,” w/ resident DJs Danny White, Rance, and Sweethearts, Second Friday of every month, 10 p.m., $5.
Audio Discotech: 316 11th St., San Francisco. Hot Since 82, Pheeko Dubfunk, 9:30 p.m., $15 advance.
BeatBox: 314 11th St., San Francisco. “Bears in the Dark,” w/ DJ Del Stamp, 10 p.m., $5-$10.
Cafe Flore: 2298 Market, San Francisco. “Kinky Beats,” w/ DJ Sergio, 10 p.m., free.
The Cafe: 2369 Market, San Francisco. “Boy Bar,” w/ DJ Matt Consola, 9 p.m., $5.
Cat Club: 1190 Folsom, San Francisco. “Dark Shadows,” w/ DJs Daniel Skellington, Joe Radio, Melting Girl, and Mz. Samantha, 9:30 p.m., $7 ($3 before 10 p.m.).
The Cellar: 685 Sutter, San Francisco. “F.T.S.: For the Story,” 10 p.m.
The EndUp: 401 Sixth St., San Francisco. “Fever,” 10 p.m., free before midnight.
The Grand Nightclub: 520 4th St., San Francisco. “We Rock Fridays,” 9:30 p.m.
Harlot: 46 Minna, San Francisco. “The Animal Party: Snowy Playground,” w/ Traviswild & Wallace, 9 p.m., $10-$20 advance.
Infusion Lounge: 124 Ellis, San Francisco. “Escape Fridays,” 10 p.m., $20.
Lone Star Saloon: 1354 Harrison, San Francisco. “Cubcake,” w/ DJ Medic, Second Friday of every month, 9 p.m.
Lookout: 3600 16th St., San Francisco. “HYSL,” 9 p.m., $3.
Manor West: 750 Harrison, San Francisco. “Fortune Fridays,” 10 p.m., free before 11 p.m. with RSVP.
MatrixFillmore: 3138 Fillmore, San Francisco. “F-Style Fridays,” w/ DJ Jared-F, 9 p.m.
Monarch: 101 6th St., San Francisco. “Direct to Earth,” w/ Ambivalent, Mossmoss, Brian Knarfield, Bob Five, Dao & Pwny, 9 p.m., $15 advance.
OMG: 43 6th St., San Francisco. “Release,” 9 p.m., free before 11 p.m.
Public Works: 161 Erie, San Francisco. “The Music of Radiohead vs. The Music of Daft Punk,” w/ DJs Motion Potion & Matt Haze (in the OddJob Loft), 9 p.m., $5-$10; Wait What, in the main room, 9 p.m., $8-$10.
Q Bar: 456 Castro, San Francisco. “Pump: Worq It Out Fridays,” w/ resident DJ Christopher B, 9 p.m., $3.
Ruby Skye: 420 Mason, San Francisco. BT, 9 p.m., $25.
S.F. Eagle: 398 12th St., San Francisco. “Cub Trap,” 8 p.m.
Showdown: 10 Sixth St., San Francisco. “Electric WKND,” w/ The Certain People Crew, Second Friday of every month, 10 p.m., free.
Slide: 430 Mason, San Francisco. “E2F,” Second Friday of every month, 9 p.m.
Temple: 540 Howard, San Francisco. DJ Enfo, E-20, Reflecta, Mikey Tan, Ayla Simone, DJ Midnight, 10 p.m., $15.
Underground SF: 424 Haight, San Francisco. “Bionic,” 10 p.m., $5.
Vessel: 85 Campton, San Francisco. “Sound Addiction,” w/ Konman, Adam Cova, Halloran, DJ Nile, 10 p.m., $10-$30.
Wish: 1539 Folsom, San Francisco. “Bridge the Gap,” w/ resident DJ Don Kainoa, Fridays, 6-10 p.m., free.
Women’s Building: 3543 18th St., San Francisco. Prom Night: Redux, SF IndieFest launch party and benefit dance with DJs Shindog and Junkyard., 8 p.m., $5-$10.
HIP-HOP
EZ5: 682 Commercial, San Francisco. “Decompression,” Fridays, 5-9 p.m.
John Colins: 138 Minna, San Francisco. “Heartbeat,” w/ resident DJ Strategy, Second Friday of every month, 9 p.m., $5 (free before 11 p.m).
Mighty: 119 Utah, San Francisco. DJ Jazzy Jeff, DJ Shortkut, DJ Proof, 9 p.m., $15-$25 advance.
Slate Bar: 2925 16th St., San Francisco. “The Hustle,” w/ DJs Sake One & Sean G, Second Friday of every month, 9 p.m.
ACOUSTIC
Bazaar Cafe: 5927 California, San Francisco. Acoustic Guitar Showcase, hosted by Teja Gerken, 7 p.m.
The Chapel: 777 Valencia St., San Francisco. Lia Rose, Misisipi Mike Wolf, 9 p.m., $12-$15.
Dolores Park Cafe: 501 Dolores, San Francisco. Jeff Desira, 7:30 p.m.
The Independent: 628 Divisadero, San Francisco. Dead Winter Carpenters, American Nomad, Sleeping Giants, 9 p.m., $15.
The Lost Church: 65 Capp St., San Francisco. “Brian Belknap’s Front Porch Friday Night,” w/ The Parmesans & Field Medic, 8 p.m., $10.
Plough & Stars: 116 Clement, San Francisco. Anju’s Pale Blue Eyes, Hardly Strictly Trad., 9 p.m.
The Sports Basement: 610 Old Mason, San Francisco. “Breakfast with Enzo,” w/ Enzo Garcia, 10 a.m., $5.
JAZZ
Atlas Cafe: 3049 20th St., San Francisco. Jazz at the Atlas, 7:30 p.m., free.
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Johnny Smith, 8 p.m., free.
Bird & Beckett: 653 Chenery, San Francisco. Jimmy Ryan Quintet, Second Friday of every month, 5:30 p.m., free.
Boom Boom Room: 1601 Fillmore, San Francisco. Grant Green Jr. with Bernard Purdie, Eamonn Flynn, and Daniel Casares, 9 p.m., $15 advance.
The Emerald Tablet: 80 Fresno St., San Francisco. Vince Lateano Quartet, 8 p.m., $15 suggested donation.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Charles Unger Experience, 7:30 p.m., free.
The Palace Hotel: 2 New Montgomery, San Francisco. The Klipptones, 8 p.m., free.
Pier 23 Cafe: Pier 23, San Francisco. 29th Street Swingtet, 8 p.m., free.
Red Poppy Art House: 2698 Folsom, San Francisco. Beth Custer Ensemble, 7:30 p.m., $15-$20.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Trio, 7 p.m., $8.
Top of the Mark: One Nob Hill, 999 California, San Francisco. Black Market Jazz Orchestra, 9 p.m., $10.
Zingari: 501 Post, San Francisco. Joyce Grant, 8 p.m., free.
INTERNATIONAL
Bissap Baobab: 3372 19th St., San Francisco. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.
Cafe Cocomo: 650 Indiana, San Francisco. Taste Fridays, featuring local cuisine tastings, salsa bands, dance lessons, and more, 7:30 p.m., $15 (free entry to patio).
Cliff House: 1090 Point Lobos, San Francisco. Orquesta Conquistador Quartet, 7 p.m.
Pachamama Restaurant: 1630 Powell, San Francisco. Cuban Night with Fito Reinoso, 7:30 & 9:15 p.m., $15-$18.
REGGAE
Gestalt Haus: 3159 16th St., San Francisco. “Music Like Dirt,” 7:30 p.m., free.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Toronzo Cannon, 7:30 & 10 p.m., $22.
Lou’s Fish Shack: 300 Jefferson St., San Francisco. Eldon Brown, 6 p.m.
The Saloon: 1232 Grant, San Francisco. Jinx Jones & The KingTones, Second Friday of every month, 4 p.m.
Tupelo: 1337 Green St., San Francisco. Marshall Law Band, 9 p.m.
FUNK
Make-Out Room: 3225 22nd St., San Francisco. “Loose Joints,” w/ DJs Centipede, Damon Bell, and Tom Thump, 10 p.m., $5-$10.
ROCKABILLY
Elbo Room: 647 Valencia, San Francisco. The Chop Tops, Hayride to Hell, Hard Fall Hearts, Blacktop Tragedy, 9 p.m., $12.
SOUL
Edinburgh Castle: 950 Geary, San Francisco. “Soul Crush,” w/ DJ Serious Leisure, 10 p.m., free.
The Knockout: 3223 Mission, San Francisco. “Nightbeat,” w/ DJs Primo, Lucky, and Dr. Scott, Second Friday of every month, 10 p.m., $4.
Madrone Art Bar: 500 Divisadero, San Francisco. “Yo Momma: M.O.M. Weekend Edition,” w/ DJ Gordo Cabeza, Second Friday of every month, 9 p.m., $5 (free before 10 p.m.).
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Amel Larrieux, 8 & 10 p.m., $30-$40.

