Elections

Stop the presses: CleanPowerSF 8, PG&E 3

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Sometimes, the good guys (and gals) win.

And so, after the Guardian started the public power movement in 1969  with the pioneering Joe Neilands expose of the PG&E/Raker Act scandal, after three  initiative campaigns to kick PG&E put of City Hall and enforce the public power mandates of the federal Raker Act and bring our own Hetch Hetchy public power to our own people, after hundreds of people worked for years inside and outside City Hall for public power and clean energy,  the San Francisco Board of Supervisors voted 8-3 Tuesday  to formally launch a CleanPowerSF project that would for the first time challenge the decades-old power monopoly of the Pacific Gas & Electric Company.

It was a historic moment. And it was a historic veto proof vote that Ed Lee, the PG&E- friendly mayor, and his ally and mentor, former mayor Willie Brown, the unregistered $200,000 a year PG&E lobbyist, will have difficulty snuffing out this time around.

The CleanPowerSF 8 were Sups. David Campos, who sponsored the legislation, Scott Weiner, who cast the deciding swing vote, David Chiu, Eric Mar, Christina Olague, Jane Kim, Malia Cohen, and John Avalos, all of whom made helpful remarks during the debate. They also voted down an attempt by the PG&E bloc to continue the vote for a week and voted against crippling amendments.

The PG&E 3 were Sups.Mark Farrell and Carmen Chiu, who tried to dilute the legislation with the crippling amendments, and Sean Elsbernd, who was strangely silent during the debate. 

I use the phrase CleanPowerSF  8 and PG&E 3 to dramatize the crucial political point and toss in a bit of Guardian history on the story.  For years, as clean energy/public power proposals were routinely voted down as a result of PG&E political muscle and power lobbying, the Guardian would use variations of the phrase. PG&E l0, San Francisco l or whatever was the PG&E margin of victory. The phrase was accurate, pin-pointed the good and bad guys and gals, lifted our spirits, and sent the message that the battle was far from over.

The hero of the afternoon was Ed Harrington, the general manager of the San Francisco Public Utilities Commission who delayed his retirement to complete the project. He got a standing ovation after his testimony backing up his legislation and deft handling of  all questions.  As Campos said, Harrington’s legislation  was as “good as you are going to get.”  No one seriously questioned his plan, figures,  marketing strategy, or key argument that his plan was fiscally and environmentally sound.

PG&E was never mentioned during the discussion and it was difficult to determine its lobbying strategy. After the vote, I asked Eric Brooks, the crafty clean power leader at the meeting,  what happened to PG&E and  its strategy. He said that PG&E, after the San Bruno disaster and other notable mishaps, was not the monopoly power it once was and that perhaps the company had decided it would rather face the slower pace of  CleanPowerSF rather than another clean energy initiative it would have a good chance of losing 

Thanks and congratulations to the CleanPowerSF 8, David Campos, Scott Weiner, John Avalos, David Chiu, Eric Mar, Chritina Olague, Jane Kim, and Malia Cohen, who voted themselves into San Francisco history.  Five of them will face the electorate and PG&E in the November election (Campos, Avalos,  Chiu, Mar, and Olague.) and they acted and spoke as if voting for CleanPowerSF would be a significant advantage to their campaigns in their districts. And thanks and congratulatons to former Sup. Ross Mirkarimi, who carried the public power flag as the unpaid campaign manager during the first two unsuccessful public power campaigns and then carried the CCA plan inside City Hall during his seven years as supervisor.  When he was voted in as sheriff last November, he handed the CCA baton to Campos who pushed the proposal through with style and solid argument that the issue was choice and providing necessary competition to PG&E’s monopoly.

The vote to start public power in San Francisco comes none too soon. The tear-down-tne-Hetch Hetchy dam forces have put the nice-sounding Proposition F to study draining the Hetch Hetch reservoir.on the fall ballot. This is the first step toward tearing down the dam.  The problem for the city is that it could ultimately lose the dam, if it isn’t moving to public power, because the Raker Act mandates that San Francisco have a municipal  system to distribute public power to its residents and businesses because the act allowed San Francisco to dam Hetch Hetchy Valley in Yosemite National Park. The Guardian’s position is that the dam is in place and  should only be torn down after the city has real public power and is able to find and afford an adequate new source for the city’s water and power supply. And that, let me emphasize,  will be a massive undertaking involving billions of dollars and incredible political challenges.   .

Much more to come in this saga that never ends,  b3

Here is Guardian City Editor  Steve Jones’ account of the vote: : http://www.sfbg.com/politics/2012/09/18/historic-veto-proof-vote-launches-cleanpowersf

And some Guardian background on the PG&E/Raker Act Scandal in my advance story: http://www.sfbg.com/bruce/2012/09/17/historic-pgeclean-energy-vote-today

Stage Listings

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

THEATER

OPENING

Family Programming: An Evening of Short Comedic Plays Shelton Theater, 533 Sutter, SF; www.brownpapertickets.com. $20. Opens Fri/21, 8pm. Runs Thu-Sat, 8pm. Through Oct 13. Left Coast Theatre Company performs short plays about gay and alternative families.

ONGOING

Asteroids: Live! Dark Room Theater, 2263 Mission, SF; (415) 401-7987. $20. Fri-Sat, 8pm. Through Sept 29. Interstellar comedy “based very, very loosely on the arcade game.”

Henry V Presidio of San Francisco, Main Post Parade Ground Lawn, SF; www.sfshakes.org. Free. Sat/22-Sun/23, 2pm. The San Francisco Shakespeare Festival celebrates the 30th anniversary of Free Shakespeare in the Park with this history play.

Invasion! Boxcar Playhouse, 505 Natoma, SF; crowdedfire.dreamhosters.com. $20-35. Wed-Sat, 8pm. Through Sept 29. Crowded Fire mounts the West Coast premiere of Swedish-born playwright Jonas Hassen Khemiri’s postmodern dark comedy, a deconstruction of language and power in an American culture of perpetual war, which made a well-received New York debut last year. Translated from the Swedish by Rachel Willson-Broyles, and directed by Evren Odcikin, the play immediately subverts the usual multi-culti narrative of otherness and tolerance with a po-faced feint (featuring ensemble members Lawrence Radecker and Olivia Rosaldo-Pratt) that ends with a boisterous disruption of the proceedings from unexpected quarters (courtesy of ensemble members George Psarras and Wiley Naman Strasser). From there, we get a series of interrelated largely comical scenes, wherein — in shades of Martin Crimp’s Attempts on Her Life — a certain figure by the name of Abulkasem dissolves into the ultimate cipher, tied to everything from terror to pick-up lines in bars, and meaning absolutely anything and nothing. Nevertheless, in the interstices of language lurks real power — as the play implies most overly in a scene of intentional mistranslation, which twists a hapless and bemused immigrant’s tale into line with the war-on-terror mythos. In the end, the complexity the play adds does not completely dissolve that liberal narrative skewered at the outset, and its efforts remain only half-convincing. The problem may lie partly in the production’s inconsistent, often sluggish pace, as well as a tendency toward didacticism in director Odcikin’s staging. The material of this sardonic play doesn’t support too literal or even empathetic a reading, but rather seems best translated as a raucous premonition, dream, or intimation of our own guilty seduction by the sadistic, totalizing power of such stories. (Avila)

Kiss of the Spider Woman Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-35. Thu-Sat, 8pm; Sun, 2pm. Through Sept 29. Second Wind presents Manuel Puig’s acclaimed drama about cellmates in a Buenos Aires jail.

My Fair Lady SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $30-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through Sept 29. SF Playhouse and artistic director Bill English (who helms) offer a swift, agreeable production of the Alan Jay Lerner and Frederick Loewe musical, based on George Bernard Shaw’s Pygmalion. The iconic class-conscious storyline revolves around a cocky linguist named Higgins (Johnny Moreno) who bets colleague Colonel Pickering (Richard Frederick) he can transform an irritable flower girl, Eliza Doolittle (Monique Hafen), into a “lady” and pass her off in high society. A battle of wills and wits ensues — interlarded with the “tragedy” of Alfred Doolittle (a shrewd and gleaming Charles Dean) and his reluctant upward fall into respectability — and love (at least in the musical version) triumphs. The songs (“Wouldn’t It Be Loverly,” “I Could Have Danced All Night,” “Get Me to the Church on Time,” and the rest) remain evergreen in the cast’s spirited performances, supported by two offstage pianos (brought to life by David Dobrusky and musical director Greg Mason) and nimble choreography from Kimberly Richards. Hafen’s Eliza is especially admirable, projecting in dialogue and song a winning combination of childlike innocence and feminine potency. Moreno’s Higgins is also good, unusually virile yet heady too, a convincingly flawed if charming egotist. And Frederick, who adds a passing hint of homoerotic energy to his portrayal of the devoted Pickering, is gently funny and wholly sympathetic. (Avila)

The Normal Heart American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $25-95. Tue, 7pm; Wed-Sun, 8pm (also Sat, 2pm); Sun, 2pm (also Sept 23, 8pm). Through Oct 7. Larry Kramer’s groundbreaking 1985 drama about the AIDS epidemic — winner of a 2011 Tony for Best Revival of a Play — has a limited run at ACT.

The Other Place Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $22-62. Previews Wed/19, 8pm. Opens Thu/20, 8pm. Runs Tue, 7pm; Wed-Sat, 8pm (also Sat/22 and Oct 3, 2:30pm); Sun, 2:30 (Oct 7 show at 7pm instead). Through Oct 7. Sharr White’s plot-twisty thriller has its West Coast premiere at Magic Theatre.

Port Out, Starboard Home Z Space, 450 Florida, SF; www.foolsfury.org. $12-35. Wed/19-Sat/22, 8pm; Sun/23, 2pm. foolsFURY performs the world premiere of Sheila Callaghan’s black comedy.

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $25-50. Fri, 8pm; Sat, 8:30pm. Through Sept 29. Dan Hoyle’s hit show about his trip across America returns.

Rigoletto War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. $10-340. Wed/19 and Sept 25, 7:30; Fri/21, 8pm; Sun, 2pm. Through Sept 30. “Fidelity is for weaklings!” Despite this rousing cry from its philandering villain, SF Opera opens its 90th season with a faithful and winsome double-cast production of Giuseppe Verdi’s immortal Rigoletto. Based on a play by Victor Hugo, the story concerns the titular court jester and hunchback (played opening night by the imposing Serbian baritone Zeljko Lucic, who alternates nights with Italian Marco Vratogna) whose attempt to revenge himself on the goatish Duke of Mantua (Sardinian tenor Francesco Demuro, alternating with Mexican tenor Arturo Chacón-Cruz) for seducing his beautiful daughter, Gilda (the thoroughly enchanting Polish soprano Aleksandra Kurzak, alternating with Russian coloratura soprano Albina Shagimuratova), backfires with tragic consequences. The production includes free simulcast presentations at AT&T Ballpark on consecutive weekends for those more inclined to recline, especially in the fresh free air, but either way the show’s a little staid but charming and the music, under SF Opera’s Nicola Luisotti, utterly transporting. (Avila)

Strange Travel Suggestions MainStage, Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-50. Sat, 8:30pm. Through Sept 29. Author and Ethical Traveler founder Jeff Greenwald (Shopping for Buddhas, Snake Lake) has done his solo show Strange Travel Suggestions dozens if not hundreds of times and still has no idea where it’s going. No wonder he and his audience keep coming back for more. The unknown, an aphrodisiac to the traveler, also makes great catnip for the storyteller. Still, there are consistent elements. There is no need to reinvent the wheel — or the impressive Wheel of Fortune that sits just off center stage, painted with a map of the globe and ringed with symbols abstract and evocative enough to conjure up myriad adventures, peak experiences, and humbling encounters from the vivid grab-bag memory of an accomplished travel writer and inveterate globetrotter. There’s also a real grab bag, just in case, and an oversize tarot card, a sort of visual aid cum talisman sporting a classic image of the Fool, patron saint of the traveler’s heedless leaps of faith. Greenwald’s stories possess a fine sense of humor and a knack for the shrewd detail and telling observation. They also contain a Zen-inflected homespun wisdom no doubt born of leaving home on a regular basis. If slightly self-conscious at times, these tales are always genuine and appealing. In the end, Greenwald’s show, as reliable as it is unpredictable, mimics a genie-from-a-bottle experience: What you get is three spins, three stories, and a lot of unexpected truth. Note: capsule condensed from 2008 feature review of this production. (Avila)

Tripping on the Tipping Point Stagewerx, 446 Valencia, SF; (707) 322-5731. $15-20. Thu-Sat, 8pm. Through Sept 29. Human Nature performs a new comedy about global warming.

Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Fri-Sun, 5:30pm (also Sat-Sun, noon; matinee only Sat/22; no performances Sept 29; evening performances only Oct 6-7). Through Oct 7. We Players board the Balclutha and the Eureka for this jazzy take on Shakespeare’s romance.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 5pm. Extended through Sept 29. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Chinglish Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-99. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show Oct 5; additional 2pm show Oct 4); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 7. Tony Award-winning playwright David Henry Hwang (M. Butterfly) delivers this inconsistent but generally lively and fascinatingly au courant comedy about a down-on-his-luck American businessman (Alex Moggridge) who visits China hoping to win a contract for English-language signage. Hiring a British expat (Brian Nishii) to smooth the way for him, he enters negotiations with a local official (Larry Lei Zhang). Although things seem to be going well (across some hilarious scenes of half-assed simultaneous translation), he finds the deal running inexplicably aground, then finds unexpected help from a hard-nosed, initially hostile, and beautiful Party official (a standout Michelle Krusiec), with whom he soon begins an extramarital affair. But the American (who has a past of his own that eventually comes to light with surprising consequences) has no idea of the machinations taking place behind the formal business meetings and other confused cross-cultural encounters. What unfolds is a sometimes stretched but generally shrewd and laugh-out-loud funny assessment of has-been American delusions through the prism of rising Chinese ambitions and clout, cultural and otherwise. If the central dynamic between the lovers is not always convincing on the individual or metaphorical level, Leigh Silverman directs for Berkeley Rep a super slick production, complete with rotating sets and precisely timed entrances, featuring an enjoyable cast rounded out by Vivian Chiu, Celeste Den, and Austin Ku. (Avila)

The Death of the Novel San Jose Rep, 101 Paseo de San Antonio, San Jose; www.sjrep.com. $23-69. Wed/19, 7:30pm; Thu/20-Sat/22, 8pm (also Sat/22, 3pm). Vincent Kartheiser (a.k.a. Pete Campbell from Mad Men) stars in Jonathan Marc Feldman’s drama about creativity in post-9/11 America at San Jose Rep.

The Elaborate Entrance of Chad Deity Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $32-60. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through Sept 30. Playwright Kristoffer Diaz, a self-professed fan of the aggressively-theatrical spectacle that is professional wrestling, delivers much more than a “wrestling 101” primer for the uninitiated with The Elaborate Entrance of Chad Deity. Beneath the razzle-dazzle of the arena lighting (Kurt Landisman), the gaudy costuming (Maggie Whitaker) and the giant televised image of a hot bikini babe (Elizabeth Cadd, video by Jim Gross) lies the trampled luster of an American Dream. The dreamer, Macedonio “The Mace” Guerra (Tony Sancho), a wiry fall guy for THE Wrestling, wrestles not for money or glory (he is rarely privy to either), but for his love of the strange ballet that occurs in the ring. Guerra’s job is to make his opponents look good, including the pec-flexing, bling-booted Chad Deity (Beethovan Oden), leaving him to wrestle alone with the identity politics of being a marginalized but fully capable warrior battling perennially stacked odds. Willing suspension of disbelief does get stretched pretty thin when the character Vigneshwar Paduar, a smooth-talking hustler chance-met on the basketball courts of Brooklyn, rises to championship levels in record-breaking time as the truly cringe-worthy persona known as “The Fundamentalist,” but Nasser Khan’s skillfully self-possessed performance as Paduar makes it impossible not to root for him all the way. Rod Gnapp as foul-mouthed bossman “EKO” and fight director Dave Maier as a whole squadron of hapless B-list wrestlers round out the excellent cast. (Gluckstern)

The Fisherman’s Wife La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm. Through Sept 29. The latest from playwright Steve Yockey (Bellwether, Skin) is an exercise in pure pleasure, not least for the devious sea creatures preying lustily and unashamedly on the hapless human flesh of a small coastal town. There, in cracked fairytale fashion, an unsuccessful fisherman named Cooper Minnow (an endearingly nerdy but passionate Maro Guevara) is preparing to set out to sea, leaving at home frustrated wife Vanessa (a wonderfully, volcanically bitchy yet complex Eliza Leoni) and their sinking marriage, when he meets an oddly brazen pair of sexy, sassy bathers in old-fashioned beach attire (the swimmingly synchronized duo of Sarah Coykendall and Roy Landaverde). At more or less the same moment, a devilishly dashing yet prim traveling salesman (poised, nicely offbeat Adrian Anchondo) is offering a clearly aroused Vanessa an erotic woodcut featuring monstrous tentacles groping human victims at a very familiar-looking dock. Will she take the woodcut? Will she ever! And later she’ll defend her husband’s honor and swap places with him too, much to the commercial advantage of the ever-accommodating salesman who — like Yockey’s smart and sure sex farce — has a little something for everyone. Directed with smooth precision by Ben Randle for Berkeley’s Impact Theatre, The Fisherman’s Wife again finds Yockey playing productively with the fine fuzzy line separating human nature from nature at large (as in Large Animal Games, the winning 2009 co-production from Impact and Dad’s Garage). The animals come through for playwright and company once more, with a thoroughly enjoyable comedy whose borrowed maritime mythos has just enough metaphorical pull to lead those so inclined out beyond the shallow waters. (Avila)

Keith Moon/The Real Me TheaterStage at the March Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Thu, 8pm. Through Sept 27. Mike Berry workshops his new musical, featuring ten classic Who songs performed with a live band.

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

A Midsummer Night’s Dream Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Check website for schedule. Through Sept 30. Marin Shakespeare Company performs the Bard’s classic, transported to the shores of Hawaii.

PERFORMANCE/DANCE

“Comikaze Lounge” Café Royale, 800 Post, SF; www.comikazelounge.com. Wed/19, 8pm. Free. Comedy with Kevin Camia, Mike Drucker, Paco Romane, Lydia Papovich, and more.

“Dogsbody” Intersection for the Arts, 925 Mission, SF; dogsbody.eventbrite.com. Fri/21-Sun/23, 8pm. $10. Erik Ehn’s play about child soldiers features choreography by Erika Chong Shuch.

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

“The Ella Effect” Shotwell Studios, 3252-A 19th St, SF; www.ftloose.org. Fri/21, 8 and 9:30pm. $15. Josh Klipp and the Klipptones join with a crew of local dancers to honor the music of Ella Fitzgerald.

“Fauxgirls! San Francisco’s Favorite Drag Revue” Infusion Lounge, 124 Ellis, SF; www.fauxgirls.com. Thu/20, 8pm. Free. With Victoria Secret, Alexandria, Chanel, Maria Garza, and more.

“Hella Gay Comedy Show: Bear Comedy Night” Deco Lounge, 510 Larkin, SF; www.decosf.com. Sun/23, 8pm. $10. Comedy with host Charlie Ballard and performers Kurt Weitzmann, David Gborie, Nick Leonard, Antwan Johnson, and more.

Kathy Mata Ballet San Francisco Conservatory of Music, 50 Oak, SF; www.kathymataballet.com. Fri/21, 8pm. Free-$30. The company performs a variety of dance styles, including ballet, jazz, modern, and belly dance, plus guest performers the Gnosis Dance Collective and live musical accompaniment.

Napoles Ballet Cowell Theater, Fort Mason Center, Marina at Buchanan, SF; www.napolesballet.org. Sat/22, 8pm; Sun/23, 7pm. $18-25. The new company presents Carlos Molina in the world premiere of Fausto.

“Open” Garage, 715 Bryant, SF; www.brownpapertickets.com. Fri/21-Mon/24, 8pm. $20. When a couple decides to try an open marriage, hilarity (and jealousy) ensues in Jeff Bedillion’s play, performed by Back Alley Theater Productions.

“Second City for President” Palace of Fine Arts Theatre, 3301 Lyon, SF; www.captivatearts.com. Sun/23, 3pm. $30-55. Political comedy revue by the renowned Second City troupe.

Gina Yashere Brava Theater Center, 2781 24th St, SF; www.brownpapertickets.com. Sat/22, 8pm. $18-20. The British Nigerian comedian performs.

BAY AREA

“Freedom House” Eastside Cultural Center, 2277 International, Oakl; (510) 420-0920. Fri/21-Sat/22, 8pm; Sun/23, 2pm. $10-25. dNaga, Eastside Arts Alliance, and the Asian Pacific Islander Center present this “dance art experience” inspired by the experiences of people of color who live in Oakland.

“Risk for Deep Love” Temescal Art Center, 511 48th St, Oakl; www.eroplay.com. Fri/21, 8pm. Free. Frank Moore leads this “ritual audience participation experience experiment.”

 

Beyond the video

Andrew Lam
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Beyond the video

steve@sfbg.com

The Board of Supervisors received the official misconduct case against suspended Sheriff Ross Mirkarimi this week, with a majority of Ethics Commission members urging supervisors to give more weight to the 45-second video that started this sordid saga than the voluminous record they have compiled at great expense over five months of hearings.

Yet Chair Benedict Hur, the commission’s sole vote against finding that Mirkarimi committed official misconduct, last month argued that supervisors shouldn’t take such a narrow view of this decision, expressing concern about the “dangerous precedent” of removing an elected official for conduct unrelated to his job.

Ironically, Hur will be the one presenting the commission’s case to the board later this month, a decision his colleagues made because the other options weren’t good and because they said he has been so knowledgeable and fair-minded through the process. While Hur is likely to play it straight, the supervisors will have an opportunity to elicit his true perspective — raising questions that will be central to the sheriff’s future.

Will supervisors see their decision as a matter of showing zero tolerance for even minor acts of domestic violence, as Mayor Ed Lee and some women’s groups are urging? Or will they see this as governmental overkill in pursuing a punishment that doesn’t fit the crime, overturning an election and giving mayors too much power to go after their political rivals?

Is this just about Mirkarimi and his actions, or are there larger, more important principles involved in this unprecedented decision?

In the video, Mirkarimi’s wife, former Venezuelan soap opera star Eliana Lopez, displays a small bruise on her right bicep and tearfully tells the neighbor who filmed it, Ivory Madison, that Mirkarimi caused it the previous day, Dec. 31, and “this is the second time this is happening.” She also said that she wants to work on the marriage, but that, “I’m going to use this just in case he wants to take [her son] Theo away from me.”

Lopez last month spent more than three hours on the witness stand being grilled by Deputy City Attorney Peter Keith and Ethics commissioners, explaining why she made the video and how she believed Madison was an attorney and their conversations were confidential. She repeatedly insisted that she was not a victim of domestic violence and criticizing city officials and prosecutors for persecuting her family and taking away her husband’s livelihood.

There was nothing in the testimony that obviously impeached Lopez or hurt her credibility. To many observers -– particularly Mirkarimi supporters, who made up the vast majority of those giving public comments to the commission -– her testimony marked the moment when the city’s case began to unravel. Indeed, on Aug. 16 the commissioners voted unanimously to reject most of the charges that Lee filed, including witness dissuasion, abuse of authority, and impeding the police investigation.

In the end, there was just that video, and commissioners on Sept. 11 added a final statement into the record that they believed it more than anything Lopez has said since then. Even Hur said that he found it compelling, and that more may have happened on Dec. 31 than Lopez and Mirkarimi have admitted.

But there really isn’t much evidence to support that belief, and Hur said in August that it shouldn’t matter anyway. If the city’s vague and untested official misconduct language can apply to low-level misdemeanors unrelated to an official’s duties, he said, “we are opening this provision up to abuse down the road.”

 

Locking down reforms

Andrew Lam
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steve@sfbg.com

Realignment, California’s year-old program of diverting more inmates and parolees from state prison to county jails and probation offices, was borne of necessity: The state faced a severe budget crisis and had been ordered by the federal courts to reduce the population in its overcrowded prisons. But Realignment is proving to be a real opportunity to address inmates’ needs and reduce recidivism, particularly in San Francisco, where progressive notions of rehabilitation and redemption have deep roots.

“Realignment is the most significant criminal justice reform in decades,” says Assembly member Tom Ammiano, the San Francisco Democrat who chairs the Assembly Public Safety Committee and has helped oversee the process. “The motivation of many of us came from things that were thwarted, like sentencing and parole reform, in Sacramento for many years.”

San Francisco was uniquely positioned to thrive under the new system and to be a model for other counties that seek to improve on the 70 percent recidivism rate among state prison inmates, and the myriad problems and costs that spawns. Former Sheriff Michael Hennessey brought a variety of innovative educational and support services into the jail during his 32-year reign that ended last year (see “The unlikely sheriff,” 12/20/11).

“It’s more than an opportunity. It’s in line with the Michael Hennessey doctrine of enhancing public safety while elevating the idea of redemption, and I subscribe to that,” said suspended Sheriff Ross Mirkarimi, who successfully ran as Hennessey’s endorsed heir before Mayor Ed Lee ousted him over domestic violence allegations. “Michael Hennessey made famous the rehabilitation programs inside the jail and outside the jail.”

