Elections

Diamond Dave’s report from Romneyville

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Activists from San Francisco and around the country are descending on Tampa this week to protest the Republican National Convention. I got a call this morning from Diamond Dave Whitaker, the poet who hung with the beats and the hippies in his 75 years, CCSF student senator and San Francisco legend. He’s has been serving food to protesters at election-season conventions for almost three decades. His first was 1984, the Democratic Convention here in San Francisco before he got hooked and headed to Dallas to protest the Republicans. Along with a few hundred others, Diamond Dave braved the rain, but missed the full effects of Hurricane Isaac on the tent city last night. The RNC starts officially starts today (though many of the day’s events have been called off due tot the hurricane warning.)

“I’m talking in the midst of Romneyville,” he said. “Folks came from far and wide to camp out together, cause a ruckus and be here.”

What’s Romneyville? “It’s a homeless camp, a poor peoples camp,” said Dave. He’s been there a week setting up the Food Not Bombs kitchen, and Romneyville grew up around him. It now has few hundred tents, he said. But most people arrived today, so as the convention gets started, it will probably grow. “Two buses from Zuccotti Square came today,” he said.

Romneyville is put together in part by the Poor Peoples Economic Human Rights Campaign. Dave said Green Party vice presidential nominee Cheri Honkala, a formerly homeless mother herself who works with the Poor Peoples campaign, is a fixture around the camp.

“Our demands are housing for all, food for all, healthcare for all, and living wages for all. We call for an end to foreclosures and homelessness, an end to the war on the poor, both here and abroad. An end to criminalization of poverty. Money for jobs and housing, not for war!” says a statement from the group.

More protesters are staying over at the Occupy Tampa encampment.

A permitted march left this morning, and Diamond Dave says there’s another, unpermitted, planned for 3pm est. Many citizen journalists and livestreamers are documenting the events, one can be found at mobilebroadcastnews.com.

But so far, his work has been handing out free meals with Food Not Bombs.

“We fed the masses this morning for sure,” he said.

Political corruption is “trumped up?”

Zelda Bronstein
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Political corruption is “trumped up?”

The truly shocking aspect of the latest fallout from the City College scandal is the response of incumbent Trustee Natalie Berg, who is up for re-election.

Bad enough that Berg allowed Stephen Herman, who was directly involved in the scandal and pled guilty to two felonies, to hold a fundraiser for her. But his offenses were reduced to misdemeanors, he’s paid his fine — and Berg has every right to say that he’s learned his lesson and deserves a chance to continue in the political world.

That’s not what she’s saying, though:

Berg, first elected to the college’s board in 1996, saw nothing wrong with having Herman host the fundraiser, calling him, “completely honest and honorable.” Of the criminal charges, she said: “The whole thing was trumped up. Nobody benefited from that, and it ruined people’s careers.”

Trumped up? Seriously?

Nobody has thus far disputed the basic evidence: Former Chancellor Phil Day and Herman diverted tens of thousands of dollars in public money into political campaigns. They never denied doing it. The documents showing what happened were completely clear. And just about everyone with any sense of law or ethics agrees it was a serious problem.

Nobody benefited? How about the taxpayers and the students, who have the right to honest oversight of their money?

Wow. I knew Berg was a bad trustee, but this is over the top.

 

 

Election 2012: Here’s the beef

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Election 2012: Here’s the beef

Fabulous food-and-junk-drawer-oriented collage artist (and legendary SF club denizen) Jason Mecier is back in our virtual orbit lately. His meme explosion beef jerky portraits of Obama and Romney seem to be everywhere. And his wonderful makeup-y likeness of Phyllis Diller, RIP, is giving us sad LOLs. But wait, the “meatraits” of Obameat and Meat Romney are sponsored! And there’s a video! Let’s go to the jerky tape:

About the Mirkarimi poll

Zelda Bronstein
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About the Mirkarimi poll

It’s no suprise that lawyers for suspended Sheriff Ross Mirkarimi are calling a recent poll biased. The poll, paid for by a group of local women, many of whom have been in the forefront of the efforts to remove Mirkarimi from office, found that 61 percent of people wanted the sheriff ousted. More significant, it broke the results down for the supervisorial districts where there are contested elections; the goal, of course, was to put pressure on the supes to support the mayor’s removal efforts.

But nobody has published the actual questions in the poll — although I got a call from Greg Kamin, a San Francisco resident who was among those contacted by the robo-poll, and he said it was unusual, to say the least.

“In a normal push poll, they ask you your opinion first, then give you information to see if it changes your view,” he told me. “In this one, there was just a barrage of negative information first, before they asked a single question.”

One question went more or less like this: Which factors would most convince you the sheriff should be removed — the fact that he pled guilty to false imprisonment, the fact that the Ethics Commission ruled against him, the fact that he was involved in domestic violence, or the fact that he’s on probation?

“There was no way to answer the question that didn’t say you wanted him removed,” Kamin said.

Given the way the poll was structured, Kamin told me, “it’s surprising Mirkarimi got as much support as he did.”

Worth considering.

Also worth considering: For all the talk about domestic violence and zero tolerance and the need to remove the sheriff, there’s been very little discussion about the impacts on the people in the county jail — who are overwhelmingly African American and Latino. It makes a difference who the sheriff is. Someone who really believes in rehabilitation and wants to treat inmates in a decent, humane way can change lives — and radically improve public safety in a state with a 70 percent recidivism rate.

Again: Just something that ought to be part of the discussion.

 

Endorsement interviews: John Rizzo (D5 supervisor)

Zelda Bronstein
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Endorsement interviews: John Rizzo (D5 supervisor)

We’re underway with our endorsement interviews for the November election, and I’ll be posting the full sound file of all the interviews as we finish them (and as I have time to upload them). First up: Community College Board member John Rizzo, who is running for supervisor in District 5.

Rizzo told us he has the political experience to take on the district’s, and the city’s, tough problems. Among other things, he wants to eliminate the fund that developer pay into for affordable housing and require market-rate builders to construct affordable units on site. He discussed a “scientific approach” to managing Muni and wants a closer audit of the $600 million the city gives to nonprofits providing public services every year.

You can listen after the jump.

Good propaganda ain’t cheap. Sorry, no rebates for errors.

Sasha Cuttler
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Good propaganda ain’t cheap. Sorry, no rebates for errors.

UPDATED AND CORRECTED BELOW It wasn’t surprising to read Randy Shaw’s misleading praise of Mayor Ed Lee for appointing Rodrigo Santos to the City College board. Much of Shaw’s salary comes from the city contracts that his Tenderloin Housing Clinic administers, so he has turned his Beyond Chron mouthpiece into the equivalent of Pravda in touting the party line of Lee and his supervisorial apparatchiks.

For that blind loyalty, Shaw has been handsomely rewarded. On July 31, the Board of Supervisors even approved a Lee-proposed balloon payout of $91 million to THC for its contract administering the Mayfair Hotel that was retroactive all the way back to 2009. Can anyone imagine another nonprofit that could dig so deeply into city coffers, for work that has supposedly already been done, who wasn’t giving a little something back to these ambitious politicians who sponsored it?

But apparently Shaw – who used to have some progressive credibility before so blatantly selling the movement out a couple years ago – doesn’t need to even get the facts right in his propaganda posts. When I asked him at yesterday’s Lee/Santos press conference whether and why he supported Santos – a villain in most progressive circles – he argued Santos was needed to help win support for Prop. A, the parcel tax for City College.

Shaw said the measure needed a two-thirds vote to be approved, a claim he also made in today’s piece. That didn’t sound right to me, and the Elections Department confirms that it isn’t: Prop. A needs only a simple majority to pass. [[8/23 UPDATE AND CORRECTION: Ernestine at the Department of Elections told me yesterday Prop. A needed only a simple majority, but she called back today to say she was mistaken and that it does indeed require a two-thirds vote.]] Shaw also claimed a couple weeks ago that the Board of Supervisors would delay the Mirkarimi decision until after the election, which also wasn’t true: the Charter requires the board to act within 30 days of receiving the Ethics Commission recommendations.

I sent Shaw a message asking about whether his erroneous beliefs affected his analysis, and to explain the basis for THC’s $91 million kickback, and he hasn’t responded to the questions, as usual. But when you’re a poverty pimp feeding off of political patronage, you’re probably golden as long as you get the politician praise right. Cha-ching!

 

Howdy, strangers

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Howdy, strangers

arts@sfbg.com

FALL ARTS Gemma Paintin and James Stenhouse were obsessed with Americana long before the two Bristol-based performance makers (known collectively as Action Hero) ever set their cowboy boots in the United States. In fact, they’d performed their site-specific first piece, a barroom exploration of the Western (called simply A Western) for years before lobbing it into the belly of the beast, where it appeared as part of Austin, Texas’ Fusebox Festival in 2010.

“We were shitting it,” remembers Paintin, in a British phrase meaning mighty fretful. But the crowd loved it; Paintin calls it their best audience ever. She and Stenhouse have worked together since 2005 on pieces that engage the audience as co-conspirators as well as subjects in their own right. A good example is their piece, Watch Me Fall, which had the audience cheering on a series of ridiculous, slightly risky stunts from either side of a long runway, a work that Paintin explains was inspired by the duo’s interest in motorcycle daredevil Evel Knievel.

>>VIEW OUR FULL FALL ART 2012 PREVIEW

A diminutive woman with bright blond bangs, Paintin spoke last week at a sidewalk table outside BrainWash Café, fresh from a rehearsal at CounterPULSE, where she and James were in the fifth day of leading a collaborative performance workshop with a selected group of Bay Area–based American artists (Laura Arrington, Andrea Hart, Xandra Ibarra, Richie Israel, Elizabeth McSurdy, Mica Sigourney, and Ernesto Sopprani).

Stenhouse was not able to join the conversation — rehearsal had run long and he was following its willy-nilly course to a local karaoke bar, where he and the rest of the group were planning to take turns singing Tammy Wynette’s “Stand by Your Man.” A couple of days earlier, the group had gone tailgating at a pre-season NFL game in Oakland. Such are the trails, happy or otherwise, down which the adventurer in Americana must travel. (You can follow some of the research results thus far — in a process McSurdy calls “aesthetically polyamorous” — in the group’s blog posts at www.counterpulse.org.)

The workshop sets out to investigate American cultural mythologies using the concept of the stranger or outsider as starting point. Hosted by CounterPULSE with leadership from program director Julie Phelps, the program is part of a major cultural exchange project by CounterPULSE’s collaborator on Stranger in a Strange land, the arts-based University of Chichester in the South of England.

“All the work of the Department of Performing Arts is about making radical new work, and we have a reputation for working with exciting and challenging artists, hence our connection to Action Hero,” explained Ben Francombe, head of the department, by email. “The University of Chichester has instigated this overall project as a way to explore different interdisciplinary working methods,” he continues, “which involve the idea of exchange.” Francombe adds that the University is keen to continue having a presence in the Bay Area.

“It’s been really fun actually,” enthuses Paintin, clearly pleased with how experienced and open-minded her American counterparts have proven with collaboration. “We’re trying to just be about the process.”