SATURDAY 11
ROCK
Bender’s: 806 S. Van Ness, San Francisco. Alabaster & The Original Bastards, Colonel Jimmy & The Blackfish, 10 p.m., $5.
Bottom of the Hill: 1233 17th St., San Francisco. I the Mighty, Fighting the Villain, Rin Tin Tiger, Mr. Kind, 8:30 p.m., $10.
Hemlock Tavern: 1131 Polk, San Francisco. Odawas, Jon Bernson, Paint the Trees White, 9:30 p.m., $7.
Neck of the Woods: 406 Clement St., San Francisco. The Shape, Style Like Revelators, The Saint Ides, on the downstairs stage, 9 p.m., $6-$8.
The Riptide: 3639 Taraval, San Francisco. The Copper Tones, 9:30 p.m., free.
Slim’s: 333 11th St., San Francisco. Astronauts, etc.; Waterstrider; There’s Talk, show moved from Cafe Du Nord, 9 p.m., $7-$10.
Thee Parkside: 1600 17th St., San Francisco. StaG, Tidelands, Dinners, 9 p.m., $8.
Tupelo: 1337 Green St., San Francisco. The Bonedrivers, 9:30 p.m.
DANCE
Amnesia: 853 Valencia, San Francisco. “2 Men Will Move You,” w/ DJs Primo & Jordan, Second Saturday of every month, 9 p.m.
Audio Discotech: 316 11th St., San Francisco. Adrenalin Room Label Showcase, w/ SNR, Jacob Henry, David Gropper, Zulu Company, 9 p.m., $10 advance.
Cafe Flore: 2298 Market, San Francisco. “Bistrotheque,” w/ DJ Ken Vulsion, 8 p.m., free.
Cat Club: 1190 Folsom, San Francisco. “Club Gossip,” w/ DJ Damon & guests, Second Saturday of every month, 9 p.m., $5-$8 (free before 9:30 p.m.).
DNA Lounge: 375 11th St., San Francisco. “Bootie S.F.,” w/ Earworm, Smash-Up Derby, A+D, DJ Dada, DJ Dcnstrct, Meikee Magnetic, Mixtress Shizaam, more, 9 p.m., $10-$15.
Edinburgh Castle: 950 Geary, San Francisco. Bowie & Elvis Birthday Bash, w/ DJs Shindog, Cammy, Moonshine, and Andy T, 9 p.m., $5.
Elbo Room: 647 Valencia, San Francisco. “Tormenta Tropical,” w/ Poirier, Oro11, Deejay Theory, 10 p.m., $5-$10.
The EndUp: 401 Sixth St., San Francisco. “Eclectricity,” Second Saturday of every month, 10 p.m.
The Hot Spot: 1414 Market, San Francisco. “Love Will Fix It,” w/ DJ Bus Station John, Second Saturday of every month, 10 p.m., $5.
Infusion Lounge: 124 Ellis, San Francisco. “One Way Ticket Saturdays,” w/ Eric D-Lux, Second Saturday of every month, 10 p.m., $20.
The Knockout: 3223 Mission, San Francisco. “Galaxy Radio,” w/ resident DJs Smac, Emils, Holly B, and guests, Second Saturday of every month, 9 p.m., free.
Lookout: 3600 16th St., San Francisco. “Bounce!,” 9 p.m., $3.
Madrone Art Bar: 500 Divisadero, San Francisco. “Music Video Night,” w/ DJs Satva & 4AM, Second Saturday of every month, 10 p.m., $5.
Mezzanine: 444 Jessie, San Francisco. Benga, Twrk, RyuRy, Tchphnx, 9 p.m., $17-$20.
Mighty: 119 Utah, San Francisco. “Salted,” w/ Miguel Migs, Julius Papp, guests, Second Saturday of every month, 10 p.m., $10 before 11 p.m.
Milk Bar: 1840 Haight, San Francisco. “Week-End: Saturday Edition,” w/ DJ Madison, 9 p.m., free.
Monarch: 101 6th St., San Francisco. “The Super Silly Circus Birthday Bash,” w/ Detroit Swindle, Bells & Whistles, Bo Bo the Clown, B the Bohemian, Machete Master Mitsu, Jonny the Pocket Juggler, 10 p.m., $5-$15.
OMG: 43 6th St., San Francisco. “Fixup,” Second Saturday of every month, 10 p.m., $5 (free before 11 p.m).
Public Works: 161 Erie, San Francisco. “Isis,” w/ Kim Ann Foxman, Avalon Emerson, Mountaincount (in the OddJob Loft), 9:30 p.m., $10-$15.
Q Bar: 456 Castro, San Francisco. “Shoop!,” w/ DJs Tommy T & Bryan B, Second Saturday of every month, 9 p.m.
Rickshaw Stop: 155 Fell, San Francisco. Rickshaw Stop 10th Anniversary: Cockblock, w/ DJs China G & Kidd Sysko, 10 p.m., $10.
Ruby Skye: 420 Mason, San Francisco. Robbie Rivera, 9 p.m., $20.
The Stud: 399 Ninth St., San Francisco. “Frolic,” w/ Cosmo Coyote, Neshamah, Orion Barkley, NeonBunny, 8 p.m., $8 ($4 in costume).
Temple: 540 Howard, San Francisco. AndDrop!, Drezo, Brotherboard, Lukas Felt, Sean B, Roger Moorehouse, Rich Era, 10 p.m., $20.
Vessel: 85 Campton, San Francisco. Scooter & Lavelle, 10 p.m., $10-$30.
Wish: 1539 Folsom, San Francisco. “All Styles & Smiles,” w/ DJ Tom Thump, Second Saturday of every month, 10 p.m., free.
HIP-HOP
111 Minna Gallery: 111 Minna St., San Francisco. “Back to the ‘90s,” Second Saturday of every month, 9:30 p.m., $10.
50 Mason Social House: 50 Mason, San Francisco. Maya Castleman, Mantis One, Yarrow Slaps, DJ Dalej, 7 p.m., free.
Double Dutch: 3192 16th St., San Francisco. “Cash IV Gold,” w/ DJs Kool Karlo, Roost Uno, and Sean G, Second Saturday of every month, 10 p.m., free.
John Colins: 138 Minna, San Francisco. “Second Saturdays,” w/ resident DJ Matt Cali, Second Saturday of every month, 10 p.m., free.
Showdown: 10 Sixth St., San Francisco. “The Shit Show,” w/ resident DJ Taurus Scott, Second Saturday of every month, 10 p.m., two for $5.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. The Highway Poets, 7 p.m., $5-$7.
Atlas Cafe: 3049 20th St., San Francisco. Craig Ventresco and/or Meredith Axelrod, Saturdays, 4-6 p.m., free.
Bazaar Cafe: 5927 California, San Francisco. David Whitaker with Gary Adler, Sugar Ponies, Dane Ohri, Mario DiSandro, and David Colón, 7 p.m.
Great American Music Hall: 859 O’Farrell, San Francisco. The Good Luck Thrift Store Outfit, w/ The Human Condition, Three Times Bad, 9 p.m., $13.
Hotel Utah: 500 Fourth St., San Francisco. Andrew Duhon, Don DiLego, Jeff Conley, Keyan Keihani, 9 p.m., $10.
The Independent: 628 Divisadero, San Francisco. Diego’s Umbrella, Con Brio, 9 p.m., $20-$25.
The Lost Church: 65 Capp St., San Francisco. Dara Ackerman, MacClain & Cole, 8 p.m., $10.
JAZZ
Boom Boom Room: 1601 Fillmore, San Francisco. Wil Blades, Skerik, Jeff Parker, and Simon Lott, 9:30 p.m., $15 advance.
The Emerald Tablet: 80 Fresno St., San Francisco. Rebecca Kleinmann, 8 p.m.
Hotel Rex: 562 Sutter, San Francisco. Pamela Joy’s “Strange Bedfellows: The Music and Unlikely Partnership of Cole Porter and Irving Berlin,” 8 p.m., $20.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.
Savanna Jazz Club: 2937 Mission, San Francisco. Savanna Jazz Trio, 7 p.m., $8.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. The Robert Stewart Experience, 9 p.m.
Zingari: 501 Post, San Francisco. Barbara Ochoa, 8 p.m.
INTERNATIONAL
1015 Folsom: 1015 Folsom St., San Francisco. “Pura,” 9 p.m., $20.
Bissap Baobab: 3372 19th St., San Francisco. Misión Flamenca, Monthly live music and dance performances., Second Saturday of every month, 7:30 p.m. “Paris-Dakar African Mix Coupe Decale,” 10 p.m., $5.
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Bang Data, El Conjunto Nueva Ola, Deejay Julicio, 9 p.m., $10-$13.
Make-Out Room: 3225 22nd St., San Francisco. “El SuperRitmo,” w/ DJs Roger Mas & El Kool Kyle, 10 p.m., $5 before 11 p.m.
Pachamama Restaurant: 1630 Powell, San Francisco. Eddy Navia & Pachamama Band, 8 p.m., free.
Public Works: 161 Erie, San Francisco. “Non Stop Bhangra,” w/ DJ Jimmy Love, DJ Sep, DJ Nix, Dholrhythms dance troupe, more (in the main room), 9 p.m., $10-$15.
Red Poppy Art House: 2698 Folsom, San Francisco. Guatam Tejas Ganashan, 7:30 p.m., $12-$20.
Space 550: 550 Barneveld, San Francisco. “Club Fuego,” 9:30 p.m.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Andy T & Nick Nixon Band with Janiva Magness, 7:30 & 10 p.m., $22.
Lou’s Fish Shack: 300 Jefferson St., San Francisco. Willie G, 6 p.m.
The Saloon: 1232 Grant, San Francisco. Dave Workman, Second Saturday of every month, 4 p.m.