San Francisco was also in a good position as both a manageably sized city and county, and one that had room for the influx of inmates. It was ordered by the courts in the 1980s to reduce its crowded jail population – the peak jail population of 2,300 is now down to about 1,550 – and gained even more capacity last year when the SFPD’s crime lab scandal resulted in hundreds of drug cases being thrown out by the courts.

“It’s something that makes sense for San Francisco,” Acting Sheriff Vicky Hennessy told us. “We’re doing better than most other counties because we had the bed space and we had community programs. Michael Hennessey is a visionary…and he got these community programs out there.”

Undersheriff Ellen Brin, who oversees the jail, said the main difference among inmates that San Francisco is dealing with under Realignment – a total of 2,258 in the jail over the last year, staying an average of 60 days each, and another 306 convicts under post-release supervision – is that they’re in local custody longer than before.

“It’s sort of the same population we’ve always dealt with, but maybe we’re dealing with them on a longer term,” she said.

That creates some challenges – Brin said there are more inmates who are a little more hardened and “more sophisticated” – but it also gives local programs more of a chance to help the inmates. That was one of the arguments for Assembly Bill 109, the main legislation that created Realignment, along with five other related bills.

“That was the whole plan about AB 109 is the counties do it better,” Brin said. “For us, we’ve been doing these programs for so long, with reentry and other community programs, so it’s easy for us to manage this population because they’re here longer.”

Realignment has also prompted more collaboration among the affected local agencies – particularly the Sheriff’s Department, Adult Probation Services, and the District Attorney’s Office – and their counterparts on the state level.

“We haven’t had an overarching initiative that we’ve all been required to sit around a table and work on. This has kind of brought us together, and we’ve discovered other areas where we need to work together as well,” Hennessy said.

That has sparked new programs. For example, San Francisco just started to bring those about to be paroled from state prison into the local jail before their release in order to integrate them into the San Francisco rehabilitation system. “We’re creating a reentry cycle for them so they aren’t just getting off the bus and landing here and going directly to Probation for an interview,” Hennessy said. “Now, we’re going to try to bring them here 60 days early and provide them with wrap-around services, so that we can get them established, get them housing, give them the best opportunity we can for a successful reentry.”

With counties now responsible for the people local judges send to jail, there’s more interest in reforming sentencing laws and exploring more progressive and community-based alternatives to incarceration, which is the focus of the new San Francisco Sentencing Commission that held its first meeting last month.

“District Attorney [George] Gascon is very supportive of Realignment, DA’s Office spokesperson Stephanie Ong Stillman told us. “He has said it could have the greatest impact on justice reform in decades. San Francisco is on its way to being a model for the state.”

But the flip-side of San Francisco’s advantages has been a growing backlash against Realignment in conservative counties with disproportionately high incarceration rates and a lack of capacity in their jails – which is often a byproduct of combining tough-on-crimes policies with anti-tax attitudes, something Ammiano is now dealing with in Sacramento.

“There is a lot of push-back from the Republican Party and alarmism over Realignment,” Ammiano said, noting that he’s just waiting to be hit with anecdotal stories about a transferred inmate committing some horrific crime, even though Realignment only involves low-level convicts who committed non-violent and non-sexual crimes.

Ammiano will work with a newly constituted Board of State and Community Corrections that will distribute funds to counties that need to beef up each their jail capacities or their treatment programs. That mix hasn’t been set yet, but Ammiano said he won’t support counties that simply seek more state resources to maintain high incarceration rates.

“In one way, it’s perturbing and the other way, it’s exciting,” Ammiano said. “For me, the more the county has programs, the more sympathetic I’ll be.”

Yet in this era of chronically underfunded government entities, even San Francisco is strained. Hennessy and Brin say Realignment has brought more inmates with serious mental health issues into the jails for longer periods of time — and that has stretched their resources.

“That’s where we lack, even before AB 109, and I’d like to get more people in there who are experts in the mental health field,” Brin said.

Hennessy agreed, but added, “The mental health program we have is extremely good, it’s just overtaxed because we’re seeing many more people, and this is across the state.” Mental health isn’t the only issue. “The other thing that is a concern is housing for people,” Hennessy said, explaining that the city needs both supervised housing and regular low-income housing for former inmates returning to the community. Maintaining the Sheriff’s Department progressive legacy in the face of new challenges is one reason why Mirkarimi sees danger in Lee’s decision to overturn that election and consolidate more power in the Mayor’s Office. “It’s important that the independence of the Sheriff’s Department be preserved,” Mirkarimi said. “Programs can easily be changed by successive mayoral administration if there isn’t that check on power.” But for now, Brin said San Francisco’s various law enforcement officials have been working well to realize the potential of Realignment: “The collaboration between the criminal justice partners has just been really, really great. Everybody is working together to try to accomplish the same thing.”

Ending the mayor’s commission monopoly

Andrew Lam
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EDITORIAL Ten years ago, San Francisco voters took a huge step toward decentralizing control of city planning, approving a measure that splits the appointments to the powerful Planning Commission between the mayor and the Board of Supervisors. A year later, a similar change gave the supervisors a role in appointing Police Commission members.

By any rational account, it’s been a complete success. The commissions better reflect the diversity of opinion in the city, function well and are no longer complete rubber stamps for the mayor and his planning director and police chief.

The mayor still controls the majority on both panels; his ability to set the direction of city policy hasn’t been harmed. But there’s a least a chance for a dissenting voice or two.

Compare that to, say, the Recreation and Parks Commission.

Rec-Park is a disaster. The seven members are all appointed by the mayor. Some have little or no past experience in anything related to recreation or parks. One actually works as Mayor Ed Lee’s scheduler. Commission votes are nearly always unanimous and the panel supports the director more than 90 percent of the time.

The mayoral appointees have overseen the rampant privatization of public space and a change in direction that undermines the entire concept of urban parks. Rec-Park staff have been directed to find increased ways to turn the parks into cash machines, prioritizing revenue over public access.

The result: So many people are angry at the department that it’s possible San Francisco voters will reject a bond act in November aimed at providing badly needed money to fix up ailing parks and facilities.

The discontent with Rec-Park stems in significant part from the perception that the commission is inaccessible and uninterested in public input. Since all of the members typically line up in lockstep on every decision, there’s little discussion and less chance for opposing opinions to get heard.

There’s a pretty easy fix — the supervisors could put a charter amendment on the ballot giving the board three of the seven appointments. But that would leave a long list of other key commissions unchanged — and there’s no reason to address the problem piecemeal. It’s time for the supervisors to push a comprehensive reform package that redefines how every policy commission in the city is structured.

The reason district elections of supervisors has been such an unqualified success (and remains incredibly popular) is that it guarantees not only neighborhood input on issues but a diverse board. Fiscal conservatives have a voice; so do left-progressives. You won’t find that on most mayoral commissions; it’s very, very rare for a mayor to appoint someone who doesn’t share his or her policy perspectives.

The mayor of San Francisco — who needs to raise huge gobs of money to get elected, leaving him or her deeply in debt to powerful and wealthy individuals and interests — has too much power. That’s a basic problem in the City Charter. The supervisors should start holding hearings now on alternative approaches to a more equally shared governance. Splitting appointments to all commissions would be a great start.

 

Endorsement interviews: Rachel Norton for School Board

Zelda Bronstein
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Endorsement interviews: Rachel Norton for School Board

Rachel Norton, one of three incumbents seeking re-election to the San Francisco School Board, sees herself as an advocate for parents, particularly parents of special-ed kids. She told us she was proud of the dramatic gains the district has made in some of the lowest-achieving schools and said that in her time on the board, the district has done a remarkable job of managing its budget. She wants to make school food a major priority in the next four years and will be pushing the idea of building a central kitchen so food can be prepared locally instead of shipped in from the midwest.

She also explained her vote to defy the teachers union and protect junior teachers at 14 schools from layoffs.

You can hear the entire interview after the jump.

 

Ethics Commission rejects Mirkarimi delay request

Sasha Cuttler
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Ethics Commission rejects Mirkarimi delay request

The Ethics Commission – in a decision made by Chair Benedict Hur, to whom the commission had given the authority to make procedural decisions – today rejected a request by attorneys for suspended Sheriff Ross Mirkarimi to delay transfer of his official misconduct case to the Board of Supervisors until after the Nov. 6 election.

Mirkarimi’s attorneys argued that the decision has been overly politicized during the election season, with supervisorial challengers turning the decision into a litmus test and interest groups polling voters on whether they would be more likely to reject supervisors who voted for reinstating Mirkarimi. The City Charter requires the board to act within 30 days of receiving the official record from Ethics, which will probably happen early next week.

“The fate of the sheriff has been made a key political issue in the election by the media, candidates, consultants, mayoral appointees to commissions, and others. Sending the record to the Board immediately prior to an election deprives the Sheriff of a neutral decision-maker, as guaranteed by the Due Process clauses of the 5th and 14th Amendments,” attorney David Waggoner wrote to the commission on Sept. 10, attaching eight articles and campaign pieces linking the Mirkarimi decision to the supervisorial races.

But Hur disagreed. “There is no evidence suggesting that any member of the Board of Supervisors will disregard the facts and the law and instead vote to sustain the charges based upon perceived political pressure,” he wrote. Actually, he argued that “granting the Sheriff’s request would cause the Commission to engage in the type of political maneuvering that it seeks to avoid. The commission will not manipulate the timing of the Board’s decision in a misguided attempt to predict the nadir of public pressure on the Supervisors.”

Mirkarimi told the Guardian that he was disappointed by the decision, noting that it was Mayor Ed Lee’s piling on of excessive charges that the commission found no evidence to support that have delayed the board’s deliberations until the height of the election season. “This is so vividly and transparently political.”

Commissioners sharpen Mirkarimi case and select unlikely rep

Sasha Cuttler
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Commissioners sharpen Mirkarimi case and select unlikely rep

 The Ethics Commission wrapped up nearly six months worth of proceedings on the official misconduct charges against suspended Sheriff Ross Mirkarimi today, finalizing its findings of fact and choosing Chair Benedict Hur to make its presentation to the Board of Supervisors even though he was the sole dissenting vote against removing Mirkarimi from office. 

After making the key decisions during a marathon meeting on Aug. 16, today’s hearing was mostly about mopping up, and it was the most sparsely attended of the hearings so far. But there were still a couple of tough issues to hash out, and the commissioners who voted against Mirkarimi tried to strengthen their case at the last minute.
The City Charter mandates removal of an official if at least nine supervisors find he committed official misconduct. The commission had earlier discussed how they viewed that finding and the punishment as separate issues, but decided against recommending a punishment after discussing that charter language. 
Commissioner Beverly Hayon today sought to remove any doubt about where she stood, adding a personal statement into the record that she thought the sustained charges — its 4-1 finding that Mirkarimi’s grabbed his wife’s arm during a Dec. 31 argument and subsequently pleaded guilty to false imprisonment — warranted Mirkarimi’s removal.
In a sign that the commissioners are paying attention to the political climate that has formed up around their deliberations, she made a reference to a discussion and vote last month by the Commission on the Status of Women and sought to clarify any “confusion” about where she stood.
Commissioner Paul Renne also sought to sharpen the findings of fact by adding language indicating the commission found the testimony of Mirkarimi and his wife, Eliana Lopez, to be a less credible and compelling description of what happened on Dec. 31 than the tearful 45-second video that neighbor Ivory Madison helped her make days after the incident displaying the bruise on her arm and saying she wanted to document the incident in case they divorced and there was a custody battle over their three-year-old son. 
That language was inserted in the document without objection, a decision that drew a sharp rebuke from Lopez’s attorney, Paula Canny, during the public comment portion of the hearing. “My client wants you to know that you’re flat out wrong,” Canny said, criticizing the commission’s hostile treatment of both Lopez and Linnette Peralta-Haynes, Lopez’s confidante on the day Madison unexpectedly called the police. 
“It has to be Eliana is not credible to justify your finding,” Canny said, accusing commissioners of selecting facts to fit impressions they formed when watching the emotional video. “The only reason Eliana made that video is to be used in a custody dispute.”
Mirkarimi attorney David Waggoner tried unsuccessfully to make changes to a commission summary document that he called “very one-sided,” including trying to add language indicating that the commission had unanimously rejected most of the charges that Mayor Ed Lee brought against Mirkarimi, such as witness dissuasion, abuse of power, and interfering with a police investigation. 
Waggoner also objected to Hur’s suggestion that attorney Scott Emblidge, who is doing pro bono legal work on the proceedings for both the commission and the Board of Supervisors, calling it a conflict of interest given that the commission’s role is akin to that of prosecutor. And on that point, he found support from Renne, who was unaware that Emblidge will also be advising the supervisors, a dual role he found troubling. “I’m a little surprised and I don’t know why the board doesn’t have independent counsel,” Renne said.
Emblidge promised a “dry recitation” of the commission’s findings, but Waggoner recommended the commission’s executive director, John St Croix, when pressed by Hur for an alternative, a choice Hur rejected because St. Croix hasn’t been present at all the hearings. Finally, Renne suggested that Hur do the presentation, saying that he has been fair and represented all arguments well during the proceedings so far, something that Hayon and Commissioner Dorothy Liu enthusiastically agreed with. 
It was an unconventional decision given that Hur made strong arguments on Aug. 16 about the troubling precedent that he thinks the commission’s decision represents, saying it gives the mayor too much power and opens the door to political manipulation if the official misconduct provisions are construed so broadly.
But he accepted the duty, telling the commissioners: “I’m willing to do it. It is awkward given that I was in the dissenting view, but I’ll do my best.”The case is expected to be sent to the board by Sept. 18 and it will have 30 days to act, meaning the decision will be just a few weeks before an election in which five supervisors are running to keep their jobs.Mirkarimi’s team has sought to delay the transfer of the case until after the election, noting many political interest groups and supervisorial candidates have been publicly putting pressure on the supervisors to remove Mirkarimi.