STRANGER IN A STRANGE LAND

Mon/27, 8 p.m., $10-$20

CounterPULSE

1310 Mission, SF

www.counterpulse.org

 

TAKE ANOTHER BOW, LAZARUS

The fall theater season includes several worthy returns (in addition to shiny new premieres) worth keeping in déjà view:

Chinglish The new comedy about East-West miscommunication from David Henry Hwang (M. Butterfly) has already been to Hong Kong but rebounds to the West Coast courtesy of Berkeley Rep. Aug. 24–Oct. 7; www.berkeleyrep.org

San Francisco Fringe Festival It’s a phoenix, really, rising each September like a sassy, gangling, 41–headed bird of play. Sept. 5–16; www.sffringe.org

Invasion! Crowded Fire delivers its own politically pointed comedy of miscommunication and cultural misconceptions in its West Coast premiere of Jonas Hassen Khemiri’s 2011 Obie-winner. Sept. 6–29; crowdedfire.dreamhosters.com

Geezer and The Real Americans The Hoyle boys — veteran clown and physical actor Geoff Hoyle and bounding son Dan, a theater sensation in his own right — return to the Marsh for re-runs of their respective, wildly popular solo shows. The Real Americans: Sept. 7–29; Geezer: Oct. 6–Nov. 18; www.themarsh.org

The Normal Heart Larry Kramer’s 1985 play returns (in the new Broadway revival directed by George C. Wolfe) at a time when the history of the AIDS crisis has become endangered by a vague “normalizing” narrative of American progress, or what Sara Schulman aptly calls “the gentrification of the mind.” Here’s an opportunity to remember lots of things, not least those who died and fought, a great play, a vital movement, a continuing health emergency, and the importance of mass resistance. Sept. 13–Oct. 7, www.act-sf.org

Roughin’ It 2: Theater. Oysters. Campfire. Booze. Again. Fresh from sold-out success with Duck Lake, PianoFight heads back up to Point Reyes for a second season of woozy waddling, shucking and jiving along the shore of Tamales Bay, featuring everything in the subtitle including brand new short plays harvested from a bed of delicious local playwrights. Sept. 15 and 22; www.pianofight.com

Assassins Shotgun Players mount the Sondheim musical about presidential recalls made and attempted from John Wilkes Booth onward, an election-year favorite directed by Susannah Martin. Sept. 26–Oct. 28; www.shotgunplayers.org

Rhinoceros Paris-based Theatre de la Ville’s production of the Ionesco play — a modernist classic on individual resistance to tyrannical conformity — is a remounting of the company’s acclaimed 2004 production, making its first US tour. Sept. 27–28, www.calperformances.org

Acid Test: The Many Incarnations of Ram Dass “Be Here Now” all over again in Lynne Kaufman’s new play — not so much a theatrical return as a serious flashback — starring the exceptional Warren David Keith as the titular giant of 1960s counterculture, a Harvard prof turned LSD advocate and spiritual teacher. Oct. 4–Nov. 24, www.themarsh.org  

Einstein on the Beach Composer Philip Glass and director Robert Wilson reinvented the opera in 1976 as an enthrallingly weird-ass piece of avant-garde spectacle and the world has not been the same since. This remounting —overseen by the original team of Glass, Wilson, and choreographer Lucinda Childs — marks the first performances of the five-hour formalist extravaganza in 20 years. The international tour takes its highly anticipated Bay Area bow courtesy of co-commissioner Cal Performances. Oct. 26–28, www.calperformances.org

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

Daughter of the Red Tzar Thick House Theatre, 1695 18th St, SF; www.thickhouse.org. $30. Opens Fri/24, 8pm. Runs Sat-Sun and Aug 31, 8pm. Through Sept 2. 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.

BAY AREA

The Elaborate Entrance of Chad Deity Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $32-60. Previews Fri/24-Sat/23 and Aug 29, 8pm; Sun/26, 2pm; Tue/28, 7pm. Opens Aug 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. Previews Thu/23-Fri/24, 8pm. Opens Sat/25, 8pm. Runs Thu-Sat, 8pm. Through Sept 29. Impact Theatre performs Steve Yockey’s tentacle-porn-inspired sex farce.

Time Stands Still TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, SF; www.theatreworks.org. $23-73. Previews Wed/22-Fri/24, 8pm. Opens Sat/25, 8pm. Runs 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.

ONGOING

Believers Stage Werx, 446 Valencia, SF; www.wilywestproductions.com. $20-25. Thu/23-Sat/25, 8pm. As a couple of research scientists and a former couple to boot, Rocky Wise (Casey Fern) and Grace Wright (Maria Giere Marquis) are simply mad about love in Wily West’s world premiere of local playwright Patricia Milton’s exuberant but patchy comedy. Employed by a small, less than scrupulous pharmaceutical firm reeling from a product recall and attendant lawsuits, reclusive Rocky toils away after a formula for a drug that will inoculate the user against love — a secret agenda of his own inspired by the broken heart Grace left him with several years earlier. His boss (a comically brassy Jon Fast) thinks he’s working on a commissioned "love activator," and to that end woos back former employee Grace to keep the fires burning in the lab. The strained reunion does the trick, if not exactly in the way intended. Meanwhile, a wacky born-again receptionist (Kate Jones) —"only recently come to the Lord" (and her Texan drawl by the sound of it) — fields calls from desperate people in a world despoiled by corporate greed and seemingly already in the throes of the end times. There are some moments worthy of a titter or two, but director Sara Staley’s cast is less than precise or compelling with dialogue that is already hit-and-miss. Despite a promising scenario, Believers remains too uneven and muddled to generate much love beyond the stage. (Avila)

Dog Sees God Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $16. Wed/22-Sat/25, 8pm. There was always a lightly subversive if not latently radical bent to Charles M. Schulz’s Peanuts strip, with its implicit championing of nonconformity, its restless and half-confused longing, and its convincing blend of gentleness and cruelty. Playwright Bert V. Royal mines it all with inspired confidence and fighting spirit in his portrait of the Peanuts gang as a fractured set of contemporary fucked-up if formidable teens. First among them is a sullen but resilient CB (Andrew Humann), blockhead of the title, reeling from the death of his dog and his awakened love for broodingly gifted, deeply estranged pal Beethoven (Bobby Conte-Thornton). In Boxcar’s winning production, the boisterous, often hilarious and poignant story — which includes real-life issues of grief, abuse, abortion, homophobia, and suicide — comes animated by a talented and thoroughly persuasive young cast under beautifully calibrated direction by artistic director Nick A. Olivero. (Avila)

Les Misérables Orpheum Theatre, 1192 Market, SF; www.bestofbroadway-sf.com. $83-155. Wed/22-Sat/25, 8pm (also Wed/22 and Sat/25, 2pm); Sun/26, 2pm. SHN’s Best of Broadway series brings to town the new 25th anniversary production of Cameron Mackintosh’s musical giant, based on the novel by Victor Hugo. The revival at the Orpheum does without the famous rotating stage but nevertheless spares no expense or artistry in rendering the show’s barrage of colorful Romantic scenes (with Matt Kinley’s scenic design drawing painterly inspiration from Hugo’s own oils) or its larger-than-life characters — first and foremost Jean Valjean (a slim but passionate Peter Lockyer), nemesis Javert (Andrew Varela), and rescued orphan beauty Cosette (Lauren Wiley). Chris Jahnke contributes new orchestrations to the rollicking original score by Claude-Michel Schönberg (music) and Herbert Kretzmer (lyrics) in this flagrantly sentimental, somewhat problematic but still-stirring meld of music and melodrama in dutiful overlapping service of box office treasure and powerful humanist aspirations. (Avila)

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 Princess Bride: Live! Dark Room Theater, 2263 Mission, SF; foulplaysf.com/princessbride. $20. Thu/23-Sat/25, 8pm. Dark Room Productions presents a live tribute to the cult fairy-tale movie.

Rights of Passage New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Wed/22-Fri/24, 8pm. Opens Sat/25, 8pm. Runs 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. Sat/25, 8:30pm. 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

Circle Mirror Transformation Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $20-57. Wed/22, 7:30pm; Thu/23-Sat/25, 8pm (also Sat/25, 2pm); Sun/26, 2 and 7pm. Annie Baker has enjoyed a wave of Bay Area premieres this year, beginning with Aurora’s sharp staging of Body Awareness, followed by SF Playhouse’s triumph with The Aliens. Now Marin Theatre Company and co-producers Encore Theatre Company offer Baker’s other "Vermont play," set in a community center drama therapy class run by baby-boomer groovy lady Marty (Julia Brothers). She’s joined in a series of drama exercises (and ill-masked personal convolutions) by her husband James (L. Peter Callender), fretting over his estrangement from his daughter by his first marriage; Schultz (Robert Parsons), a middle-aged recent divorcé smitten with the cute girl in the class; Theresa (Arwen Anderson), said cute girl, a nubile 30-something and recent New York transplant; and Lauren (Marissa Keltie), a reluctant, cloudy teen perpetually absent her mother’s check for the class. If Boxcar Theatre’s current production, Dog Sees God, builds flesh and bone from a comic strip, Baker’s amusing, bite-sized scenes (separated by blackouts) tend to lean in the other direction. Despite elaboration of a certain dramatic metaphor flagged in the title, the play’s thematic possibilities are restrained by an easy if highly palatable humor that flirts knowingly with caricature but to only middling affect. There’s a move in the final scene that nicely expands the reach of the action, but that limited if affecting turn is two hours in the making. That said, this fine production insures it’s no great burden getting there. The cast under director Kip Fagan is uniformly enjoyable. Brothers is terrific in giving Marty a bounding personality and just enough ambiguity to make her positive vibes suspect, and Callender finds wonderful opportunities for fleshing out the character of a charming but frustrated man who has not realized his potential. Parsons’ at first foolishly giddy then bitterly imploded Schultz is wholly convincing opposite Anderson’s zany but compelling Theresa. And Keltie’s sly and sullen teen is rightly the smartest tool in the shed. (Avila)

For the Greater Good, Or The Last Election This week: Montclair Ball Field, Montclair; www.sfmt.org. Free (donations accepted). Thu/23, 7pm. Willard Park, Berk; www.sfmt.org. Free (donations accepted). Sat/25-Sun/26, 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)

Happy Hour with Kim Jong Il Cabaret at the Marsh Berkeley, 2120 Allston, Berk; (415) 826-5750,l www.themarsh.org. Free. Fri/24, 6pm. Comedy work-in-progress by Kenny Yun, with live music by cabaret singer Candace Roberts.

Henry V Sequoia High School, 1201 Brewster, Redwood City; www.redwoodcity.org. Free. Sat/25, 7:30pm; Sun/26, 2pm. San Francisco Shakespeare Festival presents the Bard’s history play as part of its "Free Shakespeare in the Park" series.

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 Sept 1 and 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.

PERFORMANCE/DANCE

"Along the Way" Dance Mission Theater, 3316 24th St, SF; www.caitlinelliotdance.com, www.detourdance.com. Fri/24-Sun/26, 8pm. $15-30. Caitlin Elliott Dance Collective and Detour Dance present this evening of world premieres, including performances Fancy and Imitations of Intimacy, and the dance film Pedestrian Crossing.