SUNDAY 12
ROCK
Brick & Mortar Music Hall: 1710 Mission, San Francisco. Amoebapalooza S.F., 9 p.m., $5.
Hemlock Tavern: 1131 Polk, San Francisco. Ownership, The Rabbles, Reverse Headache, 8:30 p.m., $5.
The Knockout: 3223 Mission, San Francisco. Buffalo Tooth, Harsh Toke, Artifact, 3 p.m.
Make-Out Room: 3225 22nd St., San Francisco. Enorchestra, 3 Leafs, Henry Plotnick, 7:30 p.m., $8.
Rickshaw Stop: 155 Fell, San Francisco. Rickshaw Stop 10th Anniversary: Leslie & The LY’s, Double Duchess, DJ Kidd Sysko, 8 p.m., $16.
DANCE
BeatBox: 314 11th St., San Francisco. “Tea-Rex,” w/ DJ Corey Craig, 4-8 p.m., $10.
Beaux: 2344 Market, San Francisco. “Full of Grace: A Weekly House Music Playground,” 9 p.m., free.
The Cellar: 685 Sutter, San Francisco. “Replay Sundays,” 9 p.m., free.
The Edge: 4149 18th St., San Francisco. “’80s at 8,” w/ DJ MC2, 8 p.m.
Elbo Room: 647 Valencia, San Francisco. “Dub Mission,” w/ DJ Sep, J-Boogie, Matt Haze, 9 p.m., $6 (free before 9:30 p.m.).
The EndUp: 401 Sixth St., San Francisco. “T.Dance,” 6 a.m.-6 p.m.; “The Rhythm Room,” Second Sunday of every month, 8 p.m.; “Sunday Sessions,” 8 p.m.
F8: 1192 Folsom St., San Francisco. “Stamina,” w/ DJs Lukeino, Jamal, and guests, 10 p.m., free.
The Knockout: 3223 Mission, San Francisco. “Sweater Funk,” 10 p.m., free.
Lookout: 3600 16th St., San Francisco. “Jock,” Sundays, 3-8 p.m., $2.
MatrixFillmore: 3138 Fillmore, San Francisco. “Bounce,” w/ DJ Just, 10 p.m.
Otis: 25 Maiden, San Francisco. “What’s the Werd?,” w/ resident DJs Nick Williams, Kevin Knapp, Maxwell Dub, and guests, 9 p.m., $5 (free before 11 p.m.).
The Parlor: 2801 Leavenworth, San Francisco. DJ Marc deVasconcelos, 10 p.m., free.
Q Bar: 456 Castro, San Francisco. “Gigante,” 8 p.m., free.
Slate Bar: 2925 16th St., San Francisco. “Vibes,” w/ Druid Cloak, Benito, Josh Mace, more, 10 p.m., free.
Temple: 540 Howard, San Francisco. “Sunset Arcade,” 18+ dance party & game night, 9 p.m., $10.
HIP-HOP
Boom Boom Room: 1601 Fillmore, San Francisco. “Return of the Cypher,” 9:30 p.m., free.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. The Dustbowl Revival, 9 p.m., $7-$10.
Bazaar Cafe: 5927 California, San Francisco. “Ukuladies & Gentleman,” w/ Allison Craig, Robin Galante, more, 6 p.m.
The Lucky Horseshoe: 453 Cortland, San Francisco. Bernal Mountain Bluegrass Jam, 4 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Spike’s Mic Night,” Sundays, 4-8 p.m., free.
Plough & Stars: 116 Clement, San Francisco. Seisiún with Marla Fibish, Erin Shrader, and Richard Mandel, 9 p.m.
St. Luke’s Episcopal Church: 1755 Clay, San Francisco. “Sunday Night Mic,” w/ Roem Baur, 5 p.m., free.
JAZZ
Chez Hanny: 1300 Silver, San Francisco. Matt Renzi Cello Quartet, 4 p.m., $20 suggested donation.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Bill “Doc” Webster & Jazz Nostalgia, 7:30 p.m., free.
Madrone Art Bar: 500 Divisadero, San Francisco. “Sunday Sessions,” 10 p.m., free.
Martuni’s: 4 Valencia, San Francisco. Madame Jo Trio, second Sunday of every month, 4-6 p.m., free.
Revolution Cafe: 3248 22nd St., San Francisco. Jazz Revolution, 4 p.m., free/donation.
The Royal Cuckoo: 3202 Mission, San Francisco. Lavay Smith & Chris Siebert, 7:30 p.m., free.
Zingari: 501 Post, San Francisco. Amanda King, 7:30 p.m., free.
INTERNATIONAL
Atmosphere: 447 Broadway, San Francisco. “Hot Bachata Nights,” w/ DJ El Guapo, 5:30 p.m., $10 ($18-$25 with dance lessons).
Bissap Baobab: 3372 19th St., San Francisco. “Brazil & Beyond,” 6:30 p.m., free.
El Rio: 3158 Mission, San Francisco. “Salsa Sundays,” Second and Fourth Sunday of every month, 3 p.m., $8-$10.
Thirsty Bear Brewing Company: 661 Howard, San Francisco. “The Flamenco Room,” 7:30 & 8:30 p.m.
BLUES
Lou’s Fish Shack: 300 Jefferson St., San Francisco. Little Wolf & The HellCats, 4 p.m.
The Saloon: 1232 Grant, San Francisco. Blues Power, 4 p.m.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. Bohemian Knuckleboogie, 8 p.m., free.
Swig: 571 Geary, San Francisco. Sunday Blues Jam with Ed Ivey, 9 p.m.
COUNTRY
The Riptide: 3639 Taraval, San Francisco. Joe Goldmark & The Seducers, Second Sunday of every month, 7:30 p.m., free.
EXPERIMENTAL
Musicians Union Local 6: 116 Ninth St., San Francisco. Confluence: Adventurous Music for Building Brain Cells, w/ Thollem McDonas, 7:30 p.m., $8-$10.
SOUL
Delirium Cocktails: 3139 16th St., San Francisco. “Heart & Soul,” w/ DJ Lovely Lesage, 10 p.m., free.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Amel Larrieux, 7 & 9 p.m., $30-$40.

MONDAY 13
ROCK
Elbo Room: 647 Valencia, San Francisco. “Americalia,” w/ Mark Matos & guests, 9 p.m. continues through Jan. 27, $7.
DANCE
DNA Lounge: 375 11th St., San Francisco. “Death Guild,” 18+ dance party with DJs Decay, Joe Radio, Melting Girl, & guests, 9:30 p.m., $3-$5.
Q Bar: 456 Castro, San Francisco. “Wanted,” w/ DJs Key&Kite and Richie Panic, 9 p.m., free.
Underground SF: 424 Haight, San Francisco. “Vienetta Discotheque,” w/ DJs Stanley Frank and Robert Jeffrey, 10 p.m., free.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. The Pick Bluegrass Jam, Second Monday of every month, 6 p.m., free; Toshio Hirano, Second Monday of every month, 9 p.m., free.
The Chieftain: 198 Fifth St., San Francisco. The Wrenboys, 7 p.m., free.
Fiddler’s Green: 1333 Columbus, San Francisco. Terry Savastano, 9:30 p.m., free/donation.
Hotel Utah: 500 Fourth St., San Francisco. Open Mic with Brendan Getzell, 8 p.m., free.
Osteria: 3277 Sacramento, San Francisco. “Acoustic Bistro,” 7 p.m., free.
The Saloon: 1232 Grant, San Francisco. Peter Lindman, 4 p.m.
JAZZ
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Eugene Pliner Quartet with Tod Dickow, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Le Jazz Hot, 7 p.m., free.
Sheba Piano Lounge: 1419 Fillmore, San Francisco. City Jazz Instrumental Jam Session, 8 p.m.
The Union Room at Biscuits and Blues: 401 Mason, San Francisco. The Session: A Monday Night Jazz Series, pro jazz jam with Mike Olmos, 7:30 p.m., $12.
REGGAE
Skylark Bar: 3089 16th St., San Francisco. “Skylarking,” w/ I&I Vibration, 10 p.m., free.
BLUES
The Saloon: 1232 Grant, San Francisco. The Bachelors, 9:30 p.m.
SOUL
Madrone Art Bar: 500 Divisadero, San Francisco. “M.O.M. (Motown on Mondays),” w/ DJ Gordo Cabeza & Timoteo Gigante, 8 p.m., free.