Insurance executive increases his payout to Greenlining

Sasha Cuttler
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2
Insurance executive increases his payout to Greenlining

A consumer group that supports Mercury Insurance in its efforts to charge some drivers higher rates just got a donation of $195,000 from Mercury’s founder. The money is going to create a political operation supporting two ballot measures – Mercury’s Prop. 33 and Prop. 38, a tax measure sponsored by Molly Munger, who also gave the group $225,000.

Greenlining Institute, which has the mission of protecting low-income people from predatory financial institutions, defends its stands. But since the group opposed a very similar Mercury measure two years ago, critics are wondering how much Greenlining is influenced by its corporate donors.

Just as the Guardian was going to press last week with a story about the strange alliance between Greenlining and Mercury to back Prop. 33, which would increase car insurance rates for those who haven’t maintained continuous coverage, that connection got far cozier and more lucrative for Greenlining.

Greenlining’s General Counsel Sam Kang – the main proponent for backing Prop. 33, a stand that was controversial within the organization – has taken a sabbatical until Election Day to support the Yes on 33 campaign using a $195,000 donation that Mercury founder George Joseph made a new 501c4 offshoot organization: Greenlining Action.

Before the Guardian independently learned of those new developments, Greenlining Executive Director Orson Aguilar contacted us about writing a response to our article, which we welcome, although he hasn’t followed through yet. “Regarding the article, I think it was fair given your early conclusion that $25k led to our decision. Clearly we have issues with that, but enough said,” he wrote to us.

I disputed the characterization that my article implied the $25,000 donation from Joseph to Greenlining was the deciding factor in the organization’s decision to support Prop. 33 after opposing a similar measure in 2010, but Aguilar sounded a similar criticism in a piece he posted to Greenlining’s website on Sept. 6 entitled “Check the Facts and Support Prop. 33.”

“Simply put, Proposition 33 is good policy that will lead to lower rates by encouraging more competition among insurance carriers in California,” Aguilar wrote, a disputable claim that Kang offered. “You may have also heard that Harvey Rosenfield, the founder of Consumer Watchdog, is attacking Greenlining for supporting Prop 33. Harvey claims that a $25,000 table sponsorship by Mercury Insurance at Greenlining’s 2012 Annual Economic Summit led to our support of Prop 33.”

Actually, Rosenfield hadn’t made that claim in the Guardian article that Aguilar referenced in his write-up, nor did he acknowledge the $195,000 donation that Greenlining Action received from Joseph on Sept. 4, two days before posting his open letter minimizing the impact of a $25,000 contribution.

I asked Aguilar why he didn’t mention that hefty donation, or the fact that Kang had taken a long sabbatical to do campaign work (which I learned of by an auto-response to his email about the sabbatical that also said “If your note is regarding Proposition 33, please call my cell phone”), or asking about Kang’s current financial arrangements and possible conflicts of interest.

Aguilar responded with a high-minded announcement of Greenlining Action: “This November, voters will have a chance to pass tax measures that ensure that schools and colleges have enough money to serve our students. Other propositions would make common sense reforms to California’s system of incarceration – saving the state millions in dollars while keeping us safe. Another proposition would give large corporations unlimited influence over California politics and must be defeated. Another would bring lower auto insurance rates for families working from paycheck to paycheck.

“As an organization, we decided not to sit on the sidelines any longer. In our work listening to hundreds of working-class voters, they demanded more concise and accurate information on initiatives from a trusted reliable source.

“Greenlining Launches Greenlining Action

“We have decided to take action by re-launching a c4 organization, Greenlining Action. Greenlining Action was originally launched several years ago when we unsuccessfully tried to freeze tuition at the University of California by imposing a tax on millionaires. Unfortunately, we came up a few hundred thousand signatures short to qualify our petition for the ballot. This year we have developed an initiative slate with recommendations on all ballot measures. Our hope is to put this slate in the hands of thousands of voters this election.”

So far, Greenling Action is only listed in campaign filing documents as officially advocating for two measures: Prop. 33 and Prop. 38, which would raise taxes to help fund public education, whose chief sponsor, attorney Molly Munger, also gave $225,000 to Greenlining Action.

Consumer Watchdog founder Harvey Rosenfield said he finds the dual roles played by Kang (who could not be reached for comment) unseemly, particularly if he’s being paid to work on the campaign: “To use the name of the nonprofit to further your personal interests, that’s personal inurement.”

SF School Board members are suddenly pals

Zelda Bronstein
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11
SF School Board members are suddenly pals

I’m used to negative campaigning in San Francisco School Board races. Two years ago, much of the effort candidates were putting forward seemed to be about trashing Margaret Brodkin. These days, I’m getting emails from all sides telling me IN CAPITAL LETTERS who the Guardian should never endorse.

And the board itself has been bitterly divided at times; Rachel Norton and Jill Wynns used to constantly fight with Sandra Fewer. There were two factions on the board, and there’s no way either side would support a member of the opposing crew.

But a funny thing is happening this fall. Among the torrent of trash-talk, the three incumbents — Norton, Wynns, and Fewer — have nothing bad to say about each other. In fact, everyone agrees that the board is working more closely together than it has in years, and while they aren’t always saying so in public, Wynns, Fewer and Norton are quietly helping each other out with their campaigns. All three told us they’d be happy to see their colleagues win re-election.

And it’s all because of the teacher’s union.

Back in March, the school board, by a 5-1 vote, did something almost unheard of in this union town: They discarded the rule of seniority and protected the jobs of 70 mostly newer teachers while issuing layoff notices to teachers with time on the job. The superintendent, Carlos Garcia, wanted to end the cycle of high turnover at 14 school with historically low performance rates, so he created a special “superintendent’s zone.” Teachers who agreed to work in schools that veterans often sought to avoid received extra training and support. Principals sought to build working teams that would stick together.

Then came the annual pink-slip ritual.

The SFUSD administration doesn’t know in the spring how much money it’s going to have for the next fiscal year. That’s because the state doesn’t finalize it’s budget until summer. And by law, the district is required to give teachers notice in March if they might be laid off come September.

So every year, the district issues pink slips to several hundred teachers — and most years, most of those layoffs are later rescinded.

Layoffs are mostly, but not entirely, done by seniority — teachers with advanced skills that are hard to find (special-ed teachers and some math and science teachers, for example) are exempt from the normal layoff process. But the union didn’t consider the 70 Superintendent Zone teachers as fitting that description — and when the board sided with Garcia and protected those teachers from pink slips, union leaders were furious.

Fewer, a staunch progressive who had never so directly defied the union before, told us she was so nervous before the vote that she wasn’t sure she could speak. But speak she did — making a strong statement that the visible, measurable progress in those 14 schools justified a tough decision. Four of her colleagues, including Wynns and Norton, backed her up.

For the United Educators of San Francisco, this was unacceptable. Seniority is at the heart of most union contracts, and once you carve out exceptions like this, the union argued, you go down a very dangerous path. An administrative law judge agreed, and ruled in May that the district acted improperly.

As it turns out, enough layoffs were rescinded that it isn’t really an issue any more — but the bad blood is still there. UESF has refused to support a single incumbent for re-election. Ken Tray, a UESF representative, told me that the superintendent was “at war with the teachers union” and called the vote “a toxic mess.”

But the ire of the union has brought the incumbents closer together. Wynns and Fewer have something in common now. They feel like they’ve been through — to use Tray’s term — a war together.

Not, I suspect, what UESF had in mind. But it’s happening. And it could affect the outcome of the election.

Reinstate Ross! Reinstate Ross!

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More than l00 women supporters of suspended Sheriff Ross Mirkarimi gathered on the City Hall steps Sunday  to stand with Ross in a show of support and  a photo shoot.

The women held signs reading “Stand with Eliana and Ross, Reinstate our Sheriff” and “I believe Eliana” in English and Spanish.

Ross told the women that Mayor Ed Lee was seeking his ouster as sheriff as a way to knock out the top elected progressives in the city and to consolidate power against the progressive community.

But, he said, “as a community we stand our ground and we maintain the principles of what is just and fair.”

He said that Lee was orchestrating the supervisorial vote on his ouster to come before the November election and thus put maximum pressure on the supervisors.  He called on the community to fight back, contact the supervisors and the media and let them know that the public wants Ross to be reinstated as sheriff.

His outreach information, distributed at the event, stated: “Let the Board of Supervisors and media hear from you on behalf of Ross Mirkarimi.  He is a good man who has dedicated himself for years to serve the citizens of San Francisco.  Ironically, although his career is in Justice, he has experienced the lack of Justice at the hands of City Hall.”

And: “We elected Ross and should be the only ones to determine who is our sheriff.  Not the mayor, not the Ethics Commission, but the voters.”

The statement noted that Ross got more votes in November than did Lee for mayor and that the voters have been disenfranchised by Lee.  It also noted that “there is no precedent for suspending an official without pay.  What a terrible, unjust thing to do to a man.”

Hoping for change in Obama’s acceptance speech

Sasha Cuttler
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22
Hoping for change in Obama’s acceptance speech

Four years ago, when I watched Barack Obama accept the Democratic Party’s presidential nomination in Denver’s Mile High Stadium, I was hopeful about the prospects for change, but disappointed by his safely centrist acceptance speech. This year, opting to watch tonight’s speech on television rather than being there, the only hope I feel is that Obama will finally focus on fighting for the 99 percent, which seems like his best chance of keeping his job.

Frankly, I had just about given up on two-party politics – cynical about the feckless Democrats, refusing to be driven by fear of Republican boogie-men, ready to advocate for the Guardian to endorse Green Party nominee Jill Stein – when the Democrats speaking at the DNC rediscovered their populism and turned their rhetorical guns on the predatory rich who are exploiting most Americans.

“People feel like the system is rigged against them,” Elizabeth Warren, the consumer advocate and Senate candidate from Massachusetts, told the convention last night. “And here’s the painful part: They’re right.”

Yes, they are right. Most people understand that both the political and economic systems are rigged games controlled by powerful interests, for powerful interests. And it’s good to hear top Democrats sounding that theme again, as First Lady Michelle Obama did Tuesday night and former President Bill Clinton did last night.

Obama has been battered by his bi-partisan approach these last four years. Aggressive conservatives fought his every move, demonizing the first black president in ways that defy reason, labeling him a socialist taking over the health care for pushing health care reform that left insurance companies in charge and requires people to buy coverage, an idea long advocated by Republicans. And Progressives felt like Obama sold them out on issue after issue, from extending tax breaks on the rich to propping up predatory banks to escalating the wars on drugs and Afghanistan.

Now, Obama finds himself in a tight race with a Republican ticket that insanely wants to “double down on trickle down,” as Clinton put it. And if Obama thinks his centrist approach of four years ago is going to win this race – and, more importantly, break the debilitating political gridlock that his conciliatory approach and conservative intransigence have created – then all of us concerned about rising plutocracy could be sorely disappointed.

At this point, I’m not yet ready to place my hope back in a president whose unwillingness to fight for traditional Democratic Party values has delayed meaningful action on this country’s most pressing problems. But tonight, in setting the tone and themes for this election and his second term, my hope is that he makes a change and begins to fight for my side and my vote.

Where to watch: Rather than surrounded by tens of thousands of hopeful Democrats in a stadium, like four years ago, I’ll be surrounded by a few dozen hopeful Democrats at a watch party sponsored by the San Francisco Democratic County Central Committee. Join us at the Laborer’s Local 261, 3271 18th Street, San Francisco. It is from 6-8:30pm and the suggested donation is $25.