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: "Original Broadway Cast and Moments of Transition" (Thu/23); "Double Feature" (Fri/24); "The Naked Stage" (Sat/25).

Circus Finelli 50 Mason Social House, 50 Mason, SF; www.circusfinelli.com. Thu/23, 7-10pm. $6. Clowns, cocktails, comedy, and klezmer rule in this performance of "Big Time and Little Something’s Big Adventure."

"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)

"Jump Into Dance! ODC School Family Day Open House" ODC Dance Commons, 351 Shotwell, SF; www.odcdance.org. Sun/26, 8:45am-3:30pm. Free. Children, teens, and their families are invited to check out the ODC School Youth and Teen Program, with sample dance classes and faculty on hand to answer questions.

Rome Kanda Main Pagoda Stage, Japantown’s Peace Plaza, Geary and Buchanan, SF; www.j-pop.com. Sat/25, 2:30pm; Sun/26, 1pm. Free. The Japanese comedian stops by the J-Pop Summit Festival for a stage appearance and signing of his new digital manga series, Samurai Spirit: The Story of Rome Kanda.

Maurya Kerr/tinypistol Z Space, 450 Florida, SF; www.brownpapertickets.com. Mon/27, 8pm. $18-23. WestWave Dance presents this evening of works, including world premiere FreakShow.

"Measure for Measure" Café Royale, 800 Post, SF; sftheaterpub.wordpress.com. Mon/27, 8pm. Free ($5 suggested donation). SF Theater Pub performs the Shakespeare play.

"San Francisco Drag King Contest" DNA Lounge, 375 11th St, SF; www.sfdragkingcontest.com. Thu/23, 9pm. $20-35. The popular, raucous contest returns for its 17th annual incarnation.

"San Francisco Improv Festival" Eureka Theater, 215 Jackson, SF; www.sfimprovfestival.com. Wed/22-Sat/25. $5-35. With local improv talent including BATS Improv, Un-Scripted Theater Company, San Jose ComedySportz, and more.

"Sea Music Festival" San Francisco Maritime National Historic Park, Hyde Street Pier, SF; nps.gov/safr. Sat/25, 9:30am-5pm. $5 (15 and under, free). Singers, intrumentalists, and dance troupes perform in celebration of maritime heritage to coincide with the America’s Cup races.

"Soundwave 5: Revelation Zen" San Francisco Zen Center, 300 Page, SF; www.projectsoundwave.com. Sat/25, 6-9pm. $12-25. Performances by En, Sean McCann, and Marielle V. Jakobsons.

"Work More!" CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thu/24-Sat/26, 8pm. $15-20. Theater performance meets nightlife experience in this drag installation with Mica Sigourney/VivvyAnne ForeverMORE and Ox.

Full circle

Andrew Lam
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52
Full circle

steve@sfbg.com

When Mayor Ed Lee suspended Sheriff Ross Mirkarimi in March, he publicly took the position that it was an act of official misconduct when Mirkarimi grabbed his wife’s arm during a Dec. 31 argument, subsequently pleaded guilty to false imprisonment, and was placed on probation for three years.

Lee and his allies said that under those conditions, Mirkarimi could no longer effectively function as the city’s top elected law enforcement officer and that his actions clearly violated the City Charter’s ban on "conduct that falls below the standard of decency, good faith and right action impliedly required of all public officers."

The City Attorney’s Office, through deputies Peter Keith and Sherri Kaiser, has maintained that position throughout the investigation and Ethics Commission proceedings over the last five months. On August 16, on a 4-1 vote, the commission agreed and recommend the Board of Supervisors find its former colleague guilty of official misconduct, which would almost certainly result in his removal from office.

But that simple set of facts and interpretations belies the ugly spectacle that Lee and the City Attorney’s Office actually decided to create — at great cost to taxpayers, Mirkarimi’s reputation, and the public’s faith in the proceedings — over the last five months.

Instead of sticking by their initial position, Lee and his attorneys decided to pile on a long list of other official misconduct charges: dissuading witnesses to his crime, impeding a police investigation, abusing his authority in several ways, engaging in a pattern of abuse of women, refusing to cooperate with a city investigation, lying to officers in a scheme to keep a gun, and other charges.

Almost all of those accusations were included in the original written charges that Lee filed on March 21 — before the city had actually begun its investigation to learn whether there was any evidence to support them. Keith and Kaiser continued to make all those accusations right up until the end.

When the Ethics Commission finally deliberated on August 16, going through each of the main factual allegations against Mirkarimi, one by one, it unanimously agreed that there wasn’t enough evidence to support any of those other charges, even using the "preponderance of evidence" standard that is lower than the "beyond reasonable doubt" standard used in criminal cases.

So in the end, the case against Mirkarimi ended at the same place where it began: with the question of whether pleading guilty to a misdemeanor act of domestic violence warrants the removal of an elected official. But the implications and repercussions of what has transpired over these last five months could be felt for many years, in ways that it’s impossible to predict today.

WHAT IS OFFICIAL MISCONDUCT?


With very few legal precedents to guide them, the commissioners spent most of the nine-hour hearing on Aug. 16 wrestling with how to interpret the city’s untested new official misconduct language, how directly the wrongful behavior must relate to the office, and whether broadly interpreting those two issues gives too much power to the mayor.

Underlying that discussion is the question of whether the statute and the city’s interpretation of it will eventually be struck down as unconstitutionally vague by the courts, which Mirkarimi will likely turn to if the board removes him from office. But the commission pointedly refused to enter that debate, with Commissioner Jamienne Studley saying, "I don’t think determining constitutionality is what I signed on for as a commissioner."

Chair Benedict Hur, the sole dissenter in recommending a finding of official misconduct, expressed far more concern about the precedent they were setting than with the fate of Mirkarimi, whose actions he strongly condemned as "clearly wrongful and unlawful."

"There has to be a direct relationship of the behavior to the office held," Hur said. "If we don’t find a nexus, we are opening this provision up to abuse down the road."

Commissioner Paul Renne led the charge in interpreting misconduct in the broadest possible way, arguing it didn’t even have to be related to his official duties. "There’s nothing in that clause that says the misconduct has to relate to the office," Renne said.

But Hur called that a "dangerous precedent," saying he has "grave concerns" about how such a broad interpretation could be applied in the future. "I have a lot of concerns about where you draw the line if you don’t relate it to official duties," he said.

For example, could members of the Board of Supervisors be removed after getting arrested at demonstrations — as has happened many times before in connections with labor and other disputes — or even for using colorful language with constituents or colleagues that might violate a future mayor’s "standard of decency?"

Mirkarimi attorney Shepherd Kopp said there’s a good reason why recall is the preferred means of removing an elected officials accused of wrongdoing, calling the charter "an imperfect document" that can’t cover all circumstances — indeed, it doesn’t allow for the removal of mayors, even those who commit serious crimes — noting that "this is a rarely brought proceeding and it can have the effect of contravening the will of the electorate."

"These proceedings," Kopp said, "are far too susceptible to the vagaries of politics."

THE PILE-ON


Lee’s decision to overcharge Mirkarimi could be a costly one. The City Attorney’s Office won’t release expenses associated with ongoing legal actions like this one, but most indications are that it will run into the millions of dollars, perhaps many millions depending on how Mirkarimi fares in the courts if he is removed and challenges the city’s actions.

According to the City Attorney’s Office, the official misconduct proceedings against former Sup. Ed Jew in 2007 cost the city $381,505 in legal fees, but that was a relatively short and simple proceeding, with just one Ethics Commission hearing and couple of state court appearances before the case was settled.

By contrast, the case against Mirkarimi has already entailed five months of detailed exchanges between the two sides’ attorneys, covering a wide array of legal issues, and months-long investigations of matters only tangentially related to the core charge. The city has paid out money for expert witness. Mayor Lee cast a wide net to catch the fish that he had already hooked before setting out to sea.

Even if the Jew case had played out to completion, it would likely have cost just a fraction of what Mirkarimi’s will, for a simple reason: Mayor Lee acted quickly and brought a broad array of charges before investigating them. Then-Mayor Gavin Newsom investigated whether Jew really lived in the city and then brought just that narrow charge.

The simple residency question was enough to warrant Jew’s removal, and Newsom didn’t even need to get into the far more serious corruption charges related to Jew being caught with $80,000 in marked bills as part of an FBI extortion sting, for which Jew is still serving a five-year term in federal prison.

Lee has refused to justify his decision to pile on the charges and introduce defamatory declarations unsupported by direct evidence, such as the long declaration of key witness Ivory Madison, most of which was stricken from the record after Commissioner Paul Renne called it "clearly hearsay, clearly having the intention of poisoning the well" and said "a first-year lawyer should know that much of it is inadmissible and it should not have been given to us."

Even though Keith apologized to Renne and the commission, Lee and his lawyers continued to defend much of that declaration and use it as the basis for many of their most incredible accusations.

"You received a great deal of evidence, most of it from the mayor and most of it unchallenged," Keith said in his closing statement, glossing over the multitude of challenges and the fact that most evidence doesn’t support the city’s charges.

Mayoral Press Secretary Christine Falvey wouldn’t address a list of Guardian questions about overcharging the case and continuing to rely on discredited evidence. Instead, the Mayor’s Office stands by this Aug. 16 prepared statement: "I am pleased that the members of the Ethics Commission, following a careful review of the evidence, and in the face of a sustained campaign to distract and misdirect them from the facts, agreed with me that Ross Mirkarimi’s actions constitute official misconduct and fall below the ethical conduct we expect of the sheriff."

City Attorney’s Office spokesperson Matt Dorsey said his office also stands by the process: "We respect Ethics Commissioners’ differing opinions about the remaining counts. But nothing about the commission’s conclusions would cause us to pursue these charges of official misconduct differently if we had to do it over again."

But Mirkarimi’s team says it is Lee who has repeatedly sought to distract and misdirect the public, whether through unsubstantiated claims in his charging documents or Lee’s public statements that Mirkarimi "beats his wife" and other comments that blow a single arm-grab out of proportion.

"What the commission has effectively done is agreed with us that’s the only issue," Mirkarimi attorney David Waggoner told reporters after the hearing, noting that he had offered to stipulate to those facts from the beginning and avoid a prosecution that his closing brief deemed "a dog and pony show." Mirkarimi also told reporters that "the piling on of these charges has weighted us down" and complicated his defense. He added, "I leave this process concerned that the will of the voters is being undermined."

THE PRICE OF OVERKILL


Perhaps it was understandable for the city to use over-the-top tactics on Mirkarimi, who has certainly been weakened by proceedings that generated reams of fodder to be used against him in future elections if he survives the board’s removal vote. But the tactic also seems to have hardened the stance of Mirkarimi’s supporters and fed their conviction that this was a politically motivated prosecution and misuse of public resources.

During more than three hours of public testimony on Aug. 16, with each speaker strictly limited to less than two minutes each, speakers overwhelmingly favored Mirkarimi and condemned the city case as overkill.

"Some of the things done in this case, and the levels this has gone to, is outrageous," said Brenda Barros, who works in the city’s public health clinic and said these resources could be better applied to help the "seriously abused women" she works with. Barros called the city’s case "a political witch hunt."