TUESDAY 14
ROCK
Bottom of the Hill: 1233 17th St., San Francisco. PSSNGRS, Face Tat, Casey Chisholm, Kid in the Attic, 9 p.m., $8.
The Chapel: 777 Valencia St., San Francisco. Black Cobra Vipers, 8 p.m., $12.
The Knockout: 3223 Mission, San Francisco. The Custom Kicks, Pogo Ono, Adderall Lavigne, DJ Lightnin’ Jeff G, 9:30 p.m.
Rickshaw Stop: 155 Fell, San Francisco. Maria Taylor, PJ Bond, The Ian Fays, 8 p.m., $12-$14.
DANCE
Aunt Charlie’s Lounge: 133 Turk, San Francisco. “High Fantasy,” w/ DJ Viv, Myles Cooper, & guests, 10 p.m., $2.
Harlot: 46 Minna, San Francisco. “Tutu Tuesday,” w/ resident DJ Atish, Second Tuesday of every month, 9 p.m., $7 ($2 in a tutu before 11 p.m.).
Monarch: 101 6th St., San Francisco. “Soundpieces,” 10 p.m., free-$10.
Q Bar: 456 Castro, San Francisco. “Switch,” w/ DJs Jenna Riot & Andre, 9 p.m., $3.
Underground SF: 424 Haight, San Francisco. “Shelter,” 10 p.m., free.
Wish: 1539 Folsom, San Francisco. “Tight,” w/ resident DJs Michael May & Lito, 8 p.m., free.
HIP-HOP
Double Dutch: 3192 16th St., San Francisco. “Takin’ It Back Tuesdays,” w/ DJs Mr. Murdock & Roman Nunez, Second Tuesday of every month, 10 p.m., free.
ACOUSTIC
Amnesia: 853 Valencia, San Francisco. Farallons, Indianna Hale, Jeffrey Manson, 9:15 p.m., $7.
Bazaar Cafe: 5927 California, San Francisco. Songwriter in Residence: Tom Rhodes, 7 p.m. continues through Jan. 28.
Plough & Stars: 116 Clement, San Francisco. Seisiún with Vinnie Cronin, 9 p.m.
Yoshi’s San Francisco: 1330 Fillmore, San Francisco. Shawn Colvin, Jan. 14-16, 8 p.m., $45.
JAZZ
Beach Chalet Brewery & Restaurant: 1000 Great Highway, San Francisco. Gerry Grosz Jazz Jam, 7 p.m.
Blush! Wine Bar: 476 Castro, San Francisco. Kally Price & Rob Reich, 7 p.m., free.
Burritt Room: 417 Stockton St., San Francisco. Terry Disley’s Rocking Jazz Trio, 6 p.m., free.
Cafe Divine: 1600 Stockton, San Francisco. Chris Amberger, 7 p.m.
Jazz Bistro at Les Joulins: 44 Ellis, San Francisco. Clifford Lamb, Mel Butts, and Friends, 7:30 p.m., free.
Le Colonial: 20 Cosmo, San Francisco. Lavay Smith & Her Red Hot Skillet Lickers, 7 p.m.
Revolution Cafe: 3248 22nd St., San Francisco. West Side Jazz Club, 5 p.m., free.
Tupelo: 1337 Green St., San Francisco. Mal Sharpe’s Big Money in Jazz Band, 6 p.m.
Verdi Club: 2424 Mariposa, San Francisco. “Tuesday Night Jump,” w/ Stompy Jones, 9 p.m., $10-$12.
INTERNATIONAL
Cafe Cocomo: 650 Indiana, San Francisco. “Descarga S.F.,” w/ DJs Hong & Good Sho, 8 p.m., $12.
The Cosmo Bar & Lounge: 440 Broadway, San Francisco. “Conga Tuesdays,” 8 p.m., $7-$10.
F8: 1192 Folsom St., San Francisco. “Underground Nomads,” w/ rotating resident DJs Amar, Sep, and Dulce Vita, plus guests, 9 p.m., $5 (free before 9:30 p.m.).
REGGAE
Milk Bar: 1840 Haight, San Francisco. “Bless Up,” w/ Jah Warrior Shelter Hi-Fi, 10 p.m.
BLUES
Biscuits and Blues: 401 Mason, San Francisco. Fat Tuesday Band, 7:30 & 9:30 p.m., $15.
FUNK
Madrone Art Bar: 500 Divisadero, San Francisco. “Boogaloo Tuesday,” w/ Oscar Myers & Steppin’, 9:30 p.m., free.
SOUL
Make-Out Room: 3225 22nd St., San Francisco. “Lost & Found,” w/ DJs Primo, Lucky, and guests, 9:30 p.m., free. 2

Divining the entrails

Michael Redmond
-
5
Divining the entrails

arts@sfbg.com

LIT On the cover of Incurable Disorder (Last Gasp, 2013), an adolescent deer covered in a thick pelt of diamond-bright Swarovski crystals gazes calmly outward, as ruby-red rhinestone blood drips from the points where golden arrows sprout cruelly from its graceful frame. Upon opening the book we see the piece — The Folly of St. Hubertus, 2010 — in its entirety. It’s a delicate, eight-legged anomaly, weeping, bleeding, and glittering all at the same time, housed within an austere glass-paneled case like a hunting trophy bagged in an enchanted forest, which many of Elizabeth McGrath’s strange creations resemble.

A bestiary of improbable wonders awaits within the pages of this confidently-designed coffee-table book: the mounted heads of tattooed rabbits and stags whose majestic horns are tangled with sails or telephone wires; bucktoothed rodents and circus bears with windows to alternate, dystopian landscapes planted in their chubby tummies; a cross-sectioned, gilt-edged pig with a pair of tiny, Victorian-style dollhouses firmly ensconced in its oozy-looking pink innards. Juxtaposition is the key word to many of these modernist mash-ups, and indeed, the LA-based “Bloodbath” McGrath is a favorite artist of famously outsider Juxtapoz magazine.

Inhabiting a territory too grisly to be labeled whimsical and too cartoonish to be labeled truly morbid, McGrath’s relentlessly askew dioramas and sculptures subvert the pop-goth ghetto of icky-cute by cutting just a little too close to the bone. Looking in the eyes of her mutilated menagerie inspires the same sense of fascination and bemused regret that accompanies the contemplation of roadkill or fetal pigs floating in formaldehyde. Her darkly incandescent aesthetic is reminiscent of Christiane Cegavske’s stop-motion tour de force Blood Tea and Red String (2006), wistful and powerful, playful and primal all at the same time

If twisting the familiar tropes of pop art appears to be a guiding principle behind McGrath’s dark menagerie, you can see the mechanics of a more classical approach in the equally haunting art of Laurie Lipton. Prosaically entitled The Drawings of Laurie Lipton (Last Gasp, 2013), the front piece of her book, a work entitled Round and Round (2012), demonstrates a folly of a non-sainted kind, a clutter of grinning skeletons driving in an endless circle around a lonely pair of old-fashioned gas pumps perched atop a wasteland of bones and pipes.

Lipton’s photorealistic, black-and-white line drawings bring to mind the highly-detailed engravings of Albrecht Dürer, an artist Lipton confesses an affinity for. But unlike Dürer, who favored woodcuts and watercolors, Lipton’s tools are charcoal and pencils, and her self-devised method of creating depth and texture with layer upon layer of incredibly fine lines and crosshatching gives her work a distinctive allure. Each white line is the result of the negative space being painstakingly filled in around each, rather than the judicious application of a white pencil (or, for that matter, an eraser), and this obsessive penchant for detail manifests itself further in the amount of same stuffed into each dystopian landscape: mountains of bones, webs spun from hundreds of threads, bushes covered in thousands of tiny leaves, each unique.

It’s precisely the intricacy of such details that makes Lipton’s work a challenge to fit into book format. The book itself is a handsome volume indeed, a compact 10 and a half inches by nine and a half inches, with a black, leather-look cover, and embossed silver lettering which subtly complements the many shades of gray employed by Lipton in her drawings. Many of the collected works are displayed with one page devoted to the full work, and another page with zoomed-in views of some of the most meticulous details. A drawing of a cobwebbed skeleton in royal court attire (Queen of Bones, 2009) gets a close-up of the knuckle bones that line her sumptuous brocade cloak, while The Three Fates (1997) gets one of a hundred tiny bodies crammed onto one small portion of an impossibly long conveyor belt passing in front of the gnarled figures of the titular Fates. But while these close-ups are helpful in decoding some of Lipton’s more ingenious inventions, the full impact of her larger works eludes the reader somewhat.

At a book signing at Varnish Gallery, one could get a slightly better idea of scale and composition via a slideshow, during which Lipton pointed out details we might have missed otherwise: flocked wallpaper decorated with hundreds of unsentimental clocks behind a baby carriage containing an elderly man in Second Childhood (1989); or a weathered, Maria Bello blonde peering frankly at her descending reflection in Mirror Mirror (2002) — the final figure of which is, Lipton assured us, an elderly woman, not quite visible in the book, but clearly delineated on the original.

Lipton herself is a gamine 50-something with a friendly, casual air. By her own account, she grew up in a supportive, suburban environment, but was drawn early to the shadowy themes and macabre images that typify her rigorous art. She described this apparent dissonance with the help of a visual aid: Pandora’s Box (2011), in which a delicate-looking porcelain doll clutches a wooden music box, from which a screaming horde of tortured and demonic faces issues, screaming, into the atmosphere. It’s unsubtle, perhaps, but artfully concise. For artists especially, external appearance means little. It’s what seethes inside that personifies them best.

“I can’t drive, I can’t cook, I can’t put up shelves,” Lipton confessed, flashing a disarmingly bright smile. “All I can do is draw.” That much, at least, is unambiguous. *

www.lastgasp.com

 

Crowdfunding apartments

-
7
Crowdfunding apartments

rebecca@sfbg.com

We caught up with Dan Miller at a cafe in San Francisco’s Financial District, where solitary patrons hovered over laptop screens as they sipped coffee.

Sporting a goatee and collared shirt, Miller, 26, seemed to blend in perfectly. The Washington DC native, a product of the East Coast real estate development world whose father had a hand in developing several iconic properties, was in San Francisco for meetings about FundRise, a startup he and his older brother Ben cofounded. The company is frequently described as being like Kickstarter, but for real estate investment.

Miller has been meeting with representatives from San Francisco’s Office of Economic and Workforce Development, a city agency in the Mayor’s Office. While nobody in City Hall was willing to get specific about those meetings, it seems officials are looking to FundRise for help tackling the city’s bedeviling housing affordability crisis.

Miller has been meeting with economic development offices in cities nationwide, and he’s convinced that housing affordability is a problem everywhere. “But it’s more acute in San Francisco than anywhere else I’ve seen,” he said, “just because of an influx of tech jobs.”

In the last six months, he added, OEWD representatives have seemed increasingly concerned.

The idea of crowd funding real estate is new, and the whole enterprise is still coming to fruition. But the underlying idea is intriguing: Take real-estate investment out of the hands of exclusive multimillion-dollar investment firms, and open it up instead to anybody who happens to have 100 bucks or more to throw in.

In an affluent city like San Francisco, the tool could create wiggle room for more housing projects that are tailored to actual needs, through partnerships with affordable housing developers.

It started when Miller and his brother encountered across-the-board rejection from big investment firms. To hear him tell it, the rise of private equity firms — which have no meaningful connection to the communities they develop — has produced blandness on a sweeping scale.

Objectives like preserving economic diversity, or honoring a community’s wishes, don’t factor in when these firms determine what to fund; they only consider whether an investment is deemed safe and profitable. That means predictable: think obscenely expensive, characterless market-rate condos. And since they’re the dominant financiers, their judgment is the final call.