The Dems open with a contrast

Zelda Bronstein
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The Dems open with a contrast

You couldn’t have scripted it better (and that’s what it was, carefully scripted). The contrast between the mayor of San Antonio, Julian Castro, grandson of immigrants, child of a working-class family, and the first lady, Michelle Obama, daughter of a disabled blue-collar public employee, teling their life stories just reminded everyone about the life of that other candidate. Yeah, the one who told students to borrow money from their parents to start a business.

Castro was good because of who he is, and he’s a fine speaker, and the HuffPo  thinks he’s been vaulted into the national spotlight, but this wasn’t a speech that’s going to change anyone’s life. Not like the keynote eight years ago. It was good campaign speech, some nice slaps at the Republicans, and a good line: The GOP wants to take back America — back to what and to when?

But Michelle Obama stole the show. I was listening in the car with my daughter, on the way home from her gymnastics class, and Viv — who generally tolerates nothing on the radio except Katy Perry and Lady Gaga and Kesha and J. Lo and like that — was actually quiet for a few minutes, and at one point asked me the same question I was asking myself:

Why isn’t she the president?

But she isn’t and her husband is, and we all have a lot of issues with him, and I’m not here to defend this administration. But the stark contrasts between the candidates and the conventions can’t be ignored. Davey D, who’s doing an awesome job of covering both conventions, talked about walking around the RNC and not seeing any black people (Colorlines looked carefully and found exactly 89) and from his perspective (and he’s certainly not a Democratic synchophant) the DNC was worlds away.

By most accounts, Mitt Romney didn’t get much bounce from his nomination speech, but most accounts — that is, the national polls — mean very little at this point. The next election will be won or lost in about six swing states, and the GOP clearly thinks it will be a “base” election, that there are enough right-wing types in those states to make the difference if they’re motivated. I don’t know if Obama can say or do anything that will change that.

But for those handful of undecided voters, most of whom are not rich, the Dems have a tailored message. And so far, it’s working well.

 

False idol

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False idol

arts@sfbg.com

FILM It’s easy to make fun of religion — particularly this election year — but when people aren’t trying to kill or control one another over it, it’s best to leave the subject alone. Why begrudge anyone whatever makes sense of the world for them, or gives comfort when in need?

All the major prophets — let’s exclude those who self-appointed themselves to the job within the last 150 years or so — had very useful things to say. It’s not their fault if some contemporary followers distort their teachings or choose only to emphasize the parts concerned with “thou shalt not do this,” “go smite that,” etc. For most people, religion is a balm, not an incitement. A strident atheist calling believers idiots can seem just as insufferable as a fundamentalist certain you’re going to hell.

Ergo, just as there was a certain bullying pride of snark that made Bill Maher and Larry Charles’ Religulous (2008) more mean-spirited than necessary, the new Kumaré leaves a sour, smug aftertaste. Raised in New Jersey by a first-generation immigrant family of Hindus, Vikram Gandhi proclaims himself a skeptic who started out wanting to make a documentary about the opportunistic charlatans one can find passing as spiritually enlightened gurus in both India and around the booming US yoga industry. “I wanted to prove to others looking for answers that no one is more spiritual than anyone, that spiritual leaders are just illusions,” he tells us.

A noble impulse. Yet somehow this took the form of growing his hair and beard out, wearing saffron robes, adopting a Kwik-E-Mart Apu accent, and posing as Sri Kumaré, a fresh-off-the-boat guru who arrives in Phoenix, Ariz. to open up shop as a one-stop spiritual guide for the gullible. He asks “Could people find the same peace in a made-up religion that they would in a real one?” But too often the real question here seems to be “How silly can I make these chumps look while starring in my very own nonfiction version of The Love Guru?”

Actually the comedy Kumaré has been primarily compared to is 2006’s Borat, another Larry Charles joint (Charles was, unsurprisingly, solicited for some input on this new film), and one as hilariously subversive as Mike Myers’ 2008 flop was just dumb. But as unhappy as their portraiture in Borat made its duped participants, it was hard to feel sorry for them — given enough rope they gladly hung themselves expressing racism, homophobia, sexism, and sheer Ugly Americanism.

But those who fall under Kumaré‘s farcical spell don’t deserve to be exposed and ridiculed. They aren’t even, it seems, the kind of trust-fund folk with “white people’s problems” and too much time on their hands one finds represented in most New Age circles. They’re just people with real-world issues — financial struggles, low self-esteem, empty-nest loneliness, etc. — looking for somebody to tell them what to do. Of course they could tell themselves; the answers aren’t that mysterious. But a voice of authority always provides motivation. After all, something like “You could lose some weight” sounds very different when a doctor says it, as opposed to your own nagging inner voice.

Using nonsense chants and rituals he’s invented, giving himself a silly backstory, Gandhi duly magnetizes followers who take the bait and then some, attributing him with radiating light, energy, bliss, and healing. He’s called “a living embodiment of the divine;” one woman gushes exposure to him “changed my DNA!” When he says things like “I am the biggest faker I know,” it’s assumed he’s talking about some deep reality vs. illusion stuff. Ha ha.

With his earnest narration attempting to soften the snideness of the joke, Gandhi claims to have realized he’s connected with people more deeply as Kumaré than he ever did as himself. And several acolytes really do appear to benefit, making life changes for the better. When finally does his big “unveiling,” revealing his true identity, some actually applaud him for underlining that the real guru is the one inside each of them.

But what about the others who leave, furious or humiliated? We don’t hear their reactions, or find out how the woman who confided on camera to “Kumaré” about her family’s rampant sexual abuse feels now that her revelations are preserved in the context of a comedic hoax. Gandhi’s slick feature never feels more staged than when he’s supposedly alone, looking pensive and guilty over the possible consequences of his ruse — a performance of conscience that’s as disingenuous as anything here. 

KUMARÉ opens Fri/7 at the Roxie.

The latest insurance scam

Andrew Lam
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The latest insurance scam

steve@sfbg.com

Mercury Insurance and its billionaire founder George Joseph are trying, for the second time in two years, to charge infrequent drivers more for car insurance.

Only this time, the measure has the surprising support of a progressive advocacy group that represents low-income communities of color — and that recently received a substantial donation from Mercury.

Proposition 33 — which so far has received fairly little news media attention in an election dominated by talk of taxes — is a reprise of a similar measure, Prop. 17, that went down to defeat in 2010.

The measure seeks to allow insurance companies to set premiums based in part on whether consumers have had continuous coverage. In other words, Mercury wants to raise rates on people who take a break from driving for economic, environmental, or other reasons.

The new measure contains a few exemptions targeted at sympathetic groups singled out by opponents in the last campaign, including active-duty soldiers and those unemployed due to layoffs.

And Prop. 33 also has a significant new backer, the Berkeley-based Greenlining Institute.

That alliance has drawn the ire of Consumer Watchdog, the nonprofit group that created California’s regulated car insurance system with Prop. 103 in 1988 and has been fighting to defend it ever since.

“It raises rates on the people that Greenlining claims to represent,” Consumer Watchdog President Jamie Court told us.

GOLDEN STATE GOLD

Mercury got its start in the 1960s, selling insurance to car owners who had spotty records, charging high rates — and aggressively challenging claims. About 80 percent of its business is in California.

And Mercury has been trying for some time to challenge the landmark Prop. 103, the 1988 ballot measure that set tight regulations on what car-insurance companies can charge — and what they can use to set rates.

Under that law, insurance companies can only use three basic rating factors: how long someone has been driving, vehicle miles traveled per year, and a driver’s safety record. There are 16 more factors that the state has allowed to have a smaller impact on rates, including the “persistency discount” that rewards drivers for staying with a single company.

Court said there are good reasons for that discount, noting that it costs companies more to market to and administer new customers than to serve existing ones.

Prop. 33 would allow consumers to shop around and still keep that discount — something that Court said only makes sense if you want to give insurance companies the power to divide customers by class and punish people who choose to give up driving for a while.

“It’s sleight of hand,” Court said. “Some drivers get a discount, everybody else is going to get a surcharge.”

Two years ago, every single legitimate consumer group in the state opposed Mercury’s efforts. So why is the prominent Greenlining Institute changing its tune?

Greenlining says the new measure is better. But the group’s staffers also acknowledge that Mercury is now a significant donor to Greenlining. Joseph appeared as a panelist at Greenlining’s 19th Annual Economic Summit in April, and the company donated $25,000 at that time.

Greenlining General Counsel Sam Kang, who pushed for the new position and is the designated point person in defending the stance, told us the new exemptions make the measure worth supporting. “The protections are what really distinguish Prop. 17 from Prop. 33,” Kang said. “It’s better than what we’ve got now.”

Kang argues that the increased competition it could foster among insurance companies might lower premiums for everyone. “If customers are willing to walk away” from their current insurance provider and still keep their continuous coverage discount, Kang told us, “that’s how it will drive down rates.”

Court called it “ridiculous” to claim this corporate-sponsored measure — Joseph has personally given almost $8.3 million to the Yes on 33 campaign, the lion’s share of its total funding — would drive down premiums through increased competition for customers.

“There’s no dispute on that and Greenlining is using tactics that are really reprehensible, and it’s a shame because they are likely to be the centerpiece of Mercury’s campaign,” he said. “George Joseph is trying to get cover from a group that has no business doing this.”

Greenlining Executive Director Orson Aguilar acknowledged the organization was divided on this measure, and that is still open to being convinced it made the wrong call. “This was hotly debated. This was not an easy issue for us,” Aguilar told us. “Frankly, if we’re wrong, we’re happy to be convinced.”

GREENLINING’S CAMPAIGN ROLE

Yet it may be too late for that: The state voter handbook has already been printed, and the Yes on 33 campaign has been touting the group’s support. “The Greenlining Institute — a consumer group founded to fight unfair business practices — supports Proposition 33 because it protects consumers and allows this discount to everyone who has followed the law,” says a ballot argument that signed by Kang and CDF Firefighters President Robert T. Wolf and California Hispanic Chamber of Commerce President Julian Canete.

“As you know, we opposed Prop. 17 and we opposed it quite vigilantly,” Kang told us. And the main reason was the organization didn’t buy Mercury’s spin that it would simply lower rates for those with continuous coverage. “If someone is going to get a discount, someone else is going to pay more,” Kang acknowledges.

Yet he is now parroting the Yes on 33 campaign’s rhetoric that the measure simply rewards drivers who “followed the law” and maintained continuous insurance coverage, saying the exemptions that Mercury wrote into the new measure actually give those groups — soldiers and the unemployed, which he notes are disproportionately poor people of color — more protections than they now enjoy.

“If you have continuous coverage for five years, you are eligible for a persistency discount,” Kang said, casting the measure as simple and straightforward.

Court and his group strongly object to that simplistic approach, asking why an insurance company would sponsor a measure that lowers premiums. The reality, consumer advocates say, is that this is a duplicitous measure that relies on a flawed premise and is really about giving insurance companies a new tool to capture certain customers and bilk those who can least afford it.

“These exemptions are bullshit, and they are written to be very narrow. It’s lipstick on a pig,” Court said. “It exposes how it raises rates for all low-income people who don’t meet these very narrow exemptions.”

In fact, the official summary by the Attorney General’s Office makes it clear that prop. 33 “Will allow insurance companies to increase cost of insurance to drivers who have not maintained continuous coverage.”

Kang disputes that objective analysis, telling us, “The ballot title and summary is up for discussion as far as what it meant.”

Kang admitted that Mercury is supporting Greenlining. “They gave us $25,000 in anticipation of the summit, and we anticipate they they’ll help us out in the advocacy of this measure,” Kang said. “Corporations regularly contribute to us, and it has never guaranteed our consent or dissent on anything.”

He defended the approach, telling us, “Sometimes working with corporations is the only way to make monumental changes,” citing their successful efforts to improve the billing practices of PG&E, which regularly makes six-figure donations to Greenlining.

Aguilar also strongly defended the organization’s integrity. “To say that just because we got a stipend from Mercury Insurance” that bought their support, Aguilar said, is simply wrong. “Money comes from somewhere.”

Greenlining’s allies in various campaigns to protect low-income communities say they’re willing to give the group the benefit of the doubt. Joshua Arce, executive director of the SF-based Brightline Defense Project, doesn’t think donations from Mercury Insurance influenced the group’s position, noting that it has also received contributions from PG&E and AT&T then subsequently joined campaigns that opposed those companies’ practices.