"I think Mayor Lee has overstepped his boundaries and I think you should find that as well," said Pedro Fernandez, a private investigator and former San Francisco Police officer.

David Elliott Lewis, a member of the city’s Mental Health Board, noted that the Sheriff’s Department has no civilian oversight, making the role of an elected sheriff who is progressive and independent of the city’s good-old-boy police culture all the more important. "Those who claim otherwise are really politically motivated," he said.

One issue left unresolved by the Ethics Commission is whether Mirkarimi should be removed even though the case against him was substantially whittled down. In fact, several commissioners indicated during the hearing that they thought the findings and punishment were separate issues.

"Do you agree that it is a two-step process we have to deal with?" Renne asked Keith, referring to the official misconduct finding and whether Lee abused his discretion by removing Mirkarimi.

"There is a determination of, are the consequences appropriate to the wrongful action," Keith replied.

But later, when attorney Scott Emblidge — who is volunteering his legal services to both the Ethics Commission and Board of Supervisors on this case — offered his interpretation that the charter language requires removal of officials found to have committed official misconduct, the commission accepted that and opted not to consider recommending a lesser punishment to the Board of Supervisors.

Mirkarimi’s team objected to the commission’s rewriting of new charges based on its evidentiary findings, and things got so confusing by the end that the commission decided to meet one more time in early September to finalize its recommendation.

So the case probably won’t get to the board until mid-September. Nine votes are required to remove Mirkarimi and the charter requires the board act within 30 days, meaning that final vote will be just a few weeks before the Nov. 6 election, timing that will only increase perceptions that politics will largely determine its outcome.

Commission narrows Mirkarimi charges to one but recommends removal

Sasha Cuttler
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238

The Ethics Commission today unanimously rejected most of Mayor Ed Lee’s official misconduct charges against suspended Sheriff Ross Mirkarimi – including abuse of power, impeding a police investigation, and dissuading witnesses – but voted 4-1 to recommend the Board of Supervisors find him guilty of official misconduct for grabbing his wife’s arm on Dec. 31 and pleading guilty to the resulting misdemeanor charge of false imprisonment.

The sole dissenting vote, Chair Benedict Hur, said he had “grave concerns” that such as a broad interpretation of what behaviors constitute official misconduct would give mayors a “strong tool” to inappropriately remove their political adversaries (or at least invite charges that they were), as Mirkarimi supporters allege is happening now.

But the rest of the commission adopted a broad interpretation of what city officials and voters intended in 1995 when they overhauled the City Charter and added a new official misconduct clause banning “conduct that falls below the standard of decency, good faith and right action impliedly required of all public officers.”

“I have a lot of concerns about where you draw the line if you don’t relate it to official duties,” Hur said, appealing to his colleagues that, “I think this charter provision was meant to be narrow.”

Commissioner Paul Renne – who in earlier hearings had taken a strong role in excluding prejudicial evidence against Mirkarimi and was thought to be a possible vote in his favor – today led the charge in interpreting misconduct in the broadest possible way, arguing it didn’t even have to be related to his official duties, while the three other votes against Mirkarimi made the case that his conduct and conviction were related to a sheriff’s role overseeing the jail and its domestic violence programs.

“I think the voters would be shocked if we were to say a public official who pleaded guilty to domestic violence has not committed an act of official misconduct,” Renne said.

But Mirkarimi’s attorneys and supporters – who outnumbered those urging his removal (mostly domestic violence advocates) by more than 4-to-1 during the three hours of public testimony taken today – say the shocking thing is for a just-elected official to be unilaterally removed from office by a political adversary for reasons that today’s proceedings showed were tenuous.

“No case has ever been upheld in court to remove an elected official for a low-level misdemeanor,” said Paula Canny, the attorney for Mirkarimi’s wife, Eliana Lopez, who sat next to and supported his husband throughout today’s nine-hour proceedings.

Indeed, the city is wading into uncharted waters and the commission had few court precedents to draw from in making its findings. It’s also possible that the charter provision is unconstitutionally vague, as Mirkarimi’s attorneys have alleged, both here and in court, with an earlier judge opting to wait until after the city’s process plays out before ruling on the question.

But first, it will be up to the Board of Supervisors, where nine votes on the 11-member body are required to remove Mirkarimi. Today’s hearing got complicated at the end – as commissioners wrestled with what it means to essentially throw out the mayor’s charges and adopt their own more narrow accusation, and how to present everything to the board – that it decided to hold one more meeting in early September to adopt a summary and send everything to the board, which will then have 30 days to act.  

“I leave this process concerned that the will of the voters is being undermined,” Mirkarimi told reporters after the hearing. Holding his hand, Lopez said, “I’m shocked to see what happened today, but we are fighters.”

 

For complete coverage and analysis of what happened today, what it means, and what’s next, read next week’s Bay Guardian.

Dick Meister: The billionaire’s bill of rights

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8

By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister, which includes more than 350 of his columns.

Billionaire corporate interests and other well financed anti-labor forces are waging a major drive to stifle the political voice of workers and their unions in California that is certain to spread nationwide if not stopped – and stopped now.

At issue is a highly deceptive measure, Proposition 32, on the November election ballot, that its anti-labor sponsors label as an even-handed attempt to limit campaign spending. But actually, it would limit – and severely – only the spending of unions while leaving corporations and other moneyed special interests free to spend as much as they like.

Unions would be prohibited from making political contributions with money collected from voluntary paycheck deductions authorized by their members, which is the main source of union political funds.

 But there would be no limits on corporations, whose political funds come from their profits, their customers or suppliers and the contributions of corporate executives. Nor would there be any limit on the political spending of the executives or any other wealthy individuals. What’s more, corporate special interests and billionaires could still give unlimited millions to secretive “Super PACs” that can raise unlimited amounts of money anonymously to finance their political campaigns.

The proposition would have a “devastating impact” on unions, notes Professor John Logan, director of labor and employment studies at San Francisco State University, writing in  the Hill’s Congress blog.  As he says, it would likely all but eliminate political spending by unions while greatly increasing political spending by business interests and wealthy individuals.

 Anti-labor interests are already outspending unions nationwide by a ratio of more than $15 for every $1 spent by unions. Between 2000 and 2011, that amounted to  $700 million spent by anti-labor forces, while unions spent just a little more than $284 million.

 Proposition 32 would even restrict unions in their communications with their own members on political issues. That’s because money raised by payroll deductions pays for the preparation and mailing of communications to union members, including political materials.

Unfortunately, there’s even more – much more –to Proposition 32. It also would prohibit unions from making contributions to political parties and defines public employee unions as “government contractors” that would be forbidden from attempting to influence any government agency with whom they have a contract.

That restriction applies not only to unions. It also would cover political action committees established by any membership organization,  “any agency or employee representation committee or plan,” such as those seeking stronger civil rights or environmental protections.

Proposition 32 seeks to weaken, that is, any membership group which might seek reforms opposed by wealthy individuals or corporations and their Republican allies.  It’s no wonder the measure is actively opposed, not only by organized labor, but also by the country’s leading good-government groups, including Common Cause and the League of Women Voters.

Yet the proposition’s sponsors have the incredible gall to bill their measure as genuine campaign finance reform. They obviously hope that claim, which Common Cause accurately describes as a “laughable deception,” will win over the many voters who have been demanding reforms and who, in their eagerness, will fail to recognize the measure’s true nature.

“This is not genuine campaign finance reform,” as San Francisco State’s John Logan says, “but a bill of rights for billionaires.”

The losers would include teachers, nurses, police, firefighters and other union members and those who benefit from the essential services they provide – students, the elderly, and the ailing, the poverty stricken, those who work and live in unsafe conditions and other needy citizens, and consumers, environmentalists and others who also are neglected by the profit-chasing corporate interests that dominate political and economic life.

Make no mistake: Lots of money is being funneled into the Proposition 32 campaign by some of the same wealthy backers who bankrolled such anti-labor efforts as the campaign that blocked the massive attempt to recall virulently anti-labor GOP Gov. Scott Walker of Wisconsin this year.

Should the anti-union forces also prevail, it will undoubtedly lead to what Logan says “will promote a tsunami of ballot initiatives in 2013 at the local level and in 2014 at the state level designed to drive down working conditions in both the public and private sectors.”

Logan adds, “Lacking the ability to oppose these reactionary measures under the new election rules, California’s workers could soon face the weakest labor standards in the country”. But if the measure is rejected, it “may slow the momentum behind other attempts to increase the corrosive impact of money in politics.”

It’s true that some states already have laws and regulations seriously limiting labor’s influence. But it’s certain that victory by the anti-labor forces in California will slow any attempts at reform in other states and lead as well to attempts to impose anti-union measures elsewhere, as well as expanding those that already exist.

The stakes are huge. If the 1 percent have their way in California, the country’s largest state, other states are certain to follow.

For more from John Logan, check his piece in the East Bay Express, “If you liked Citizen United, you’ll love Prop 32.” http://www.eastbayexpress.com/ebx/if-you-liked-citizens-united-youll-love-prop-32/Content?oid=330613

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister, which includes more than 350 of his columns.

Stage Listings

Andrew Lam
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0

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

Dog Sees God Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $16. Opens Wed/8, 8pm. Runs Wed-Sat, 8pm. Through Aug 25. Boxcar Playhouse performs Bert V. Royal’s darkly comedic take on a moody, grown-up Charlie Brown and his Peanuts buddies.

Rights of Passage New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Fri/17-Sat/19 and Aug 22-24, 8pm; Sun/20, 2pm. Opens Aug 25, 8pm. Runs 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.

BAY AREA

Our Country’s Good Redwood Amphiteatre, Marin Art and Garden Center, 30 Sir Francis Drake, Ross; www.porchlight.net. $15-30. Previews Thu/16, 7:30pm. Opens Fri/17, 7:30pm. Runs 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. Previews Sat/19, 8pm; Sun/19, 5pm. Opens Mon/20, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm (also Sept 1 and 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.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu/16-Sat/18, 8pm. A multi-character solo show about the unique residents of San Francisco.