“We spun off from our family business and started buying old auto warehouses, converting them, leasing them to local tenants,” Miller explained. “We took these projects to private equity firms, and they just didn’t get it. All the decisions they made were predicated on the financial pro forma,” he added, referring to documents that project expected returns. “They were really constraining what’s possible.”

Sounding like a tech person, he pronounced the whole system woefully inefficient. FundRise seeks to take advantage of little-known Securities and Exchange Commission regulations, as well as new provisions under the federal Jobs Act, to give people the opportunity to use crowd funding instead. (It doesn’t eliminate the need to apply for bank loans, which is a different part of the financing picture.)

The idea is that FundRise vets a project’s viability to make sure it won’t result in widespread loss, then helps proponents attract contributions through an online social network.

In the investment world, the vast majority of transactions are made by “accredited” investors, whose net worth equals $1 million or more, or with annual incomes of $200,000 or higher. But there are others out there who might have extra cash to put toward projects they believe in, like, say, affordable housing complexes for seniors — who don’t mind making a lower return.

The Miller brothers have built an online system they hope will connect these would-be lenders with projects in their own communities.

“Since you can invest directly, digitally, you’ve cut out so many middle men,” Miller explained. “You can make a 6, 8, 10 percent return. The real estate investment firm targets are 20 percent. But that’s because there’s just people taking a piece all the way down the ladder.”

The cofounders may be idealistic, but at the end of the day, they’re businesspeople, not activists. Since the company takes a cut of all investment earnings, it could succeed financially even if it the platform only winds up getting used to finance pet projects for dot-com millionaires.

Nevertheless, some longtime champions of low-income housing have recognized its potential to help solve a perplexing puzzle: How to secure capital for affordable housing in a world where investors are hardwired to make as much money as possible.

“We are hoping that as the larger movement for crowd funding works with the SEC, we can have more people make these investments in the local community,” said Tracy Parent, executive director of the San Francisco Community Land Trust.

Her organization is the first nonprofit affordable housing developer to test the waters with FundRise, in a bid to raise $1 million to keep Marcus Books, a historic African American-owned business, in its current Fillmore Street location. Due to a short timeline, they’re confined to accepting funding only from accredited investors. But in the future, they could use the tool to structure a public offering that would allow anyone to contribute toward preserving affordable housing.

While public subsidies will still be needed for below-market housing, “FundRise allows affordable housing developers to take properties off the speculative market,” Parent explained. “Any way we can democratize capital investment,” she added, “will be a good thing for our community.”

This Week’s Picks: December 4 – 10, 2013

Michael Redmond
-
0

THURSDAY 12/5

 

Gaby Moreno

This year, when Guatemalan-born Los Angeles transplant Gaby Moreno won Best New Artist at the Latin Grammys, she had already earned nods from the same voting body, in the form of nominations in 2012 for Song and Record of the Year. The tune was “Fuiste Tú,” the video for which is in the hundred million view club on YouTube. Her voice is a close cousin to that of Norah Jones, and her bilingual blend of jazz, soul, and blues has won effusive praise from NPR and the New York Times. And she’s got pop-culture cred, too: Fans of TV’s Parks and Recreation will note that she earned an Emmy nom in 2010 for co-writing its theme song. (Nathan Baker)

With David Garza, Cazadero, Irene Diaz

8pm, $15

Slim’s

333 11th St, SF

www.slimspresents.com

 

 

Scott Wells and Dancers

Fatherhood as a topic for dance? Never heard of it. But here come Scott Wells and Sheldon B. Smith, two very smart, highly experienced choreographers, with a dance about dads. With one exception, all the performers in Father On actually are fathers. We all know that today’s fathers are neither like our own, nor like the comic versions that still percolate through TV shows. But what are they? I look forward to witnessing what these men have to say. (Rita Felciano)

Thu/5-Sat/7, 8pm; Sun/8, 7pm, $25

ODC Theater

3153 17th St, SF

www.odcdance.org

 

 

A Chorus Line

In classic musical A Chorus Line, based on the book by James Kirkwood Jr. and Nicholas Dante, 17 Broadway dancers audition for a spot in the chorus line — the gig of a lifetime for any of them. It’s a story that resonated with audiences and awards-givers (it won Tonys and a Pulitzer), and continues to be popular today nearly 40 years after its debut. San Francisco State associate professor Barbara Damashek (a Tony nominee herself, for her musical Quilters) directs San Francisco State University’s Creative State’s take on the backstage tale, featuring toe-tapping music and lyrics by Marvin Hamlisch and Edward Kleban. (Kirstie Haruta)

Through Dec 15, $5-$15

Thu-Sat, 8pm; Sun, 2pm

Little Theatre

San Francisco State University

1600 Holloway, SF

creativestate.sfsu.edu

 

 

“Paisley Underground Redux”

Amid the synth pop, power ballads, and schlock metal dominating airwaves in 1983, a small nucleus of Los Angeles musicians looked backward to revive the purer pleasures of 1960s jangly power pop, garage rock, and psychedelia. Dubbed the “Paisley Underground,” this beloved if short-lived scene inspired other bands around the globe. The four “founding father” (and mother) outfits are back in this one-night only reunion bill: mysterioso tripsters the Rain Parade, rootsy rockers the Dream Syndicate, twee yet punchy pure-poppers the Three O’Clock, and all-female the Bangles — who started out as early Beatles idolaters before (alone among this lot) scoring mainstream hits with a more commercial sound. (Dennis Harvey)

8pm, $36.50

Fillmore

1805 Geary, SF

www.thefillmore.com

 

 

The Golden Girls: The Christmas Episodes

One thing you can always count on with San Francisco traditions is that they’ll be anything but traditional. One example: the drag legends of Trannyshack (Heklina, Cookie Dough, Matthew Martin, and Pollo Del Mar) starring as Miami’s famously sassy seniors in The Golden Girls: The Christmas Episodes. For 2013’s version of the sitcom send-up — these shows sell out, so pounce on tickets ASAP — audiences can watch as Rose gets scared of going all the way, Blanche goes cougar for a day, and she, Dorothy, and Rose are mistaken for prostitutes and taken to jail. Thank you for being a holiday tradition, ladies. (Janina Glasov)

Through Dec 22, $30

Thu-Sat, 8pm; Sun, 7pm

Victoria Theatre

2961 16th St, SF

www.trannyshack.com

 

 

“Open Mic Glam Drive”

What’s better than a night of music for a good cause? A night of music for two good causes! Local boutique 31 RAX and nightlife crew SheWolves present an open mic and glam drive that benefits not only the Asian Women’s Shelter, but also Typhoon Haiyan relief efforts. All proceeds from the event’s $5 cover will go to NAFCON to aid those affected by the devastating storm. And while you’re getting gussied up for the night, round up some extra toiletries, makeup, hairbrushes, bras, and other beauty staples to bring and donate to the Asian Women’s Shelter — an organization that since 1988 has worked to serve the needs of women, transpeople, and children who are survivors of domestic violence and human trafficking. Aspiring performers can email openmic@31rax.com to reserve a spot. (Kirstie Haruta)

7pm, $5

Pa’ina Lounge & Restaurant

1865 Post, SF

facebook.com/31RAX

FRIDAY 12/6

 

“Hand to Mouth Comedy: Fantasy”

There is a place, as far away as the outer reaches of this galaxy, yet as close as the molecules of air between your cotton pillowcase and the cartilage of your ear. It resembles the grounds of Hogwarts under constantly overcast purple-veined skies, and it holds the fortress of Isengard, which you reach by traveling along a chocolate river in a tollbooth. To avoid the dungeons and dragons of this land — a land accessed through a wardrobe only once every wrinkle in time, you may be asked to sling a gun or wield a wand. Upon their return, survivors Kellen Erskine, Kelly Anneken, Jules Posner, Kevin O’Shea, Gary Anderson, and Jaime Fernandez make light of this dark realm at this month’s Hand To Mouth comedy show, piquing your fantasy and questioning your sanity. (Kaylen Baker)

10pm, $8

Dark Room

2263 Mission, SF

www.handtomouthcomedy.com

SATURDAY 12/7

 

Swiftumz

Whoever said too much fuzz was a bad thing? Tonight, Swiftumz and Tony Molina will set out to prove that statement wrong. Headliner Swiftumz sounds like Sour Patch Kids taste: saccharine sweet with an unexpected bite. The project’s vocalist and mastermind, Christopher McVicker — who has written songs for Hunx and his Punx — blends power pop and punk with a little ’60s flair. Also on the bill is Tony Molina, who will be taking the stage solo, then playing lead guitar in post-punk band Violent Change. As a solo artist, Molina takes cues from lo-fi standard Guided By Voices, adding a fuzzy coating to the Metallica cover that appears on his recent Six Tracks EP. (Erin Dage)

10pm, $5

Bender’s Bar and Grill

806 S. Van Ness, SF

www.bendersbar.com

 

 

32nd Annual Encuentro del Canto Popular

The loss of three prodigious artists this year has prompted Acción Latina to dedicate this year’s Encuentro del Canto Popular — a San Francisco tradition highlighting the status of the nueva canción movement locally and internationally — to their memories and their work. Jon Fromer (Jan. 2), Rafael Manriquez (June 25), and Jose Montoya (Sept. 25) were superlative cultural workers, musicians, originators, and opinion leaders with a bulk of work that transcends California. Without a doubt, their presence in this world will be sorely missed. The show kicks off with the winners of “Encuentritos,” a series of musical contests for emerging local artists. (Fernando Andres)

7pm, $19

Brava Theater Center

2781 24th St., SF

accionlatina.org/Encuentro2013

 