Instead, he said Greenlining was probably just offering support to the measure because Mercury had addressed Greenlining’s criticism of Prop. 17 two years ago. “That’s one of the things about Greenlining,” Arce told us, “they say, ‘If you fix all the things we laid out, if you address them, then we’ll support it.” Yet Court said the minor changes made between Props. 17 and 33 shouldn’t have won over such a potentially influential ally. “I’m told they’re going to use Greenlining in the commercial. It’s clearly a transactional relationship,” Court said. “When the billionaire behind Mercury Insurance says it, it’s hard to believe, but it’s easier to believe coming from an organization called Greenlining.”

Stage Listings

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

THEATER

OPENING

Asteroids: Live! Dark Room Theater, 2263 Mission, SF; (415) 401-7987. $20. Opens Fri/7, 8pm. Runs Fri-Sat, 8pm. Through Sept 29. Interstellar comedy “based very, very loosely on the arcade game.”

Kiss of the Spider Woman Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-35. Opens Fri/7, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Sept 29. Second Wind presents Manuel Puig’s acclaimed drama about cellmates in a Buenos Aires jail.

Placas Lorraine Hansberry Theater, 450 Post, SF; www.sfiaf.org. $13-35. Opens Thu/6, 8pm. Runs Thu-Sat, 8pm; Sun, 3pm. Through Sept 16. San Francisco International Arts Festival, Central American Resource Center, and the Mission Cultural Center for Latino Arts present Paul S. Flores’ world premiere drama, starring Ric Salinas as a former gang member who tries to mend fences with his family when he gets out of prison.

Port Out, Starboard Home Z Space, 450 Florida, SF; www.foolsfury.org. $12-35. Previews Fri/7-Sat/8, 8pm. Opens Mon/10, 8pm. Runs Thu-Sat and Sept 19, 8pm; Sept 23, 2pm. Through Sept 23. foolsFURY performs the world premiere of Sheila Callaghan’s black comedy.

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $25-50. Opens Fri/7, 8pm. Runs Fri, 8pm; Sat, 8:30pm. Through Sept 29. Dan Hoyle’s hit show about his trip across America returns.

“San Francisco Fringe Festival” Exit Theatreplex, 156 Eddy, SF; www.sffringe.org. Most shows $10 or less (five-show pass, $40; ten-show pass, $75). Sept 5-16. The 21st annual fest of unconventional, raw theater presents over 200 performances of 42 shows in 12 days.

Strange Travel Suggestions MainStage, Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-50. Opens Sat/8, 8:30pm. Runs Sat, 8:30pm. Through Sept 29. Author and Ethical Traveler founder Jeff Greenwald (Shopping for Buddhas, Snake Lake) has done his solo show Strange Travel Suggestions dozens if not hundreds of times and still has no idea where it’s going. No wonder he and his audience keep coming back for more. The unknown, an aphrodisiac to the traveler, also makes great catnip for the storyteller. Still, there are consistent elements. There is no need to reinvent the wheel — or the impressive Wheel of Fortune that sits just off center stage, painted with a map of the globe and ringed with symbols abstract and evocative enough to conjure up myriad adventures, peak experiences, and humbling encounters from the vivid grab-bag memory of an accomplished travel writer and inveterate globetrotter. There’s also a real grab bag, just in case, and an oversize tarot card, a sort of visual aid cum talisman sporting a classic image of the Fool, patron saint of the traveler’s heedless leaps of faith. Greenwald’s stories possess a fine sense of humor and a knack for the shrewd detail and telling observation. They also contain a Zen-inflected homespun wisdom no doubt born of leaving home on a regular basis. If slightly self-conscious at times, these tales are always genuine and appealing. In the end, Greenwald’s show, as reliable as it is unpredictable, mimics a genie-from-a-bottle experience: What you get is three spins, three stories, and a lot of unexpected truth. Note: capsule condensed from 2008 feature review of this production. (Avila)

Tripping on the Tipping Point Stagewerx, 446 Valencia, SF; (707) 322-5731. $15-20. Opens Thu/6, 8pm. Runs Thu-Sat, 8pm. Through Sept 29. Human Nature performs a new comedy about global warming.

ONGOING

Henry V Presidio of San Francisco, Main Post Parade Ground Lawn, SF; www.sfshakes.org. Free. Sat-Sun, 2pm. Through Sept 23. The San Francisco Shakespeare Festival celebrates the 30th anniversary of Free Shakespeare in the Park with this history play.

My Fair Lady SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $30-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through Sept 29. SF Playhouse and artistic director Bill English (who helms) offer a swift, agreeable production of the Alan Jay Lerner and Frederick Loewe musical, based on George Bernard Shaw’s Pygmalion. The iconic class-conscious storyline revolves around a cocky linguist named Higgins (Johnny Moreno) who bets colleague Colonel Pickering (Richard Frederick) he can transform an irritable flower girl, Eliza Doolittle (Monique Hafen), into a “lady” and pass her off in high society. A battle of wills and wits ensues — interlarded with the “tragedy” of Alfred Doolittle (a shrewd and gleaming Charles Dean) and his reluctant upward fall into respectability — and love (at least in the musical version) triumphs. The songs (“Wouldn’t It Be Loverly,” “I Could Have Danced All Night,” “Get Me to the Church on Time,” and the rest) remain evergreen in the cast’s spirited performances, supported by two offstage pianos (brought to life by David Dobrusky and musical director Greg Mason) and nimble choreography from Kimberly Richards. Hafen’s Eliza is especially admirable, projecting in dialogue and song a winning combination of childlike innocence and feminine potency. Moreno’s Higgins is also good, unusually virile yet heady too, a convincingly flawed if charming egotist. And Frederick, who adds a passing hint of homoerotic energy to his portrayal of the devoted Pickering, is gently funny and wholly sympathetic. (Avila)

Rights of Passage New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Sept 16. New Conservatory Theatre Center presents the world premiere of Ed Decker and Robert Leone’s multimedia play, inspired by global human rights laws in relation to sexual orientation.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sun, 7pm. Extended through Sept 16. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Opens Fri/7, 5:30pm. Runs Fri-Sun, 5:30pm (also Sat-Sun, noon; matinee only Sept 22; no performances Sept 29; evening performances only Oct 6-7). Through Oct 7. We Players board the Balclutha and the Eureka for this jazzy take on Shakespeare’s romance.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 5pm. Extended through Sept 29. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

War Horse Curran Theatre, 445 Geary, SF; www.shnsf.com. $31-300. Wed/5-Sat/8, 8pm (also Wed/5 and Sat/8, 2pm); Sun/9, 2pm. The juggernaut from the National Theatre of Great Britain, via Broadway and the Tony Awards, has pulled into the Curran for its Bay Area bow. The life-sized puppets are indeed all they’re cracked up to be; and the story of a 16-year-old English farm boy (Andrew Veenstra) who searches for his beloved horse through the trenches of the Somme Valley during World War I, while peppered with much elementary humor too, is a good cry for those so inclined. The claim to being an antiwar play is only true to the extent that any war-is-hell backdrop and a plea for tolerance count a melodrama as “antiwar,” but this is not Mother Courage and no serious attempt is made to investigate the subject. Closer to say it’s Lassie Come Home where Lassie is a horse — very ably brought to life by Handspring Puppet Company’s ingenious puppeteers and designers, and amid a transporting and generally riveting mise-en-scène (complete with pointedly stirring live and recorded music). But the simplistic storyline and its obvious, somewhat ham-fisted resolution (adapted by Nick Stafford from Michael Morpurgo’s novel) are too formulaic to be taken that seriously. And at two-and-a-half-hours, it’s a long time coming. A shorter war, the Falklands say, would have done just as well and gotten people out before the ride began to chafe. (Avila)

BAY AREA

Chinglish Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-99. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show Oct 5; no 2pm show Sat/8; additional 2pm shows Thu/6 and Oct 4); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 7. Berkeley Rep presents the West Coast premiere of David Henry Hwang’s Broadway comedy.

The Death of the Novel San Jose Rep, 101 Paseo de San Antonio, San Jose; www.sjrep.com. $23-69. Opens Wed/5, 7:30pm. Check web site for schedule. Through Sept 23. Vincent Kartheiser (a.k.a. Pete Campbell from Mad Men) stars in Jonathan Marc Feldman’s drama about creativity in post-9/11 America at San Jose Rep.

The Elaborate Entrance of Chad Deity Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $32-60. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through Sept 30. Playwright Kristoffer Diaz, a self-professed fan of the aggressively-theatrical spectacle that is professional wrestling, delivers much more than a “wrestling 101” primer for the uninitiated with The Elaborate Entrance of Chad Deity. Beneath the razzle-dazzle of the arena lighting (Kurt Landisman), the gaudy costuming (Maggie Whitaker) and the giant televised image of a hot bikini babe (Elizabeth Cadd, video by Jim Gross) lies the trampled luster of an American Dream. The dreamer, Macedonio “The Mace” Guerra (Tony Sancho), a wiry fall guy for THE Wrestling, wrestles not for money or glory (he is rarely privy to either), but for his love of the strange ballet that occurs in the ring. Guerra’s job is to make his opponents look good, including the pec-flexing, bling-booted Chad Deity (Beethovan Oden), leaving him to wrestle alone with the identity politics of being a marginalized but fully capable warrior battling perennially stacked odds. Willing suspension of disbelief does get stretched pretty thin when the character Vigneshwar Paduar, a smooth-talking hustler chance-met on the basketball courts of Brooklyn, rises to championship levels in record-breaking time as the truly cringe-worthy persona known as “The Fundamentalist,” but Nasser Khan’s skillfully self-possessed performance as Paduar makes it impossible not to root for him all the way. Rod Gnapp as foul-mouthed bossman “EKO” and fight director Dave Maier as a whole squadron of hapless B-list wrestlers round out the excellent cast. (Gluckstern)

The Fisherman’s Wife La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm. Through Sept 29. The latest from playwright Steve Yockey (Bellwether, Skin) is an exercise in pure pleasure, not least for the devious sea creatures preying lustily and unashamedly on the hapless human flesh of a small coastal town. There, in cracked fairytale fashion, an unsuccessful fisherman named Cooper Minnow (an endearingly nerdy but passionate Maro Guevara) is preparing to set out to sea, leaving at home frustrated wife Vanessa (a wonderfully, volcanically bitchy yet complex Eliza Leoni) and their sinking marriage, when he meets an oddly brazen pair of sexy, sassy bathers in old-fashioned beach attire (the swimmingly synchronized duo of Sarah Coykendall and Roy Landaverde). At more or less the same moment, a devilishly dashing yet prim traveling salesman (poised, nicely offbeat Adrian Anchondo) is offering a clearly aroused Vanessa an erotic woodcut featuring monstrous tentacles groping human victims at a very familiar-looking dock. Will she take the woodcut? Will she ever! And later she’ll defend her husband’s honor and swap places with him too, much to the commercial advantage of the ever-accommodating salesman who — like Yockey’s smart and sure sex farce — has a little something for everyone. Directed with smooth precision by Ben Randle for Berkeley’s Impact Theatre, The Fisherman’s Wife again finds Yockey playing productively with the fine fuzzy line separating human nature from nature at large (as in Large Animal Games, the winning 2009 co-production from Impact and Dad’s Garage). The animals come through for playwright and company once more, with a thoroughly enjoyable comedy whose borrowed maritime mythos has just enough metaphorical pull to lead those so inclined out beyond the shallow waters. (Avila)

Keith Moon/The Real Me TheaterStage at the March Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sept 13, 20, and 27, 8pm. Mike Berry workshops his new musical, featuring ten classic Who songs performed with a live band.

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

A Midsummer Night’s Dream Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Check website for schedule. Through Sept 30. Marin Shakespeare Company performs the Bard’s classic, transported to the shores of Hawaii.

Our Country’s Good Redwood Amphiteatre, Marin Art and Garden Center, 30 Sir Francis Drake, Ross; www.porchlight.net. $15-30. Thu/6-Sat/8, 7:30pm. Porchlight Theatre Company presents an outdoor performance of Timberlake Wertenbaker’s play about Royal Marines and prisoners in an 18th century New South Wales prison colony.

Precious Little Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $18-25. Wed-Thu, 7pm; Fri-Sat, 8pm (also Sat/8, 3pm); Sun, 5pm. Through Sept 16. Shotgun Players presents Madeleine George’s new play about an expectant mother who studies near-dead languages and befriends a “talking” gorilla.

Time Stands Still TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, SF; www.theatreworks.org. $23-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 16. TheatreWorks performs Donald Marguelis’ drama about a couple — one a photojournalist, one a war correspondent — struggling with their recent experiences covering a war.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, B350 Fort Mason Center, Marina at Laguna, SF; www.improv.org. Thu-Sat, 8pm. $10-25. This week: “An Improv Team Named Desire and Flux Capacitor” (Thu/6); “25th Annual Gala and Fundraiser” (Fri/7); “BATS Improv SF vs. Impro Theatre LA” (Sat/8).