Believers Stage Werx, 446 Valencia, SF; www.wilywestproductions.com. $20-25. Thu-Sat, 8pm. Through Aug 25. As a couple of research scientists and a former couple to boot, Rocky Wise (Casey Fern) and Grace Wright (Maria Giere Marquis) are simply mad about love in Wily West’s world premiere of local playwright Patricia Milton’s exuberant but patchy comedy. Employed by a small, less than scrupulous pharmaceutical firm reeling from a product recall and attendant lawsuits, reclusive Rocky toils away after a formula for a drug that will inoculate the user against love — a secret agenda of his own inspired by the broken heart Grace left him with several years earlier. His boss (a comically brassy Jon Fast) thinks he’s working on a commissioned “love activator,” and to that end woos back former employee Grace to keep the fires burning in the lab. The strained reunion does the trick, if not exactly in the way intended. Meanwhile, a wacky born-again receptionist (Kate Jones) —”only recently come to the Lord” (and her Texan drawl by the sound of it) — fields calls from desperate people in a world despoiled by corporate greed and seemingly already in the throes of the end times. There are some moments worthy of a titter or two, but director Sara Staley’s cast is less than precise or compelling with dialogue that is already hit-and-miss. Despite a promising scenario, Believers remains too uneven and muddled to generate much love beyond the stage. (Avila)

Enron Exit Theatre, 156 Eddy, SF; www.enron2012.com. $25. Thu/16-Fri/17, 8pm. In OpenTab’s production of British playwright Lucy Prebble’s 2009 Enron, tragedy plus time equals comedy plus puppets (in imaginative designs by Miyaka Cochrane), as fast-paced satire delivers a timely reconsideration of yet another infamous financial scandal. Some fictional elements shape the plotline but simplifying strategies serve well to clarify the real-life actions and consequences of Ken Lay (GreyWolf) and Jeffry Skilling’s (Alex Plant) deceptive energy-trading juggernaut, the onetime darling of Wall Street and the financial pages. There’s also much verbatim information (echoing the book and documentary, Enron: The Smartest Guys in the Room) enlivening the quick dialogue and underscoring the reckless, hubristic malfeasance that famously preyed on California’s electricity grid and threw Enron’s own employees under the bus. Director Ben Euphrat gets spirited and engaging performances from his principals, with especially nice work from Plant as a cruelly superior Skilling, Laurie Burke as ambitious straight-shooter Claudia Roe (a fictionalized composite creation of the playwright), and Nathan Tucker as manic sycophant Andy Fastow, feeding poisonous Enron debt into three beloved “raptors” (the pet names for some animated shadow companies arising from Fastow’s fast work in “structured finance”). At the same time, the staging can prove rough between concept and execution, with scenic elements sometimes confusing as well as aesthetically ragged (a red fabric serving as a large profit graph, for instance, just looks like some droopy inexplicable drapery at first; and the first puppets to appear are too small to be very effective either). Despite this messiness in terms of mise-en-scène, however, the play is generally clear-eyed and good for more than easy laughs — since no single villain but rather a system and culture are the proper targets here. As Prebble notes, the strategies developed by Enron, far from remaining beyond the pale, are now standard practices throughout the financial and corporate world. That, in some circles, is known as progress. (Avila)

Humor Abuse American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $25-95. Wed/15-Sat/18, 8pm (also Sat/18, 2pm); Sun/19, 2pm. “This is a show about clowning,” advises Lorenzo Pisoni at the outset of his graceful solo performance, “and I’m the straight man.” It’s a funny line, actually — funny because it’s true, and not true. In the deft routines that follow, as well as in the snapshots cast on the atmospherically dingy curtain hung center stage, the career of this Pickle Family Circus brat (already alone in the spotlight by age two) never veers far from the shadow of his father. That fact remains central to the winning comedy and wistful reflection in Humor Abuse. Reared in the commotion and commitment of the famed San Francisco circus founded by his parents Larry Pisoni and Peggy Snider, Lorenzo had a childhood both enviable and unusually challenging. The fact that he shares his name with both a grandfather and his dad’s famous clown persona is instructive. His trials and his triumphs are further conflated — along with his father’s — in such elegant catastrophes as falling down a long flight of stairs. And in his good-humored and honest reflections, the existential poignancy at the heart of such artful buffoonery begins to rise to the surface. The spoken narrative feels a little pinched or abbreviated, in truth, but there are no shortcuts to the skill or wider perspective inculcated by the charming Pisoni and (under direction of co-creator Erica Schmidt) set enthrallingly in motion. (Avila)

The Merchant of Venice Gough Street Playhouse, 1622 Gough, SF; www.custommade.org. $25-32. Thu/16-Sat/18, 8pm; Sun/19, 7pm. Custom Made Theater presents director Stuart Bousel’s generally sharp staging of Shakespeare’s perennially controversial but often-misunderstood play. The lively if uneven production ensures the involved storyline cannot be reduced to the problematical nature of its notorious Jewish villain, Shylock (played with a compellingly burdened intensity by a quick Catz Forsman), but rather has to be seen in a wider landscape of desire in which money, status, sex, gender, political and ethnic affiliations, and human bodies all mix, collide, and negotiate. To this end, this Merchant is set amid a contemporary financial district coterie (given plenty of scope in Sarah Phykitt’s thoughtfully pared-down scenic design), where titular melancholic businessman Antonio (Ryan Hayes) sticks his neck out (or anyway a pound of flesh) for his beloved friend Bassanio (Dashiell Hillman) — no doubt the unspoken source of Antonio’s brooding heart as staged here — as the latter seeks a loan with which to court the lovely and brilliant Portia (a winning Megan Briggs). While the subplot concerning the wooing and flight of Shylock’s daughter, Jessica (Kim Saunders), is less adeptly rendered, fluid pacing and a confident sense of the priorities of the drama overall offer a satisfying encounter with this fascinatingly subtle play. (Avila)

Les Misérables Orpheum Theatre, 1192 Market, SF; www.bestofbroadway-sf.com. $83-155. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Aug 26. SHN’s Best of Broadway series brings to town the new 25th anniversary production of Cameron Mackintosh’s musical giant, based on the novel by Victor Hugo. The revival at the Orpheum does without the famous rotating stage but nevertheless spares no expense or artistry in rendering the show’s barrage of colorful Romantic scenes (with Matt Kinley’s scenic design drawing painterly inspiration from Hugo’s own oils) or its larger-than-life characters — first and foremost Jean Valjean (a slim but passionate Peter Lockyer), nemesis Javert (Andrew Varela), and rescued orphan beauty Cosette (Lauren Wiley). Chris Jahnke contributes new orchestrations to the rollicking original score by Claude-Michel Schönberg (music) and Herbert Kretzmer (lyrics) in this flagrantly sentimental, somewhat problematic but still-stirring meld of music and melodrama in dutiful overlapping service of box office treasure and powerful humanist aspirations. (Avila)

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 Princess Bride: Live! Dark Room Theater, 2263 Mission, SF; foulplaysf.com/princessbride. $20. Thu-Sat, 8pm. Through Aug 25. Dark Room Productions presents a live tribute to the cult fairy-tale movie.

Project: Lohan Costume Shop, 1117 Market, SF; www.projectlohan.com. $25. Thu/16-Sat/18, 8pm; Sun/19, 7pm. D’Arcy Drollinger pays tribute to the paparazzi target with this performance constructed solely from tabloids, magazines, court documents, and other pre-existing sources.

“Un-Abridged: The Best of Ten Years of Un-Scripted” SF Playhouse, 533 Sutter, SF; www.un-scripted.com. $10-20. Thu/16-Sat/18, 8pm. The veteran Bay Area company celebrates its tenth anniversary season with a four-week retrospective of its favorite long- and short-form improv shows. Check website for schedule.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm. Extended through Aug 25. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through Aug 25. 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

Circle Mirror Transformation Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $20-57. Tue and Thu-Sat, 8pm (also Thu/16 and Aug 25, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Though Aug 26. Marin Theatre Company and Encore Theatre Company co-present the regional premiere of Annie Baker’s comedy about a drama class.

A Doll’s House Willows Theatre, 1975 Diamond, Concord; www.willowstheatre.com. $20-29. Wed/15-Thu/16, 7:30pm (also Wed/15, 3:30pm); Fri/17-Sat/18, 8pm (also Sat/18, 2pm). The large stage at Willows Theatre is a sunken living room with walls the color of butterscotch pudding, a long rumpled powder-blue sofa, scattered seasonal decorations, and a single translucent panel that brings to mind a Bob Barker-era game show set. It’s like a cross between a showroom and homeroom without meaning to be either, but that less than winsome amalgam hits the right note for Irish playwright Frank McGuiness’s modern adaptation of Henrik Ibsen’s 1879 play. Here, the Helmers are just a couple of upstate New Yorkers with slightly funny-sounding names circa Christmas 1959: Nora (a captivatingly buoyant yet subtly shaded Lena Hart) is a bubbly young mother of three, and Torvald (a credibly oblivious Mark Farrell) is a smug but affable bank executive on the rise. A secret intervention in Torvald’s career by a devoted Nora, his up-to-now happily caged “little songbird,” once saved them from ruin (via a reckless loan borrowed on a forged signature), but now it invites a calamitous mixing of formerly separate spheres as the man who loaned Nora the money, once-disgraced Nils Krogstad (a fine, persuasively desperate yet smooth Aaron Murphy), blackmails her to insure his precarious position at her husband’s bank. A panicked Nora confides in old friend and reluctant single-lady Christine (an impressively stoic, subtly wounded Kendra Oberhauser). Meanwhile, terminally ill family friend Dr. Rank (an initially wooden, later warmer Dale Albright) watches Nora from a devoted but helpless vantage. If the plot feels at times like a mirthless episode of I Love Lucy, that again may speak to the aptness of McGuiness’s transposition as much as the sometimes forced way playwright Ibsen has of rearranging the dramatic furniture. But the generally strong cast under Eric Inman’s able direction offers enough vivid dramatic tension to keep us engaged, while suggesting the continuing relevance and limits of the play’s robust critique of marriage and patriarchy. (Avila)

Dolores: Out from the Void Subterranean Arthouse, 2179 Bancroft, Berk; www.subterraneanarthouse.org. $10-15. Thu/16, 8:30pm. On a bare floor at one end of Subterranean Art House’s Berkeley storefront, physical theater maker Carolina Duncan, as her Colombian grandmother, pops opens her cranium like a steamer trunk and retrieves the scrapbook of a boundless life. Here memory and imagination exist in equal measures, as Duncan traces key moments and fleeting images from an arc of days defined by family, romance, and at least one titanic battle between an Amazonian dinosaur and a new secret-agent boyfriend. Combining mime, scattered dialogue, physical comedy, and a live soundscape (a sinuous score courtesy of musician Carlos Kampff, stage left), this loving and whimsical homage, directed by Nikolas Strubbe, comes gracefully delivered and almost always vividly expressed. All the while, Duncan (a recent graduate of SF’s Clown Conservatory and James Donlon and Leonard Pitt’s Flying Actor Studio) exudes an infectious enthusiasm for her subject, who proves as alive in a passing but concrete image of first childhood steps as she does in her final outing, a prolonged spacewalk into the familiar and unknown. (Avila)

A Funny Thing Happened On the Way to the Forum Woodminster Amphitheater, Joaquin Miller Park, 3300 Joaquin Miller Rd, Oakl; www.woodminster.com. $12-56. Thu/16-Sun/19, 8pm. Woodminster Summer Musicals presents the Sondheim comedy.

Happy Hour with Kim Jong Il Cabaret at the Marsh Berkeley, 2120 Allston, Berk; (415) 826-5750,l www.themarsh.org. Free. Fri, 6pm. Through Aug 24. Comedy work-in-progress by Kenny Yun, with live music by cabaret singer Candace Roberts.

Henry V Sequoia High School, 1201 Brewster, Redwood City; www.redwoodcity.org. Free. Sat, 7:30pm; Sun, 2pm. Through Aug 26. San Francisco Shakespeare Festival presents the Bard’s history play as part of its “Free Shakespeare in the Park” series.

Keith Moon/The Real Me TheaterStage at the March Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Fri/17, 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 Aug 26. 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.

Noises Off Live Oak Theatre, 1301 Shattuck, Berk; www.aeofberkeley.org. $15. Fri/17-Sat/18, 8pm. Actors Ensemble of Berkeley performs Michael Frayn’s backstage comedy.