 

2manydjs

Once, at a packed Soulwax show, I witnessed a woman’s reverent excitement achieve levels usually reserved for Michael Jackson concert videos. Then she fainted. On their end of things, Belgium’s Dewaele brothers remain thoroughly irreverent, particularly in DJ form as 2manydjs. Recent projects include building 50,000-watt vinyl-only sound systems with James Murphy, recording tributes to David Bowie as part of their 24-hour online A/V site Radio Soulwax (not to be confused with Soulwax FM in Grand Theft Auto V), and slowing down old gabber tracks for kicks. Part of Mighty’s 10-year anniversary celebration, this will be a spatial turn from 2manydj’s hit-mashing festival ragers. Take care of the people up front. (Ryan Prendiville)

With EUG, Ron (Cosmic Kids), Derek Opperman, J. Montag

9pm, $25

Mighty

119 Utah, SF

www.mighty119.com

TUESDAY 12/10

 

Modern Art Desserts

Typically, the labyrinthine galleries and glut of provocative visuals in modern art museums have visitors turning towards sugar and fat in a nearby café to refuel. Yet Caitlin Freeman, pastry chef of Blue Bottle Coffee in the San Francisco Museum of Modern Art (currently closed for construction), has reversed this pattern. The mimicry of modern art in her masterful pastries gives visitors a hunger to trail back through the exhibits for second look — the honey pistachio frozen mousse encased in a white chocolate cube and dotted with honeybees echoes Richard Avedon’s photograph of a bee-swarmed man; the salted chocolate and cream layered cake mirrors Rineke Dijkstra’s striped beach bather. Tonight, check out the photos and the recipes in Freeman’s new Modern Art Desserts, and taste the Mondrian Cake, a multi-blocked cake resembling Piet’s primary grid. (Baker)

7pm, free (RSVP to aberry@art.com)

Art.com Pop-Up in Union Square

117 Post, SF

(415) 956-2571

www.modernartdesserts.com “Food-For-All” ‘Tis the season for techies to spread the wealth at the Tech Gives Back charity drive. The multi-week campaign concludes with “Food-for-All,” a party hosted by ZeroCater, where guests are invited to eat as much as they want for free from the variety of foods provided by the corporate catering company’s top vendors. If they choose to put down their plates, they can hit the dance floor, the bar, or the free photo booth. But this party isn’t just fun, games, and Instagram fodder; there’ll also be barrels for food donations, and all proceeds from ticket sales will go to the San Francisco and Marin food banks. (Glasov) 6-9pm, $15 Public Works 161 Erie, SF blog.zerocater.com

Theater Listings: December 4 – 10, 2013

Michael Redmond
-
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.

THEATER

OPENING

Avenue Q New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Fri/6-Sat/7 and Dec 13, 8pm; Sun/8, 2pm. Opens Dec 14, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Jan 12. New Conservatory Theatre Center performs the Tony-winning comedy.

A Christmas Carol Geary Theater, 415 Geary, SF; www.act-sf.org. $20-95. Opens Fri/6, 7pm. Runs Wed-Sat, 7pm (no evening shows Dec 24, 26, or 28; also Sat/7, Dec 11, 14, 21, 23, 2pm; Dec 24 and 26-28, 1pm; Dec 27 evening show at 5:30pm); Sun, 5:30pm (also Sun/8, Dec 15, and 22, 1pm). Through Dec 28. American Conservatory Theater mounts its annual production of the Dickens classic, with James Carpenter as Scrooge and Ken Ruta as Jacob Marley’s ghost.

Cinderella Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; www.african-americanskaes.org. $12.50-50. Opens Sat/7, 3pm. Runs Sat, 8pm (also Dec 21, 3pm); Sun, 3pm. Through Dec 22. African-American Shakespeare Company presents this fairy-tale production for the holidays.

The Golden Girls: The XMAS Episodes Victoria Theatre, 2961 16th, SF; www.trannyshack.com. $30. Opens Thu/5, 8pm. Runs Thu-Sat, 8pm; Sun, 7pm. Through Dec 22. Inspired by the classic sitcom, Miami’s feisty seniors (portrayed by Heklina, Cookie Dough, Matthew Martin, and Pollo Del Mar) return to spread holiday cheer and cheesecake.

BAY AREA

Edward Gant’s Amazing Feats of Loneliness Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Previews Thu/5 and Dec 11-12, 7pm; Fri/6-Sat/7, 8pm; Sun/8, 5pm. Opens Dec 13, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Jan 11. Shotgun Players performs Anthony Neilson’s comic romp set in “a sensual Edwardian world of top hats, fantastical puppets, and flash powder.”

Little Women Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-79. Previews Wed/4-Fri/6, 8pm. Opens Sat/7, 2 and 8pm. Runs Tue-Wed and Dec 30, 7:30pm (no shows Dec 24-25; Dec 31, show at 2pm only; no show Jan 1); Thu-Sat, 8pm (also Sat and Dec 26 and Jan 4, 2pm); Sun, 2 and 7pm. Through Jan 4. TheatreWorks performs the musical adaptation of the Louisa May Alcott tale.

Mame Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $19-40. Previews Thu/5, 8pm. Opens Fri/6, 8pm. Runs Thu-Sat, 8pm (also Dec 14 and 21, 2pm); Sun, 2pm. Through Dec 22. Hillbarn Theatre performs Jerry Herman’s classic musical.

ONGOING

Amaluna Big Top at AT&T Park, Third Street at Terry A. Francois Blvd, SF; www.cirquedusoliel.com. $50-175. Check website for schedule, including special holiday showtimes. Through Jan 12. Cirque de Soleil is back in town, this time bringing its Tempest-inspired Amaluna to the big top set up outside AT&T Park. Touted for being a celebration of “women [sic] power,” it seems initially odd that the design elements are so focused on the male peacock feather — all greens and blues and graceful, with curving “fronds” rising up from the stage. Jungle sounds chirp in the background as a bevy of Amazonian women in bejeweled headdresses and a mischievous lizard-man circulate the room until the show starts with the lovely abstraction of a floating red cloud of translucent fabric dancing in a single beam of light. The flimsy plotline is forgettable, a coming-of-age and courtship tale between the island’s young princess, Miranda (Iuliia Mykhailova) and a shipwrecked young Romeo (Evgeny Kurkin), though the parallel courtship between the two comic figures of Jeeves (Nathalie Claude) and Deeda (Shereen Hickman) provides a bit of levity and a novel use for footballs. The most realized character is probably Cali (Victor Kee), the half-lizard, whose prehensile tail and neon body paint give him an otherworldly allure, but it’s the aerialist goddesses and fierce embodiments of the storm that are most memorable from an acrobatic point-of-view, and Lara Jacobs’ unique balancing act from a meditative one. (Gluckstern)

Arlington Magic Theatre, Fort Mason Center, 2 Marina, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Wed/4-Sat/7, 8pm (also Wed/4, 2:30pm); Sun/8, 2:30pm. Magic Theatre performs Victor Lodato and Polly Pen’s world-premiere musical.

The Barbary Coast Revue Stud Bar, 399 Ninth St, SF; eventbrite.com/org/4730361353. $10-40. Wed, 9pm. Through Dec 18. Blake Wiers’ new “live history musical experience” features Mark Twain as a tour guide through San Francisco’s wild past.

The Book of Mormon Orpheum Theatre, 1192 Market, SF; www.shnsf.com. $60-120. Wed-Sat, 8pm (also Sat, 2pm); Sun, 1 and 6:30pm. Through Jan 19. When approaching the oeuvre of South Park creators Matt Stone and Trey Parker, it’s best to check your political correctness at the door. That’s certainly no less true of their 2011 Broadway musical The Book of Mormon, co-penned with Robert Lopez (of Avenue Q fame), despite the clean-scrubbed appearance of their fumbling albeit well-intentioned missionary protagonists. Sent to Uganda for two years, top mission pupil Elder Price (Nic Rouleau) and his clumsy but affable partner Elder Cunningham (A.J. Holmes) are faced with a village oppressed by a scenery-chewing warlord, a demoralized coterie of fellow missionaries who have yet to have a successful conversion, and their own fraught, odd-couple dynamic. Rouleau’s Price is an appropriate blend of smarm, charm, and secret self-doubt while Holmes excels in his portrayal of a perennial-loser-turned-prophet (his power ballad-esque solo in “Man Up” is one of the show’s best). Of their hosts, the wry Mafala (James Vincent Meredith) and his sweet but strong-willed daughter Nabulungi (Syesha Mercado) get the most stage time, but it’s the crude and caustic General (David Aron Damane) who grabs the most attention. The gleefully profane “Hasa Diga Eebowai,” a Forbidden Zone-style “Spooky Mormon Hell Dream”, and the deliriously blasphemous “Joseph Smith, American Moses,” round out the entertaining, and strangely informative, score. Though it’s (very) unlikely to convert you to the Church of Latter-Day Saints, there’s a good chance you’ll want to convert to the church of Parker and Stone, if you haven’t already. (Gluckstern)

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Dec 17. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Gershwins’ Porgy and Bess Golden Gate Theatre, One Taylor, SF; www.shnsf.com. $60-210. Wed/4-Sat/7, 8pm (also Sat/7, 2pm); Sun/8, 2pm. The Tony-winning Broadway revival launches its national tour in San Francisco.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

Ideation Tides Theater, 533 Sutter, SF; www.sfplayhouse.org. $10-20. Fri/6-Sat/7, 8pm (also Sat/7, 3pm). Next up in the San Francisco Playhouse “Sandbox Series” is this dark comedy from Aaron Loeb.