“Comedy Returns to El Rio!” El Rio, 3158 Mission, SF; www.koshercomedy.com. Mon/10, 8pm. $7-20. Stand-up with Diane Amos, Malcolm Grissom, Jill Bourque, Kevin Young, and host Lisa Geduldig.

“Dancing Poetry Festival” Florence Gould Theater, California Palace of the Legion of Honor, Lincoln Park, SF; www.dancingpoetry.com. Sat/8, noon-4pm. $4-15. The 19th annual fest celebrates poetry and dance as a unified art form.

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

“A Funny Night for Comedy” Actors Theater of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/9, 7pm. $10. Natasha Muse and Ryan Cronin host this comedy show, presented in talk-show format, with guests Caitlin Gill, Kaseem Bentley, and Jesse Fernandez.

“Mary Mack Comedy Show” Gallery and Bar 4N5, 863 Mission, SF; www.brownpapertickets.com. Tue/11, 7:30pm. $15. Mandolin-infused folk comedy with Mary Mack.

“A Pinoy Midsummer” Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. Thu-Sat, 8pm (also Sat, 2pm). Through Sept 15. $10-20. A re-imagining of Shakespeare with Philippine folklore, shadow puppets, and other Pinoy elements.

“10 Acrobats in an Amazing Leap of Faith” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/7-Sat/8, 8pm; Sun/9, 2pm. Yuseff El Guindi’s comedy is about a conflicted Muslim family during the month of Ramadan in post-9/11 America.

Dick Meister: Clint wasn’t always this politically inept

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By Dick Meister

Dick Meister is a San Francisco columnist and serious ice cream aficionado who has covered politics for more than a half-century as a reporter, editor, author and commentator. Contact him through his website, www.dickmeister.com

You might reasonably think Clint Eastwood lacks political savvy, given his bizarre presentation at the Republican National Convention.  But he was once plenty savvy, as he showed clearly during his two-year stint as mayor of tourist favorite Carmel, California.

Prior to his election, folks in Carmel and elsewhere tended to think of Clint as just a rugged, handsome movie actor playing at politics. But, boy, were they wrong. Listen to what Carmel resident Jean Lajigian said after Eastwood took office in 1986:

“When I voted for Clint Eastwood, I knew that democracy worked, that we could change things. Since he’s been mayor, there’s been just an upbeat feeling in the community.”

Mrs. Lajigian and her husband Michael were merchants in heavily-touristed Carmel and, as such, had been at odds with local politicians. The politicians did not share the great fondness for tourists expressed by the Lajigians and other merchants. At best, the political leaders believed, tourists were to be endured. They were not to be encouraged, despite the many dollars they spent in the coastal village, aka Carmel-by-the-Sea.

Carmel has marvelous beaches, spectacular ocean views, a loveable colony of sea lions and much more of special interest that draws a large and seemingly endless stream of visitors. Although not fond of tourists, Carmel authorities did allow merchants to set traps for the tourists – but discreet traps.

The use of neon or any other garish means to identify businesses, advertise goods for sale or otherwise attract customers was outlawed. Small wooden signs with elegant lettering were preferred. Nothing was permitted that could cheapen the tasteful display of goods, including cashmere, Shetland and plaid from England, the home country of many residents’ forebears, and the other often imported and invariably expensive merchandise that filled Carmel’s shops – or “shoppes.”

You know those resort towns where stores display notices asking that shoppers carry “no food or drink, please”? In Carmel, the request covered the whole town. Under an ordinance adopted by the City Council a year before Eastwood took office, for example, the sale of take-out food of any kind was forbidden – not even fish and chips to go.

“Litter was a concern – the idea of having people walk around on the streets with pieces of pizza or plastic containers with sundaes and milkshakes . . . the trash tends to end up on the ground,” explained Ken White, chairman of Carmel’s Planning Commission.

Ice cream cones were a particular worry. You know, the way ice cream tends to melt in the sunlight and drip on sidewalks, the way people carelessly toss aside the remains of cones after eating up the ice cream, or drop entire cones on the street, ice cream and all.

The city council took care of that by simply banning the sale of ice cream cones within city limits.

Black market cones might be had occasionally if you knew the right ice cream vendor, but generally there were none to be had anywhere in downtown Carmel. That deeply troubled lots of Carmel citizens.

Ah, but then came Clint to end the suffering, just as he had promised he would during his pro-merchant, pro-tourist and assuredly pro-ice cream campaign for office.

One of the first acts of the newly-elected mayor and the pro-Eastwood majority on the newly-elected city council was to adopt an ordinance that allows the sale of cones. The first permit allowing the sales went to Jean and Michael Lajigian and their store, where they soon were selling Italian gelato cones, along with their chocolate truffles and other treats.  The day they got the permit, declared Michael, was “one of the happiest days of my life, a dream come true.”

You may certainly have considered Clint Eastwood’s convention bit politically lame, but at least, once-upon-a-time, he did show evidence of effective political skills. He brought ice cream back to Carmel!

Dick Meister is a San Francisco columnist and serious ice cream aficionado who has covered politics for more than a half-century as a reporter, editor, author and commentator. Contact him through his website, www.dickmeister.com

D5, Mirkarimi, and 8 Washington

Zelda Bronstein
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151
D5, Mirkarimi, and 8 Washington

Everybody knows that the timing of the Board of Supervisors vote on ousting the sheriff for official misconduct is bad for Ross Mirkarimi. We’re talking about a huge, high-profile decision just weeks before some of the key board members are up for re-election, two of them in hotly contested races. For Sups. Eric Mar and Christina Olague, it’s going to particularly difficult: Mar’s in a moderate district, and he’ll be attacked from the more conservative David Lee if he supports Mirkarimi. Olague’s in a progressive district where Mirkarimi was a popular supervisor, so no matter what she does, she’ll take heat.

But I was a little surprised by Randy Shaw’s analysis, which suggests that Olague will be motivated entirely by political spite:

D5 Supervisor Christina Olague once faced a tough decision on Ross, but since Mirkarimi allies have attacked her on a number of issues it would be very unlikely for her to support him.

That’s pretty insulting. Shaw, who has supported her in the past, is saying that Olague won’t make up her own mind based on the actual issue and case in front of her. She was pretty clear when I called her: “I will vote on the merits of this issue,” she said. “If I was motivated to vote based on who had pissed me off I’d have a hard time voting on anything.”

I’ve disagreed with Olague quite a few times, and one could easily argue that she’ll be under immense pressure from the mayor. (“The mayor doesn’t want a lot from Christina, but he does want this,” one insider told me.) But is it impossible for Shaw to imagine that, in one of the toughest matters she will ever have to handle, the supervisor might actually listen to the testimony, consider the merits of the case, and vote to do what she thinks is right?

Meanwhile, Joe Eskenazi at the Weekly has already announced the Guardian’s endorsement in D5 — which is interesting, since we’re barely started interviewing the candidates. Eskenazi calls Julian Davis “the Guardian’s fair-haired boy” (which, speaking of insults, is not a terribly appropriate way to refer to an African American man), indicating that he’s already our candidate.

For the record: We have not made an endorsement in District Five. We plan to endorse a slate of three candidates for the ranked-choice ballot, and we’ll publish that endorsement the last week in September or the first week in October.

 

 

Finger waves

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2

le.chicken.farmer@gmail.com

CHEAP EATS Oh, I have so many sporty things to tell you about! To my surprise I am playing baseball again, football season starts (for girls) on the same day it starts for the 49ers: next weekend! Meanwhile, the Giants and A’s are both very much “in it,” entering September. Steroid busts . . .

Next week I am going to hire a dedicated sports writer for Cheap Eats. Mine will be the very first cheap eats newspaper column with a sports section in it.

This makes sense, trust me, food and sports being intrinsically intertwined. As any old dog will tell you, chasing a ball makes you hungry. And as any old Hedgehog will tell you, watching people chase a ball makes you hungry too.

For hot dogs! For chicken wings! Pizza . . . What does intrinsically mean?

Well, whatever, this week is this special food issue thing, so I thought I would clue you into this great new brick oven pizza place where I ate with my pal Earl Butter one day while Hedgehog was out in the world. She’s been brought in to try and rescue a horrible horror movie, you see.

Popcorn . . .

Yes, in honor of the occasion, I will devote the rest of this column very very exclusively to this new, cool, quiet pizza place. Except, as I am also (as of this moment) going on my own private writer’s strike, you’re going to have to do most of the work.

Here’s how:

Stand in front of a mirror, please, and make a fist with your right hand, except for the pinky. Now, go on ahead and poke that there teacup-tipping pinky of yours into the palm of your other hand.

Got it? Did you do that? Do you feel kind of goofy? Do you know where I’m going with this?

Sorry: where you’re going.

I’m on strike.

You, my friend, are going to punch yourself in the throat, sort of. Not hard. Just touch that same teacup-pinkied fist to your neck, sidewise, so that your thumb and index finger encircle your Adam’s apple even as the side of your little finger touches your soul patch.

Nicely done, you hipster you!

Next we are going to . . . Next you are going to lose the fist and bring the palm of your hand to your heart, you pledge allegiance to the flag, and so forth. Don’t be afraid to love your country. This is important. We don’t have the best healthcare situation in the world, but we do have Bruce Willis.

So bend your left arm at the elbow and hold it to your stomach, palm up, if you will, as if cradling a baby. Or a watermelon or something. Now scoop your right hand, palm up, over your left hand and on up toward the opposite collarbone.

Do you ever wonder what is wrong with you? Well, start! I don’t recommend all-out hypochondria; just a healthy sense of wonder. Why, for example, are you a scab?

Don’t give me the finger! Give me the opposite of the finger. That is, bend your middle finger down and — all those other ones, even the thumb — give me those. Give me everything but the finger. OK?

Now tap that middle knuckle against your chin. That’s all I’m asking. Is that so much to ask?

And there is yet one more thing you can do for me, Ms. Picket Line Crosser. Cross your fingers for luck. Lord knows we can use it. There are elections coming up later this fall, as well as football seasons.

There are everyday dangers to be avoided, like crossing the street and riding your bike to work.

I’m saying, cross your fingers on your right hand and draw yourself a little Fu Manchu mustache, just the sides of it . . . Yeah, leave the upper lip alone. Just two straight lines, first down the right side of your jaw, then the left, with your fingers crossed. For luck.

Yeah. Like that. Okay.

Now. You know what you need to know.

MOZZERIA

Tue-Thu 5:30-10pm; Fri 5:30-11pm; Sat noon-11pm; Sun noon-10pm

3228 16th St., SF

www.mozzeria.com

AE,D,MC,V

Beer & wine

 

Stage Listings

Andrew Lam
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0

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

THEATER

OPENING

Henry V Presidio of San Francisco, Main Post Parade Ground Lawn, SF; www.sfshakes.org. Free. Opens Sat/1, 2pm. Runs Sat-Sun and Mon/3, 2pm. Through Sept 23. The San Francisco Shakespeare Festival celebrates the 30th anniversary of Free Shakespeare in the Park with this history play.

Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Previews Sat/1-Sun/2, 5:30pm. Opens Sept 7, 5:30pm. Runs Fri-Sun, 5:30pm (also Sat-Sun, noon; matinee only Sept 22; no performances Sept 29; evening performances only Oct 6-7). Through Oct 7. We Players board the Balclutha and the Eureka for this jazzy take on Shakespeare’s romance.

BAY AREA

Chinglish Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-99. Opens Wed/29, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm; no show Oct 5; no 2pm show Sept 8; additional 2pm shows Sept 6 and Oct 4); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 7. Berkeley Rep presents the West Coast premiere of David Henry Hwang’s Broadway comedy.

The Death of the Novel San Jose Rep, 101 Paseo de San Antonio, San Jose; www.sjrep.com. $23-69. Previews Thu/30, 7:30pm; Fri/31-Sun/2, 2pm (also Sun/2), 7pm. Opens Sept 5, 7:30pm. Check web site for schedule. Through Sept 23. Vincent Kartheiser (a.k.a. Pete Campbell from Mad Men) stars in Jonathan Marc Feldman’s drama about creativity in post-9/11 America at San Jose Rep.

ONGOING

Daughter of the Red Tzar Thick House Theatre, 1695 18th St, SF; www.thickhouse.org. $30. Fri/31-Sun/2, 8pm. ScolaVox and First Look Sonoma present the world premiere of Lisa Scola-Prosek’s chamber opera about a meeting between Churchill, Stalin, and Stalin’s teenage daughter.