Roald Dahl’s Willy Wonka and the Chocolate Factory Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Thu/16 and Sat/18, 7pm (also Sat/18, 2pm); Sun/19, noon and 5pm. Berkeley Playhouse performs a musical based on the candy-filled book, with songs from the 1971 movie adaptation.

“TheatreWorks 2012 New Works Festival” TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-25 (fest pass, $65). Various times, through Sun/19. The 11th annual festival features a developmental production of The Trouble With Doug by Will Aronson and Daniel Maté and staged readings of Sleeping Rough by Kara Manning, The Loudest Man on Earth by Catherine Rush, Being Earnest by Paul Gordon and Jay Gruska, and Triangle by Curtis Moore and Thomas Mizer.

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: “Five Deadly Improvisors and No Gnus is Good Gnus” (Thu/16); “Director’s Cut” (Fri/17); “Theatresports: Battle to Play LA” (Sat/18).

“Carmina Burana” Davies Symphony Hall, 201 Van Ness, SF; www.cityboxoffice.com. Fri/17-Sat/18, 8pm. $28-34. The San Francisco Choral Society promises “no ordinary” rendition of the classic, presented as a semi-staged rendition featuring Perceptions Contemporary Dance Company, the Contra Costa Children’s Choir, and other guests.

“Comikaze Lounge” Café Royale, 800 Post, SF; www.comikazelounge.com. Wed/15, 8pm. Free. Comedy showcase with headliner Natasha Muse.

“Competitive Erotic Fan Fiction” Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Wed/15, 6pm. $10. Ten comedians write and perform erotic fan fiction, with audience input.

Ian Edwards Punchline, 444 Battery, SF; www.punchlinecomedyclub.com. Wed/15-Fri/17, 8pm (also Fri/17, 10pm); Sat/18, 7:30 and 9:30pm. $15-21. The stand-up comedian performs.

“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)

“Electile Dysfunction: The Kinsey Sicks for President” Rrazz Room, 222 Mason, SF; www.therrazzroom.com. Wed/15-Sat/18, 8pm; Sun/19, 7pm. $35-40. The “dragapella beautyshop quartet” satirizes the upcoming election.

“House Special” ODC Theater, 3153 17th St, SF; www.odctheater.org. Sat/18, 8pm. $10-30. ODC Theater presents works-in-progress by David Schleiffers, Anna Sullivan, and Kim Yaged.

“Landscape of the Body” Exit Stage Left, 156 Eddy, SF; www.brownpapertickets.com. Thu/16-Sat/18, 8pm (also Sat/18, 3pm). $15. Bigger Than a Breadbox Theatre Co. presents John Guare’s play about a single mother in 1970s Greenwich Village.

“Live at Deluxe” Club Deluxe, 1511 Haight, SF; comedyatdeluxe.wordpress.com. Mon/20, 9pm. $5. Comedy showcase with headliner Sammy K. Obeid.

“Measure for Measure” Café Royale, 800 Post, SF; sftheaterpub.wordpress.com. Aug 20-21 and 27, 8pm. Free ($5 suggested donation). SF Theater Pub performs the Shakespeare play.

“Merola Grand Finale” War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. Sat/18, 7:30pm. $25-45. The operatic training program celebrates its final concert of the summer season.

“Richmond-Ermet AIDS Foundation presents a Special One-Night Only Benefit Concert” Marines Memorial Theater, 609 Sutter, SF; www.helpisontheway.org. Mon/20, 7:30pm. $25-45. With Katya Smirnoff-Skye, SF Gay Men’s Chorus ensemble Vocal Minority, and cast members from Les Misérables.

“Ricky Star’s Planet: One-Man Comedy Show” Actors Theatre of San Francisco, 855 Bush, SF; youtube.com/rickystar5. Mon/20, 8pm. The stand-up comedian performs.

“San Francisco Improv Festival” Eureka Theater, 215 Jackson, SF; www.sfimprovfestival.com. Aug 16-25. $5-35. With local improv talent including BATS Improv, Un-Scripted Theater Company, San Jose ComedySportz, and more.

“Stepology presents the 2012 Bay Area Rhythm Exchange” Herbst Theatre, 401 Van Ness, SF; www.cityboxoffice.com. Sat/18, 8pm. $17-25. This dance and live music performance is part of the Bay Area Tap Festival’s 10th anniversary celebration.

“Sunk in Sleep” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/17-Sun/19, 8pm. $20. Bianca Cabrera’s Blind Tiger Society presents a new evening-length dance work.

On the Cheap Listings

Andrew Lam
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0

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

WEDNESDAY 15

Smack Dab open mic Magnet, 4122 18th St., SF. www.magnetsf.org. 8pm, open mic sign-up starts at 7:30pm, free. Magnet, the Castro’s neighborhood health clinic hosts this open mic for all ages and genders. Lewis DeSimone, author of Chemistry and The Heart’s History, will be the night’s featured reader but everyone is welcome to bring in up to five minutes of shareable words.

Competitive Erotic Fan Fiction Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com. 6-8pm, $10. The San Francisco debut of LA’s sexy comic showdown, this installation of CEFF brings 10 comics to the stage to share their fan fic-themed smut. Some even take audience suggestions in their creative process, so bring your dirty minds.

THURSDAY 16

Ruben Martinez The Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30pm, free. The Western plains of the United States that once were home to Native American tribes and later, roaming cowboys, are now the scene of an entirely different wild frontier. Post-colonial author Martinez reads from his time spent researching Marfa, Texas; the banks of the Rio Grande; and the Tohono O’odham reservation in his research for Desert America: Boom and Bust in the New “New West.”

“Discover the Birds of Honduras” Northbrae Community Church, 941 The Alameda, Berk. (510) 843-2222, www.northbrae.org. 7-9pm, free. The Golden Gate Audubon Society sponsors this talk by Robert Gallardo, who has opened butterfly farms and spent 12 years as a bird guide. Today, Gallardo presents some of the 750 bird species of Honduras, home to nearly 10 percent of the planet’s winged species.

Squeeze This! A Cultural History of the Accordion in America Accordion Apocalypse, 255 10th St., SF. www.accordionapocalypse.com. 7pm, free. Author Marion Jackson penned this look at our country’s relationship with the squeezebox. Should you be inspired to tickle the ivories yourself, you can buy an accordion of your own from the lecture’s gracious hosts.

San Jorocho Festival Brava Theater, 2781 24th St., SF. (415) 641-7657, www.brava.org. 8pm, $6-$35. Brava’s celebration of the Veracruz region of Mexico kicks off tonight with filmmaker Marcos Villalobos presenting his documentary on three Son Jorocho musicians. Son Siglos looks at the cross-border translation of culture – particularly pertinent to this Northern Cali look at Mexican tradition.

SATURDAY18

Street Food Festival Folsom between 20th and 26th Sts. and some other streets, SF. www.sfstreetfoodfest.com. 11am-7pm, free. Some of SF’s hautest eateries and best food entrepreneurs take to the Mission streets for this foodie heaven: hundreds of dishes for $8 and under from across the world, not to mention bars selling artisan cocktails and more.

Balboa Park grand re-opening San Jose and Sgt. Young Drive, SF. www.tpl.org. 11am-2pm, free. The Balboa Park playground has a fresh new look, and the whole neighborhood’s invited to come out and give it a swing. The Trust for Public Land and SF Rec and Parks will be hosting and providing snacks, music, and activities.

Haute Pool Show Chambers at Hotel Phoenix, 601 Eddy, SF. www.hautepoolshow.eventbrite.com. 1-8pm, $5-$15. Shop local fashion by the pool at the city’s rock ‘n’ roll pool while DJs like Omar from Popscene and Brandon Arnovick from Rondo Brothers spin. 30 independent clothesmakers will be participating – the perfect stop-off if you’re looking for weekend threads.

Tell Your Tattoo Story video shoot Mission Cultural Center for Latino Arts, 2868 Mission, SF. (415) 671-0507, www.sfiaf.org. 6:30pm, free. RSVP necessary. The new play Placas (part of the SF International Arts Festival this fall) centers around street gangs and the implications of tattoo removal – but that doesn’t mean that those involved in the production are anti-ink. Sign up to show off your tats and explain their provenance. Footage will be shown as a companion piece when the play debuts.

Alamo Square Flea Market South side of Alamo Square Park, SF. www.alamosquare.org. 9am-3pm, free. Sidestep the Full House-house-seeking tour buses and search for your own vision of superlative San Francisco – the 29th year of this neighborhood-sponsored flea market will feature clothes, housewares, dogs for adoption from Rocket Dog Rescue, and much more.

Pedalfest Jack London Square, Broadway and 1st St., Oakl. www.pedalfestjacklondon.com. 11am-8pm, free. Bikes for days! Art bikes, acrobatic bikes, stunt bikes, foldable bikes, kids bikes, food for bikes – okay, maybe just food for riders, who will also enjoy live music and cavorting with their two-wheeled community. The East Bay Bike Coalition also sponsored last year’s Pedalfest, which attracted over 18,000 attendees.

SUNDAY 19

SF Mime Troupe Yerba Buena Gardens, Mission and Fourth St., SF. www.sfmt.org. 2pm, free. Check out the Bay’s historic radical theater troupe in the rolling hills of downtown’s greenest field. This year’s production is called The Last Election. Shall we reflect on a world without political monkeying about? At least electoral shenanigans birthed a spectacular community theater troupe.

Indie Mart Wisconsin between 16th and 17th Sts., SF. www.indie-mart.com. Noon-7pm, free. Because you know somebody that deserves an August handmade gifty, this regularly-occurring craft fair is coming to Potrero Hill with 100 of the city’s finest makers. Thee Parkside is included in the festivities, so grab some tots and a Bloody before you shop – pricetags will go down way easier.

 

Why?

Andrew Lam
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44
Why?

steve@sfbg.com

Just a couple years ago, it seemed like the golden age of marijuana in San Francisco, the birthplace of the movement to legalize medical pot and a national leader in creating an effective regulatory framework to govern an industry that had become a legitimate, respected member of the business community.

More than two dozen patient cooperatives jumped through a variety of bureaucratic hoops to become licensed dispensaries, most of them opening storefront businesses that were often the most attractive, clean, and secure retail outlets on their blocks, sometimes in gritty stretches of SoMa, the Tenderloin, or the Mission.

“Pretty much everyone involved agrees that San Francisco’s system for distributing marijuana to those with a doctor’s recommendation for it is working well: the patients, growers, dispensary operators, doctors, politicians, police, and regulators with the planning and public health departments,” I wrote in “Marijuana goes mainstream” (1/28/10).

Since then, San Francisco’s medical marijuana industry has only become more established and professional, complying with new city regulations (such as changing how edibles are packaged to avoid tempting children), paying taxes and fees — and making very few waves. According to city officials, there have been almost no complaints from anyone about the dispensaries — and in San Francisco, people complain about everything.

But in the last six months, the full force of the federal government has brought the hammer down hard on this budding business sector, forcing the closure of eight brick-and-mortar dispensaries and instilling paranoia and insecurity in those that remain.