The Jewelry Box: A Genuine Christmas Story The Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-40. Fri, 8pm; Sat, 5pm. Through Dec 28. Brian Copeland performs the world premiere of his new, holiday-themed work, an Oakland-set autobiographical tale that’s a prequel to his popular Not a Genuine Black Man.

My Beautiful Launderette New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Dec 22. New Conservatory Theatre Center performs Andy Gram and Roger Parsley’s adaptation of Hanif Kureishi’s award-winning screenplay.

The Oy of Sex Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-100. Thu-Fri, 8pm; Sat, 8:30pm. Through Jan 18. Comedian Alicia Dattner performs her solo show, based on her stories from her own life and love addiction.

Peter/Wendy Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $15-33. Thu-Sat, 8pm; Sun, 7pm. Through Dec 15. J.M. Barrie’s familiar and much-revisited children’s story, about a boy who refuses to grow up, has always had its darker aspects, including the violent streak in its hero, forever-child Peter (Sam Bertken). Unfortunately, any underlying social or psychological complexity in the story — originally published in 1902 in The Little White Bird — is of no consequence in adapter-director Jeremy Bloom’s relentlessly cheerful and quickly monotonous retelling. The production, which narrates and acts out the story in somewhat condensed form, says it’s designed for adults of all ages and children over 12, but it seems pitched to an audience much younger still. Custom Made Theater’s lackluster staging does little to make the time go faster. There’s a mischievous energy in Bertken’s Peter and a bright intelligence in Anya Kazimierski’s Tinker Bell that together produce the play’s only emotional heat, but it’s fleeting. As Wendy, Elissa Beth Stebbins is generally solid but too mild to elicit much sympathy for her unrequited affections for Peter. Clad exclusively in striped jammies, the uneven ensemble (which also includes Terry Bamberger, Jessica Rudholm, Kim Saunders, and Jeunee Simon in multiple roles) rarely encourages focus on the finer points of character and plot, which anyway come with a soporific dose of trifling detail amid generally awkward physical choreography. Indeed, any “happy thoughts” one walks in with would risk vanishing entirely, were it not that the cast harvests them immediately and writes them down for future reference on the stage floor. (Avila)

Snoopy!!! Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (family/student matinee Sat/7, 1pm); Sun, 3pm. Through Dec 15. 42nd Street Moon performs the sequel to You’re a Good Man, Charlie Brown.

Urge For Going Z Below, 470 Florida, SF; www.goldenthread.org. $10-45. Thu/5-Sat/7, 8pm; Sun/8, 3pm. Jamila (Camila Betancourt Ascencio) is a bright student desperate to pass her college entrance examination — an unexceptional proposition in many places, but Jamila is a Palestinian raised in a Lebanese refugee camp. For her, even the right to take such an exam is in no way guaranteed and must be fought for. That Jamila’s struggles don’t end at the front door of her crowded home provides the basis for the drama in Mona Mansour’s 2011 play, Urge for Going, now receiving an uneven but sometimes moving West Coast premiere from Golden Thread (which last year produced The Letter, a short play co-written by Mansour, as part of its ReOrient Festival). Amid the makeshift walls, mismatched furniture, and exposed wiring of Kate Boyd’s evocative scenic design, Jamila lives with her austere father (Terry Lamb), a onetime literature scholar with a passion for Wordsworth; her supportive mother (Tara Blau); her father’s effusive loose-canon of a brother (Julian Lopez-Morillas); her mother’s brother (Munaf Alsafi); and her own big-hearted but haunted older brother (Wiley Naman Strasser), a once brilliant math student who suffered brain damage at the hands of a Lebanese soldier. But front and center is her father, whose barely cloaked disappointment and despair turn to recalcitrance and outright antagonism in the face of Jamila’s too-pointed desire to flee this hobbled world of exile for a wider world of possibilities. Directed by Evren Odcikin, the play’s sentimental naturalism (broken through at times by didactic direct address to the audience by the entire cast) makes what follows both too predictable and somewhat artificial. At the same time, Mansour carefully and revealingly couches her story in the political and existential limbo of multiple generations of Palestinian refugees in Lebanon, deprived for over half a century of basic rights amid cramped poverty and deprivation. (Avila)

BAY AREA

A Bright New Boise Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-50. Wed/4-Sat/7, 8pm; Sun/8, 2 and 7pm. Faith can be a touchy subject among true believers and skeptics alike, and as long as the topic of religion is avoided (as it often is) you might not even know that your bus driver is Buddhist, or your checkout clerk born again. In Samuel D. Hunter’s A Bright New Boise, now playing at Berkeley’s Aurora Theatre, the line blurs between public face and private faith, as mysterious stranger Will (Robert Parsons) rolls into Boise and takes up employment at the Hobby Lobby, ostensibly to reconnect to his long-lost, given-up-for-adoption son, Alex (Daniel Petzhold). But when Will is revealed to be a former member of a disgraced Evangelical sect from “up North,” his sudden reappearance in Alex’ life appears to be motivated not by a long-standing remorse, but by a recent unmooring. Under Tom Ross’ direction, the other characters — a foul-mouthed store manager (Gwen Loeb), a painfully shy stock clerk (Megan Trout), and a confrontational sales associate (Patrick Russell) — appear similarly unmoored, careening into each other like jittery, neurotic pinballs, with about as much consideration. Only Parsons’ Will appears calm and deliberate in his actions, until he startlingly demonstrates otherwise. It’s an abrupt end to both the play and Will’s charade of normalcy, and neither Hunter nor Ross seem to know how to build up to his eventual fall naturally, ultimately allowing him to be defined only by his fanaticism rather than his humanity. (Gluckstern)

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Extended through Dec 15. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

Harvey Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $10-22. Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through Dec 15. Ross Valley Players perform the Pulitzer-winning play by Mary Chase.

A Little Princess Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $17-60. Thu/5-Fri/6, 7pm; Sat/7, 1 and 6pm; Sun/8, noon and 5pm. Berkeley Playhouse opens its sixth season with Brian Crawley and Andrew Lippa’s musical adaptation of the Frances Hodgson Burnett story.

110 in the Shade Douglas Morrison Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-29. Thu/5-Sat/7, 8pm (also Sat/7, 2pm); Sun/8, 2pm. Douglas Morrison Theatre performs N. Richard Nash’s romantic musical, adapted from his classic play The Rainmaker.

The Pianist of Willesden Lane Berkeley Repertory Theatre, Thrust Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-89. Tue and Thu-Sat, 8pm (also Thu/5 and Sat, 2pm; no shows Dec 24 or 31); Wed and Sun, 7pm (also Sun, 2pm; matinees only Dec 15, 22, and Jan 5; no show Dec 25). Extended through Jan 5. Mona Golabek stars in this solo performance inspired by her mother, a Jewish pianist whose dreams and life were threatened by the Nazi regime.

Troilus and Cressida La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-25. Thu-Sat, 8pm; Sun, 7pm. Through Dec 15. One of Shakespeare’s more difficult and under-produced plays, Troilus and Cressida does wax in popularity during protracted times of war, so it’s about the right time for Impact Theatre to tackle it. Set during the seventh year of the Trojan War, the players are all either soldiers or spoils of war, and both morale and morals are at a low ebb. So-called heroes hide in their tents, the fair Helen (Julie Kuwabara) is a callow bawd, and everyone just wants the war to be over. Troilus (Eric Kerr), a Trojan, and Cressida (Sarah Coykendall), a Greek, meet-cute thanks to the machinations of the flamboyant Pandarus (Shawn J. West), only to be quickly separated by circumstances beyond their control, and thrust abruptly to the sidelines of their own tragedy, their eventual betrayal of each other lost within the greater treacheries of the battlefield. It’s a problematic script, not least of all because the only truly moral character is the very innocent, very mad Cassandra (Akemi Okamura), whose prophecies are written off as mere ravings, subtly mirrored by the nihilistic fool, Thersites (Miyaka Cochrane), who delivers his frontline ravings as prophecies. Director Melissa Hillman makes some bold choices, however, including casting Lauren Spencer as the level-headed Ulysses, and father-son team Jon Nagel and Jonah McClellan as Aeneas and Antenor, turning the walk-on role of a pawn into a tragic symbol of war’s all too-human cost. (Gluckstern)

PERFORMANCE/DANCE

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

“Buddy Club Children’s Shows” Randall Museum Theater, 199 Museum Wy, SF; www.thebuddyclub.com. Sun, 11am-noon. $8. “The Bubble Lady!” performs.

“Comedy Bottle with Kurtis Matthews” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. Fri/6-Sat/7, 7pm. $15. Stand-up comedy.

“Comedy Returns to El Rio!” 3158 Mission, SF; www.brownpapertickets.com. Mon/9, 8pm. $7-20. Stand-up with Marga Gomez, Sammy Obeid, Bob McIntyre, Kevin Young, and Lisa Geduldig.

CounterPULSE 1310 Mission, SF; www.counterpulse.org. Wed/4, 8pm: Risa Jaroslow’s NYC and the Bay: Dancers and Dances from Then and There and Here and Now, free. Fri/6-Sat/7, 8pm: Keith Hennessy, Hana Lee Erdman, and Jassem Hindi’s ALMOST, Enemy in the Figure, and These children singing in stones, $15-20. Dec 12-15, 8pm: Mica Sigourney, John Foster Cartwright, and Maryam Rostami’s Nicole Kidman is Fucking Gorgeous, $20.