My Fair Lady SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $30-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through Sept 29. SF Playhouse and artistic director Bill English (who helms) offer a swift, agreeable production of the Alan Jay Lerner and Frederick Loewe musical, based on George Bernard Shaw’s Pygmalion. The iconic class-conscious storyline revolves around a cocky linguist named Higgins (Johnny Moreno) who bets colleague Colonel Pickering (Richard Frederick) he can transform an irritable flower girl, Eliza Doolittle (Monique Hafen), into a “lady” and pass her off in high society. A battle of wills and wits ensues — interlarded with the “tragedy” of Alfred Doolittle (a shrewd and gleaming Charles Dean) and his reluctant upward fall into respectability — and love (at least in the musical version) triumphs. The songs (“Wouldn’t It Be Loverly,” “I Could Have Danced All Night,” “Get Me to the Church on Time,” and the rest) remain evergreen in the cast’s spirited performances, supported by two offstage pianos (brought to life by David Dobrusky and musical director Greg Mason) and nimble choreography from Kimberly Richards. Hafen’s Eliza is especially admirable, projecting in dialogue and song a winning combination of childlike innocence and feminine potency. Moreno’s Higgins is also good, unusually virile yet heady too, a convincingly flawed if charming egotist. And Frederick, who adds a passing hint of homoerotic energy to his portrayal of the devoted Pickering, is gently funny and wholly sympathetic. (Avila)

Rights of Passage New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Sept 16. New Conservatory Theatre Center presents the world premiere of Ed Decker and Robert Leone’s multimedia play, inspired by global human rights laws in relation to sexual orientation.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. New show day and date: Sun, 7pm. Extended through Sept 16. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm (starting Sept 6: also Thu, 8pm); Sat, 5pm. Extended through Sept 29. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

War Horse Curran Theatre, 445 Geary, SF; www.shnsf.com. $31-300. Wed-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Sept 9. The juggernaut from the National Theatre of Great Britain, via Broadway and the Tony Awards, has pulled into the Curran for its Bay Area bow. The life-sized puppets are indeed all they’re cracked up to be; and the story of a 16-year-old English farm boy (Andrew Veenstra) who searches for his beloved horse through the trenches of the Somme Valley during World War I, while peppered with much elementary humor too, is a good cry for those so inclined. The claim to being an antiwar play is only true to the extent that any war-is-hell backdrop and a plea for tolerance count a melodrama as “antiwar,” but this is not Mother Courage and no serious attempt is made to investigate the subject. Closer to say it’s Lassie Come Home where Lassie is a horse — very ably brought to life by Handspring Puppet Company’s ingenious puppeteers and designers, and amid a transporting and generally riveting mise-en-scène (complete with pointedly stirring live and recorded music). But the simplistic storyline and its obvious, somewhat ham-fisted resolution (adapted by Nick Stafford from Michael Morpurgo’s novel) are too formulaic to be taken that seriously. And at two-and-a-half-hours, it’s a long time coming. A shorter war, the Falklands say, would have done just as well and gotten people out before the ride began to chafe. (Avila)

BAY AREA

Blithe Spirit Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-71. Wed/29-Thu/30, 7:30pm; Fri/31-Sat/1, 2pm; Sun/2, 4pm. Noël Coward’s 1941 comedy, not exactly a paean to marriage, is nevertheless a romantic romp with just enough meat on its ethereal subject to make a meal of its triangular love affair. Appearing as the relevant points on that geometric form are a witty Coward-esque writer, Charles Condomine (Anthony Fusco), his confident equal and second wife Ruth (René Augesen), and the uninvited ghost of his first wife, Elvira (Jessica Kitchens). The unwieldy ménage arises from Charles’s invitation to a local medium (Domenique Lozano), from whom he hopes to cull a juicy detail or two for his next book. He and Ruth, as well as their other dinner guests, Dr. and Mrs. Bradman (Kevin Rolston and Melissa Smith), do get a fine show out of the eccentric soiree, but soon Charles finds he’s also now being haunted by Elvira, who only he can actually see and hear and who adamantly refuses to leave. Um, yeah: awkward. Anyway, what happens next is solidly entertaining in director Mark Rucker’s polished production for Cal Shakes. Fusco and Augesen are a droll pair, while a beaming Kitchens brings a much appreciated brightness to the proceedings, even as Lozano’s exuberant innocent, Madame Arcati, comes over as perhaps the most persuasive of all. (Avila)

The Elaborate Entrance of Chad Deity Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $32-60. Previews Wed/29, 8pm. Opens Thu/30, 8pm. Runs Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through Sept 30. Aurora Theatre Company opens its 21st season with Kristoffer Diaz’s comedy about pro wrestlers.

The Fisherman’s Wife La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm. Through Sept 29. The latest from playwright Steve Yockey (Bellwether, Skin) is an exercise in pure pleasure, not least for the devious sea creatures preying lustily and unashamedly on the hapless human flesh of a small coastal town. There, in cracked fairytale fashion, an unsuccessful fisherman named Cooper Minnow (an endearingly nerdy but passionate Maro Guevara) is preparing to set out to sea, leaving at home frustrated wife Vanessa (a wonderfully, volcanically bitchy yet complex Eliza Leoni) and their sinking marriage, when he meets an oddly brazen pair of sexy, sassy bathers in old-fashioned beach attire (the swimmingly synchronized duo of Sarah Coykendall and Roy Landaverde). At more or less the same moment, a devilishly dashing yet prim traveling salesman (poised, nicely offbeat Adrian Anchondo) is offering a clearly aroused Vanessa an erotic woodcut featuring monstrous tentacles groping human victims at a very familiar-looking dock. Will she take the woodcut? Will she ever! And later she’ll defend her husband’s honor and swap places with him too, much to the commercial advantage of the ever-accommodating salesman who — like Yockey’s smart and sure sex farce — has a little something for everyone. Directed with smooth precision by Ben Randle for Berkeley’s Impact Theatre, The Fisherman’s Wife again finds Yockey playing productively with the fine fuzzy line separating human nature from nature at large (as in Large Animal Games, the winning 2009 co-production from Impact and Dad’s Garage). The animals come through for playwright and company once more, with a thoroughly enjoyable comedy whose borrowed maritime mythos has just enough metaphorical pull to lead those so inclined out beyond the shallow waters. (Avila)

For the Greater Good, Or The Last Election This week: Nicholl Park, Richmond; www.sfmt.org. Free (donations accepted). Thu/30, 7pm. Also Dolores Park, 19th St at Dolores, SF; www.sfmt.org. Free (donations accepted). Sat/1-Mon/3, 2pm. Various venues through Sept. 8. “Don’t they understand that without us they don’t have anything?” asks Gideon Bloodgood (Ed Holmes), investment banker at the top of the San Francisco Mime Troupe’s vivisection of the “real” American Dream, For the Greater Good, Or the Last Election. But surely the hero of a Mime Troupe show cannot possibly be a billionaire? Well, sort of. Though Bloodgood enriches himself dishonestly with precarious investments and outright theft in this Occupy-era melodrama, he actually does occasionally spare a sentiment for Mom and apple pie, or anyway his daughter Alida (Lisa Hori-Garcia) and cookies baked by the unsuspecting victim of his ill-gotten gains, the Widow Fairweather (Keiko Shimosato Carreiro) — now living at the last Occupy encampment standing in the city. Alida, however, displays no compunction in throwing aside his affection and her prospective seat in Congress, running off to join the occupiers for reasons that truthfully appear about as politically motivated as her father’s parasitic avarice, leaving him to join forces instead with the most unlikely of allies — the impeccable, ingenuous Lucy Fairweather (Velina Brown), heiress to a stolen legacy, and staunch patriot. Based loosely on 19th century play The Poor of New York, The Last Election attempts to turn a presumptive ode to the free market into its swan song with good-humored, if predictable, results. (Gluckstern)

Keith Moon/The Real Me TheaterStage at the March Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sept 13, 20, and 27, 8pm. Mike Berry workshops his new musical, featuring ten classic Who songs performed with a live band.

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

A Midsummer Night’s Dream Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Check website for schedule. Through Sept 30. Marin Shakespeare Company performs the Bard’s classic, transported to the shores of Hawaii.

Our Country’s Good Redwood Amphiteatre, Marin Art and Garden Center, 30 Sir Francis Drake, Ross; www.porchlight.net. $15-30. Thu-Sun, 7:30pm. Through Sept 8. Porchlight Theatre Company presents an outdoor performance of Timberlake Wertenbaker’s play about Royal Marines and prisoners in an 18th century New South Wales prison colony.

Precious Little Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $18-25. Wed-Thu, 7pm; Fri-Sat, 8pm (also Sat/1 and Sept 8, 3pm); Sun, 5pm. Through Sept 16. Shotgun Players presents Madeleine George’s new play about an expectant mother who studies near-dead languages and befriends a “talking” gorilla.

Time Stands Still TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, SF; www.theatreworks.org. $23-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 16. TheatreWorks performs Donald Marguelis’ drama about a couple — one a photojournalist, one a war correspondent — struggling with their recent experiences covering a war.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, B350 Fort Mason Center, Marina at Laguna, SF; www.improv.org. Thu-Sat, 8pm. Through Sept 8. $10-25. This week: “The Fosse Posse and From Scratch” (Thu/30); “Romantic Comedy Musical” (Fri/1); “Bond…Improvised Bond” (Sat/2).

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

“RAWdance presents the Concept Series: 12” 66 Sanchez Studio, SF; www.rawdance.org. Sat/1-Sun/2, 8pm (also Sun/2, 3pm). Pay what you can. Informal and intimate salon of contemporary dance, with Smith/Wymore Disappearing Acts, Yayoi Kambara, Palanza Dance, detour dance, and Chris Black.

Brian Regan Cobb’s, 915 Columbus, SF; www.cobbscomedyclub.com. Fri/31, 8 and 10:15pm; Sat/1, 7:30 and 9:45pm. $45. The comedian performs a rare club date.

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.pacoromane.com. Wed/29, 8pm. $10. Comedy with Joe Tobin, Mike Spiegelman, Sergio Barajas, Sandra Risser, and host Amy Miller.

“Tagabanua” Union Square Park, Geary and Stockton, SF; www.kularts.org. Sun/2, 2pm. Free. Kularts attempts a world record for largest Palawan dance event with an outdoor performance of Jay Loyola’s folkloric work. Learn the choreography at Kularts’ website and join the flash mob.

The agri-chem industry’s secrets

Andrew Lam
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3

OPINION This November, California voters will decide on a question that affects us all: Do we have the right to know what’s in the food we’re eating and feeding our families?

This high-stakes food fight has become the most expensive issue of the upcoming election. Pesticide and junk-food corporations have already poured $25 million into an effort to defeat Proposition 37, a simple labeling measure that would inform California consumers about whether our food has been genetically engineered.

What is it that these corporations don’t want us to know?

Right now, many foods on supermarket shelves, from baby formula to corn chips, contain genetically engineered ingredients that are hidden from consumers. Also called GMOs, these are crops that have been artificially altered in a lab with the DNA of other species in ways that cannot occur in nature.

Numerous studies link genetically engineered foods to allergies and other adverse health effects. But the U.S. government requires no safety studies of GMOs, no long-term health studies have been conducted, and no labeling is required to notify consumers so we can make our own choices about whether we want to eat these foods.

Genetically engineered foods are also linked to serious environmental concerns, including an overall increase in pesticide use, a rise in super weeds that are threatening farm land, and the unintentional contamination of organic crops.

These concerns have led 50 other countries to require GMO labeling. But here in the U.S., the agri-chemical companies have deployed their massive lobby power to stop the federal government and at least 19 U.S. states from passing simple labeling bills.

Now it’s up to the voters of California — and the heavy-artillery corporate lobbying campaign is heading our way.

The Yes on 37 Campaign is currently tracking far ahead in the polls. But the voters have not yet been subjected to the wave of deceptive television ads designed to convince us that GMO labeling is too scary or too expensive.

When you see these ads, consider the source. The largest funders of No on 37 are Monsanto and DuPont, two corporations that hardly have a track record of integrity when it comes to truth in advertising. These are the same companies that told us DDT and Agent Orange were safe.

Major funders of the No campaign also include junk-food companies that have a long history of opposing common-sense labels to give consumers information about their food. Look for these companies to spend tens of millions trying to convince voters that adding a few words to food labels will force them to raise the cost of groceries “hundreds of dollars a year.”

Over on the Yes on 37 side is a true people’s movement made up of millions of moms, dads, and consumers in California, and the many farmers and California businesses that are part of the state’s thriving natural and sustainable food industry.

Now is the time and this is our chance to make sure we have the right to know what’s in our food. Visit Yes on 37 at Carighttoknow.org to volunteer, donate and stay up to date with the latest news about this historic campaign.

Stacy Malkan is the media director for Yes on 37, the California Right to Know campaign to label genetically engineered foods.

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