In just the past few weeks, two of the city’s oldest and most respected dispensaries –- HopeNet and the Vapor Room -– were forced to close their doors.

There’s been little rhyme or reason to which clubs get those dreaded letters warning operators and landlords to shut it down or be subject to asset forfeiture and prison time — and the officials involved have refused to explain their actions, except with moralistic anti-drug statements or unsupported accusations.

“These are people who played by the rules and paid their taxes, and now they’re being punished for it,” said Assembly member Tom Ammiano, a leader in creating a state regulatory framework to govern the distribution of medical marijuana, which California voters legalized in 1996. “This is pure thuggery. They are ignoring due process out of blind prejudice and ambition.”

Ammiano met with Melinda Haag, the US Attorney for the Northern District of California, who has coordinated the local crackdown from her 11th floor office in the Federal Building near City Hall, shortly after she announced her intentions to go after medical marijuana. He said she was like a throwback to a less enlightened era.

“In talking to Haag, not only is she a bit of a bully, but she’s totally uneducated about the issue,” Ammiano told us. When she told him that her office has received many complaints about the dispensaries, he asked to see them -– even making a formal Freedom of Information Act document request –- but she has yet to produce them. “Her duplicity is very moralistic, it’s like going back 100 years.”

Neither Haag nor anyone from the White House or Justice Department would grant an interview to the Guardian to discuss the reasons for and implications of the crackdown, or to answer the list of written questions her office asked us to submit. Instead, Haag gave the Guardian this statement and refused to respond to our follow-up questions:

“Although all marijuana stores are illegal under federal law, I decided to use our limited resources to address those that are in close proximity to schools, parks and playgrounds and operations so large that they constitute marijuana superstores. I hope that those who believe marijuana stores should be left to operate without restriction can step back for a moment and understand that not everyone shares their point of view, and that my office has received many phone calls, letters and emails from people who are deeply troubled by the tremendous growth of the marijuana industry in California and its influence on their communities.”

But in San Francisco, where more than 80 percent of residents consistently support medical marijuana in polls and at the ballot box, most people don’t share Haag’s point of view. And city officials contest many of her claims, from saying the dispensaries are “left to operate without restriction” to her implication that they promote crime or endanger children to the haphazard way she has targeted dispensaries to the characterization that many people are “deeply troubled by the tremendous growth of the marijuana industry.”

In fact, to talk to city officials, virtually nothing Haag says is true.

“We’re not getting nuisance complaints [about the dispensaries],” Dr. Rajiv Bhatia, the city’s medical director who oversees regulation of the dispensaries by the Department of Public Health, told the Guardian. “We’ve had very few complaints over the years and good cooperation with the storefront part of the regulations.”

Almost across the board, city officials and club operators praise one another and the cooperative relationship they’ve established over the last four years. Some of San Francisco’s biggest dispensaries have somehow avoided Haag’s wrath, but their once-open operators are now afraid to speak publicly, warily checking the mailbox each day. A thriving industry eager to pay its taxes and submit to regulation is being driven back underground, with all the uncertainty and hazards that creates.

“The question everyone is asking: Why here, why now, why these businesses? Nobody knows the answer,” Bhatia said. “We’re left to speculate and guess about motives.”

MULTI-AGENCY ATTACK

The federal crackdown has been stunning in both its speed and breadth, with various federal agencies coordinating their attacks. The IRS is auditing the biggest clubs and denying write-offs for routine business expenses, the DEA is threatening asset forfeiture efforts, and Haag and the DOJ are threatening prison time and court injunctions.

Underlying all of that is President Barack Obama, who pledged not to use federal resources to go after those in compliance with state law in the 17 states where medical marijuana is legal. Then, last year, Attorney General Eric Holder suddenly announced a new policy: “It will not be a priority to use federal resources to prosecute patients with serious illnesses or their caregivers who are complying with state laws on medical marijuana, but we will not tolerate drug traffickers who hide behind claims of compliance with state law to mask activities that are clearly illegal.”

When we sought an explanation and clarification from the White House Communications Office about why well-established medical marijuana collectives carefully operating under California law were suddenly deemed “drug traffickers” that wouldn’t be tolerated, they refused to answer and referred us to a statement Obama made to Rolling Stone magazine.

“What I specifically said was that we were not going to prioritize prosecutions of persons who are using medical marijuana. I never made a commitment that somehow we were going to give carte blanche to large-scale producers and operators of marijuana -— and the reason is, because it’s against federal law. I can’t nullify congressional law,” Obama told the magazine.

That simplistic explanation – which conveniently ignores how people are supposed to get this medicine – has infuriated local growers and patients. It’s particularly galling for those who supported Obama and took him at his word in the last election, and who don’t understand why he is suddenly escalating the federal war on drugs, ignoring local laws and values, and re-criminalizing their communities.

FUNERAL PROCESSION

Hundreds of medical marijuana supporters gathered on Aug. 1 for a New Orleans-style funeral procession at the Lower Haight intersection near where Vapor Room had operated -– without incident and with praise as a model business from three successive district supervisors –- from 2004 until the previous day.

The mood was festive and defiant on that sunny afternoon, where advocates from both sides of the bay gathered to express solidarity with the closed clubs and resolve to battle through the recent setbacks.

“I’m feeling the fight,” Steve DeAngelo, star of the reality television show Weed Wars and head of Oakland’s Harborside Health Center, which received Haag’s shut-down-or-else letter last month, told the Guardian. “I don’t think we can allow taking a few hits to break our spirit….We started this struggle to win it and we’re not going to stop until we do.”

Local politicians and business leaders also came to offer their support.

“As president of the Lower Haight Merchants Association, I’m upset that Vapor Room had to shut down,” Thea Selby, who is also running for the District 5 supervisorial seat, told us. “The Vapor Room did a lot of good for this neighborhood and was a great business.”

Marchers, most clad in black, carried “Cannabis is Medicine: Let States Regulate” and other signs -– as well as a makeshift coffin and massive puppet depicting a scowling Haag -– and danced down the middle of the street as Brass Mafia horns belted out lively jazz tunes. By the time the procession reached Haag’s office at the Federal Building, a chill fog had darkened the skies and the mood.

DeAngelo took the bullhorn first and called out Obama directly: “Either you were lying, sir, or your employees are out of step with your policies.” Steph Sherer, executive director of the DC-based Americans for Safe Access, told the crowd, “We need to tell Obama to lose Haag or lose California.”

Ammiano and the other mostly Democratic Party politicians who spoke tried to avoid putting Obama directly into the crosshairs of the angry activists, although he did say those executing this crackdown “are harming Obama’s chances of winning.” He also urged activists to put the pressure on politicians in Sacramento and Washington DC: “We need to be a voice in reshaping what’s happened in these last few months.”

Ammiano said the crackdown “empowers the cartels and the people who use violence,” contrasting that with San Francisco’s civilized approach to regulating marijuana.

“We in San Francisco have been a model for how to regulate this industry and we have been successful. We are not going to let the federal government interfere with our rights in this city,” Sup. David Campos told the crowd.

Cathy Smith, the founder of HopeNet, who was still reeling from watching her club gutted and shuttered the day before, also sounded an angry and defiant tone, urging supporters to make their voices heard by Haag and others.

“Everybody that’s here needs to go up to this evil woman’s office tomorrow and tell them what we think,” Smith said.

The general feeling was that if the feds can target model clubs like HopeNet and Vapor Room –- which had deep community roots and generous compassionate care programs for low-income patients -– then all clubs are in danger.

“I’m very upset that we’re losing two great medical marijuana dispensaries where patients could medicate on site,” said David Goldman, a local ASA activist and member of the city’s Medical Cannabis Task Force, noting how important that is for patients who live in apartments that ban smoking.

HopeNet and Vapor Room were some of the only dispensaries in town where smoking was allowed on site, because they were more than 1,000 feet from schools, playgrounds, or day care facilities, the city’s standard. Bhatia said that’s a very strict standard in a city as dense as San Francisco, which is why only four clubs ever met it.

Yet the feds saw things differently, ostensibly targeting HopeNet because a small private school opened two blocks away last year, and the Vapor Room because the feds didn’t use the city’s standard of being more than 1,000 feet from the playground at Duboce Park, instead deciding the dispensary was a community menace because it was a little under 1,000 feet from that dog-friendly park’s nearest patch of grass.

LAST DAYS

Vapor Room founder Martin Olive was a bundle of complicated emotions on the club’s last day in business (it will still operates as delivery-only, just like HopeNet, Medithrive, and a few other shuttered clubs have done). Initially, he didn’t want to talk to us: “I’m trying to keep a lower profile because it’s scary out there now.”

But he slowly opened up and tried to describe the feeling of watching his proudest accomplishment so rapidly undone by the one-two punch of a letter from the merchant services company cutting off credit card access (just like every dispensary in the city, returning pot sales to a cash-only status) followed days later by Haag’s shut-down letter.

“It’s complicated emotions that I’m feeling -– let down, confused. At the end of the day, I don’t understand why this is happening,” Olive said. “It’s a community tragedy, it really is.”

Vapor Room was a welcoming gathering place for its members and a supporter of a variety of community events and causes.

“I’ve always treated this as if it were just a nice coffee house. I’m not an outlaw,” Olive said. “I almost forgot I was breaking federal law. It was so normal, so legitimate.”

In fact, some club owners say their establishments helped clean up rough streets. “We took care of the entire block. Before us, it was all dealers, so there’s a safety issue,” HopeNet’s Smith told me as the once-welcoming club on 9th Street near Howard was reduced to bare walls.

Patients were also feeling the pain, including a 48-year-old ex-con who said he was paroled two years ago after serving 25 years in prison for attempted murder. “I have anger issues, big time. The only thing that keeps me calm and quiet and not blowing up is medical marijuana,” he told us, seething, before praising HopeNet’s “homelike environment” and supportive community. “It’s important to sit and relax in an environment that is comfortable and safe. All this is doing is pushing us into the streets.”

DRIVEN UNDERGROUND

Before going through his latest official misconduct battles and fighting to return to his job as the elected sheriff, Ross Mirkarimi was the District 5 supervisor who sponsored the creation of the city’s medical marijuana regulatory system, the product of a long and arduous legislative process.

“We developed the system out of stark necessity because neither local government nor state government gave a roadmap to the dispensaries,” Mirkarimi said. “Prop. 215 legalized medical marijuana, but there were no rules around it.”

After an intensely collaborative process that lasted more than a year, the city in 2005 adopted a process for licensing dispensaries that balanced the needs of this nascent industry with concerns by police, patients, disability rights activists, neighborhood groups, and health officials. Mirkarimi said that maybe it’s time for city officials to consider an idea he floated a few years ago of having the city itself directly distribute medical marijuana through General Hospital.

“I still think that’s a good idea, particularly if the feds are going to force medical marijuana dispensaries back into the dark ages.” For all his praise of the city’s dispensaries, Dr. Bhatia will admit that the industry still needed better oversight -– dealing with issues such as standards for growing and transporting cannabis, fiscal transparency, and potency and dosage standards –- but the federal crackdown has scuttled his efforts to expand the city’s regulatory system.

“This DEA action stops us from making progress on the regulation of clubs that we need to make,” Bhatia said. “There are lots of issues, but we had just finished getting the clubs into their housing.” Now the industry is being driven back underground.