“Dolores: The Temporary Life of a 220-Year-Old Bionic Woman” Stage Werx Theater, 446 Valencia, SF; www.stagewerx.org. Dec 10-11, 7:30pm. $15-20. On a bare floor, physical theater maker Carolina Duncan, as her Colombian grandmother, pops opens her cranium like a steamer trunk and retrieves the scrapbook of a boundless life. Here memory and imagination exist in equal measures, as Duncan traces key moments and fleeting images from an arc of days defined by family, romance, and at least one titanic battle between an Amazonian dinosaur and a new secret-agent boyfriend. Combining mime, scattered dialogue, physical comedy, and a live soundscape, this loving and whimsical homage comes gracefully delivered and almost always vividly expressed. All the while, Duncan (a graduate of SF’s Clown Conservatory and James Donlon and Leonard Pitt’s Flying Actor Studio) exudes an infectious enthusiasm for her subject, who proves as alive in a passing but concrete image of first childhood steps as she does in her final outing, a prolonged spacewalk into the familiar and unknown. Note: review from an earlier run of this show. (Avila)

“Encuentro de Canto Popular” Brava Theater Center, 2781 24th St, SF; accionlatina.org/Encuentro2013. Sat/7, 7pm. $19. Music festival dedicated to the nuevo canción movement; this year’s theme, “Pasado y Futuro,” pays tribute to artists who have passed away, as well as artists on the rise.

“Fiesta Navidena” Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/7, Dec 15, 21-22, and 27-28, 6:15pm. $15-21. Carolina Lugo and Carolé Acuña’s Ballet Flamenco performs a holiday show.

“Get Your Life Unity Mini Ball” Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. Sat/7, 7pm. $10. Dancing, vogueing, and other aspects of ballroom culture take the stage.

“Glide Annual Holiday Festival: Celebrate50” War Memorial Opera House, 301 Van Ness, SF; www.glide.org. Wed/4, 7pm. $65-250. Maya Angelou, Judith Hill, Tom Johnston, and other luminaries lead this evening honoring Janice Mirikitani and Rev. Cecil Williams’ 50 years at Tenderloin community beacon Glide.

“Hand to Mouth Comedy” Dark Room, 2263 Mission, SF; www.handtomouthcomedy.com. Fri/6, 10pm. $8. Comedians Kellan Erksine, Kelly Anneken, Jules Posner, and others join host Trevor Hill in presenting all-new material on one specific topic: “fantasy.”

“Hysterical Historical San Francisco, Holiday Edition” Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. Sun, 7pm. Through Dec 29. $30-40. Comic Kurt Weitzman performs.

“I Eat People Like YOU For Breakfast!” Marsh, 1062 Valencia, SF; www.themarsh.org. Wed/4, 7:30pm. $10-15. Comedian Steven Alan Green performs his solo show inspired by Jerry Lewis.

“The Jewish Nutcracker” Theater at Children’s Creativity Museum, 221 Fourth St, SF; www.jewishnutcracker.com. Fri/6-Sun/8, 2pm (also Fri/6-Sat/7, 6:30pm). $18-32. The Hanukkah story is interpreted via authentic cultural dance from Spain, India, China, Russia, and more.

“Mark Foehringer’s Nutcracker Sweets” Southside Theater, Fort Mason Center, Marina at Laguna, SF; www.brownpapertickets.com. Sat/7-Sun/8, Dec 14-15, Dec 20-24, 11am and 2pm (also Dec 14-15 and Dec 21-22, 4pm). $18-28. Contemporary ballet company Mark Foehringer Dance Project SF performs its fifth annual production of this Nutcracker-inspired work aimed at families with young children.

“The Metrics of Intimacy” Garage, 715 Bryant, SF; www.brownpapertickets.com. Wed/4-Thu/5, 8pm. $10-20. Contemporary dance performers Hope Mohr and Christian Burns collaborate with visual designer David Szlasa.

“Mine” Joe Goode Annex, 401 Alabama, SF; www.rawdance.org. Fri/6-Sun/8 and Dec 11-15, 8pm. $21-25. RAWdance performs a world premiere by company founders Ryan T. Smith and Wendy Rein.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat, 8pm. $20-30 (free aquarium ticket with show ticket). Extended through Dec 28. Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“One Man Band Extravaganza” Great Star Theater, 636 Jackson, SF; www.jordanbwilson.com. Sat/7, 8pm. $5. One-man bands, including Jordan B. Wilson, One Man Banjo, Shovelman, Slow Poisoner, and Cello Joe, perform.

“La Posarela” Brava Theater Center, 2781 24th St, SF; www.sfcmc.org. Sun/8, 1 and 5pm. $7. Community Music Center presents a Mexican Christmas musical tailored to the Mission.

“Point Break Live!” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Fri/6 and Jan 3, Feb 7, March 7, and April 4, 7:30 and 11pm. $25-50. Dude, Point Break Live! is like dropping into a monster wave, or holding up a bank, like, just a pure adrenaline rush, man. Ahem. Sorry, but I really can’t help but channel Keanu Reeves and his Johnny Utah character when thinking about the awesomely bad 1991 movie Point Break or its equally yummily cheesy stage adaptation. And if you do an even better Keanu impression than me — the trick is in the vacant stare and stoner drawl — then you can play his starring role amid a cast of solid actors, reading from cue cards from a hilarious production assistant in order to more closely approximate Keanu’s acting ability. This play is just so much fun, even better now at DNA Lounge than it was a couple years ago at CELLspace. But definitely buy the poncho pack and wear it, because the blood, spit, and surf spray really do make this a fully immersive experience. (Steven T. Jones)

“A Renaissance Christmas” St. Gregory of Nyssa Episcopal, 500 De Haro, SF; www.baychoralguild.org. Sat/7, 8pm. $5-25. Bay Choral Guild performs “familiar and unusual” Advent, Christmas, and Epiphany music.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“she’s near she’s now she’s nowhere” Margaret Jenkins’ Dance Lab, 301 Eighth St, Studio 200, SF; www.funschdance.org. Thu/5, 7pm. Free. Also Fri/6, 8pm and Sat/7, 2pm, free, Studio LP, ODC Theater, 3153 17th St, SF; and Sun/8, 3pm, Feintech Studio, ODC Dance Commons, 351 Shotwell, SF. Christy Funsch’s trio/quintet “reveals the impact of a mover on spaces by playing with her presence and absence from them.”

“Shine! Our Brightest Holiday Show Ever!” War Memorial Opera House, 301 Van Ness, SF; www.sfgmc.org. Fri/6, 8pm. $25-75. The San Francisco Gay Men’s Chorus performs season favorites and “outrageous surprises.”

“Soul+Mates” Z Space, 450 Florida, SF; www.zspace.org. Wed/4-Sat/7, 8pm (also Sat/7, 2pm). $22-25. Printz Dance Project presents the world premiere of an immersive dance performance, photography exhibit, and short film exploring the concept of soul mates.

“The Velveteen Rabbit” Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; www.odcdance.org. Thu/5-Fri/6 and Dec 12-13, 11am; Sat/7 and Dec 15, 1 and 4pm; Sun/8 and Dec 15, 2pm. $20-75. ODC/Dance performs its popular holiday show, directed with fresh perspective this year by ODC founder Brenda Way.

“Zambomba Gitana!” Brava Theater Center, 2781 24th St, SF; www.bayareaflamenco.org. Fri/6, 8pm. $25-65. Also Sat/7, 8pm, $25-45, La Peña Cultural Center, 3105 Shattuck, Berk; and Sun/8, 6pm, $25-45, Kuumbwa Jazz Center, 320 Cedar, Santa Cruz. Traditional flamenco holiday celebration, with artists from Jerez de la Frontera, Spain.

BAY AREA

“Buddy Club Children’s Shows” JCC of the East Bay Theater, 1414 Walnut, Berk; www.thebuddyclub.com. Sun/8, 11am-noon. $8. Comedy improv with Kenn Adams Adventure Theater. Also Sun/8, 11am-12:30pm, $8, Kanbar Center for the Performing Arts Theater, 200 North San Pedro, San Rafael; www.thebuddyclub.com. The Juggling Genius, Daniel DaVinci, performs.

“Following the Wrong God Home” Osher Studio in the Arts Passage of Berkeley Central, 2055 Center, Berk; www.brownpapertickets.com. Sat/7 and Dec 16, 8pm; Sun/8, 5pm. $15-25. Company 212 presents a physical theater piece choreographed and directed by MaryBeth Cavanaugh that imagines six Shakespeare characters on alternate journeys beyond the plays they appear in.

“Noel, Noel” First Congregational Church, 2345 Channing, Berk; www.cityboxoffice.com. Fri/6, 8pm. $18-65. The San Francisco Girls Chorus performs “Carol of the Bells” and other holiday favorites.

“Oakland Interfaith Gospel Choir 28th Annual Holiday Concert” Paramount Theatre, 2025 Broadway, Oakl; www.oigc.com. Sat/7, 7:30pm. $12-42. The choir performs its popular annual concert, led by director Terrance Kelly and featuring guests Tuck and Patti, and Imani Ya Watume Liturgical Dance Company.

“Once Upon a Christmas” Lesher Center for the Arts, Hoffman Theatre, 1601 Civic, Walnut Creek; www.leshercenter.org. Fri/6-Sat/7, 7:30pm (Sat/7, 2pm). $20-25. Lareen Fender’s Ballet Joyeux performs.

“The Shout: Life’s True Stories” Grand Lake Coffee House, 440 Grand, Oakl; www.theshoutstorytelling.com. Mon/9, 7:30pm. $5-20. Live storytelling event featuring 10-minute true tales.

“XXmas: The Christmas Ballet, 2013 Edition” Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.smuinballet.org. Dec 11-14, 8pm (also Dec 14, 2pm); Dec 15, 2pm, $49-65. Also Dec 18-28, $24-64, Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF. Smuin Ballet’s annual holiday show boasts festive ballet, tap, and swing-dance numbers. *

 

1...345...42Page 4 of 42

48hills.org is the official publication of the non-profit San Francisco Progressive Media Center.
Contact us: info@48hills.org