Ironically, Haag and other federal officials have accused dispensary operators of profiteering, which they’ll certainly be more free to do now that local officials have lost their leverage to begin regulating the finances of the supposedly nonprofit patient collectives that officially operate each dispensary.

“That was one of the areas that we never developed the tools or capacity to look at,” said Bhatia, who proposed more transparent record-keeping by dispensaries last year, only to have the operators express concern about how the feds might use that information, which turned out to be an understandable fear.

Reports, rally, and hearing call for more public benefits from nonprofit hospital chains

Sasha Cuttler
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Reports, rally, and hearing call for more public benefits from nonprofit hospital chains

A rally and legislative hearing in Sacramento tomorrow (Wed/15) will highlight how little community benefits and charity care large nonprofit healthcare corporations offer despite their tax-exempt status. At the center of that critical spotlight is Sutter Health, the healthcare behemoth that owns California Pacific Medical Center and is locked in a high-stakes standoff with the city over whether to rebuild St. Luke’s Hospital in exchange for approval of a massive luxury hospital on Cathedral Hill.

Last year, we reported on a local study that found CPMC provided far less charity care and other community benefits than any other healthcare provider in the city, despite its tax-exempt status and extraction of $744 million in profits from San Francisco between 2006-2010. CPMC reported $189 million in profits for its San Francisco operations last year, and that’s expected increase sharply if Cathedral Hill Hospital is built.

Last week, the California State Auditor issued a scathing report – based on investigating four nonprofit California hospitals, including St. Luke’s – calling for stronger demands on these supposedly nonprofit corporations. Among its findings were “The amounts of community benefits the hospitals provide cannot be used to justify their tax-exempt status” and “Neither federal nor state law requires nonprofit hospitals to deliver specific amounts of community benefits for hospitals to quality for tax-exempt status.”

Tomorrow’s hearing by the California Senate Select Committee on Charity Care and Nonprofit Hospitals, and a rally afterward by the California Nurses Association, will spotlight those problems and call for tougher new standards. CNA’s research arm, the Institute for Health and Socio-Economic Policy, will also unveil a new report that defines the problem and reinforces the need for reform.

“These hospital chains are exploiting their nonprofit status to enjoy enormous tax benefits while returning very little to their communities,” CNA spokesperson Chuck Idelson told the Guardian.

He said the problem began with the “corporatization of health care” in the late-’80s, when deregulation and corporate-friendly legislative changes encouraged the consolidation of health providers and lowering of public accountability standards, coupled with a corporate culture that began providing excessive pay and benefits to executives.

“There used to be better standards, certainly at the federal level, with what they were required to do to maintain nonprofit status,” Idelson said. “But the distinctions of for-profit and not-for-profit has become blurred and the burden is falling of public hospitals like SF General Hospital.”

Nonetheless, Sutter/CPMC continues its aggressive tact with San Francisco city officials, refusing to offer firm guarantees that St. Luke’s – which serves much of the city’s low-income population, second only to General, which would be overwhelmed if St. Luke’s closes – will remain open for at least 20 years and promising only modest improvements in its charity care standards. Despite taunts from Sutter spokespersons that city officials are endangering public safety by stalling the rebuild of St. Luke’s, which isn’t seismically sound, the Board of Supervisors refused to approve the lucrative development agreement last month, delaying consideration until after the election in November in the hopes that CPMC will offer better guarantees and community benefits.

“It’s an extremely timely issue for San Francisco,” Idelson said tomorrow’s hearing (which is from 10am to noon in Room 3191 of the State Capitol) and rally (from 12:15-1pm on the Capitol’s North Steps).

Newsom will vote on campaign donors’ projects

Zelda Bronstein
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On the front page of the Chronicle Aug. 12, California Watch reported that Lieutenant Governor Gavin Newsom has been promoting the interests of campaign donors in San Diego and San Bernardino. It’s nothing criminal, but it looks bad – and it’s just the start.

Newsom, who sits on the state Lands Commission (one of the few critical duties of the Lite Guv) has received thousands of dollars in donations from interested parties looking to exploit San Francisco’s waterfront, public records show. And he will be voting on the future of their projects.

Newsom received $2,000 for his 2014 campaign from two lawyers, Neil Sekhri and Mary Murphy. Both attorneys are at the law firm Gibson, Dunn and Crutcher, and are involved with the controversial 8 Washington project – which comes before the Lands Commission Aug. 14. Since part of the site of the most expensive condos in San Francisco history is state Tidelands Trust property, the state has to approve the deal. Newsom will be one of three members voting.

The future site for the Golden State Warriors arena is along the waterfront. The decision to turn over that land to private investors will come before Newsom’s panel, too – and Newsom has received more than $6,000 from interested parties.
The Strada Investment Group, which is representing the Warriors as a development consultant, gave Newsom $5,000, records on file with the Secretary of State show. Jesse Blout, real estate investor for the group contributed $750. Scott Stafford, principal, contributed $750. Marty Glide, chief executive officer of the Warriors, contributed $2,000 Newsom’s campaign.

Aaron Peskin, former supervisor and a foe of 8 Washington, issued a press release Aug. 13 calling on Newsom to recuse himself from voting on that project. Newsom’s office hasn’t responded to us, but it’s a safe bet that’s not going to happen. Newsom didn’t get where he is by stiffing campaign donors when they need him on a big vote.

There’s another  problem with the Lands Commission vote on 8 Washington. According to former City Attorney Louise Renne, the commission can’t vote on a project that doesn’t actually exist.

Her argument, laid out in an Aug. 7 letter to the commission, is simple: More than 31,000 San Francisco voters signed a petition demanding a vote on the project – and the Department of Elections has certified the referendum for a citywide vote. That can’t happen until November 2013. “Under these circumstances,” Renne wrote, “you do not have a currently valid 8 Washington Street/Seawall Lot 351 project before you for consideration. Approvals of the project are suspended by law.”

Does the commission even care if what it’s doing is legal? Anyone placing bets?

UPDATE: We just got a statement from Newsom’s chief of staff, Chris Garland, who told us that the Attorney General’s Office and the Lands Commission legal staff agreed that none of the panel members have a conflict of interest.  “The lieutenant governor has enjoyed the support of parties on both sides of this issue and is capable of looking at the item impartially and doing what is right for the state,” he said. “This isn’t a matter of contributions; it’s matter of calling balls and strikes on an important project.”

Okay then.

Rafael Mandelman enters City College board race

Zelda Bronstein
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Rafael Mandelman enters City College board race

After the really bad news that Community College Board member Milton Marks died, there’s some good news: Rafael Mandelman, an energetic, smart, progressive lawyer and member of the DCCC, has decided to run for that board.

City College badly needs the help. There’s a real chance that a state monitor could be placed over the district, robbing the board of much of its ability to set policy and spend money. And even if that doesn’t happen, the state — which disagrees with San Francisco on how community colleges should be run — is going to keep tyring to mess with CCSF.

So it would be nice to have someone like Mandelman, who has political experience but also works for a law firm that does a lot of public-sector work, around to help.

Marks’s untimely and tragic death leaves an open seat and he hadn’t filed to run for re-election. So the mayor has the ability to appoint someone to serve out Marks’s term — and if he does it before Aug. 15, that person can file and run as an incumbent. But for those of us who are getting sick of having so much of our government appointed for us, it would be nice if Mayor Lee would wait until after the filing deadline then name a real caretaker — Mandelman suggests former trustee Tim Wolford, who is now in the business of helping troubled nonprofits. The board will need help in the next four months, and someone qualified — and skilled in dealing with fiscal and political problems — would be an immense help.

But appointing a political hack who is pals with the mayor’s inner circle and sees a shot at running as an incumbent would be a big mistake.

Of course, Lee hasn’t done too well in the “caretaker” department. We’ll see what happens.

Dick Meister: Obama needs labor–again!

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By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeistersf.com, which includes more than 350 of his columns.

Organized labor, which played a major role in President Obama’s 2008 election campaign, thankfully has launched what seems certain to become an even greater and perhaps decisive effort in behalf of Obama’s re-election this year.

We should all be thankful for that, given the reactionary policies Mitt Romney and his Republican cohorts promise to put in place should they win, and the positive reforms Obama and the Democrats promise.

Four years ago, 250,000 AFL-CIO activists campaigned for Obama’s election. But the AFL-CIO says the number of union volunteers campaigning for Obama and his Democratic allies in Congress this year will reach at least 400,000, and be waged among union and non-union members alike.

 

That’s not an unrealistic expectation, considering what happened in 2008.  One-fifth of all voters that year were union members or in union households, and fully two-thirds of them supported Obama, and the ratio was even higher in so-called battleground states.

The AFL-CIO calculates that union volunteers knocked on some 10 million doors to make their pitch for Obama in 2008, handed out 27 million leaflets and mailed out 57 million more.  The number of union voters alone reached a record high of more than 3 million.

The AFL-CIO claims its campaign “made the difference in critical states.”  Maybe it did, maybe not. But it is clear that organized labor significantly influenced the vote everywhere – and undoubtedly will do so again.

The AFL-CIO is certainly not going to match the billions being spent on the campaigns of Romney and his big business allies. But labor has the ground troops that can and will spread the pro-Democratic and pro-labor message widely, however much unions are outspent.

It’s true enough that labor has been unhappy with Obama’s failure to deliver on many of the promises he made to unions during the 2008 campaign, primarily his failure to overcome Congressional opposition to pro-labor reforms he’s proposed or supported.

 But there’s no doubt Obama’s administration has been a pro-labor administration. Federal agencies dealing with collective bargaining, job safety and other labor matters have been labor-friendly, in sharp contrast to their clearly anti-labor positions under George Bush. What’s more, Obama has spoken out forcefully to the country in behalf of unions, their demands and their needs.

He’s urged passage of virtually every measure advocated by labor in Congress. That includes bills guaranteeing millions of Americans the right to unionization that has long been denied them, prohibiting employers from permanently replacing strikers, raising the minimum wage and indexing it to inflation so it would rise as the cost-of-living rises.  Bush rarely even uttered the word, “union, ” much less voiced any pro-union sentiments or support for such union-backed measures.

People on the political left continue to clamor for more from Obama, and they should. But they must realize he’s the best we can reasonably expect in today’s political and economic climate. Give him four more years and who knows?

Yes, Barack Obama is not Franklin Roosevelt.  But neither is he George Bush – nor Mitt Romney.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeistersf.com, which includes more than 350 of his columns.

Olague faces her challengers during first D5 debate

Sasha Cuttler
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Olague faces her challengers during first D5 debate

Tonight’s inaugural District 5 supervisorial debate will be a key test for Sup. Christina Olague – who has fallen from favor with many progressives after a series of bad votes and prickly or evasive interactions with one-time allies – and a test for the rival candidates who are seeking to become the main progressive champion in one of the city’s most leftist districts.

The elected incumbents on the Board of Supervisors have ended up with surprisingly easy paths to reelection [8/9 UPDATE: with the exception of Eric Mar in D1], leaving D5 – as well as conservative District 7, where FX Crowley, Norman Yee, and Michael Garcia are part of a competitive field seeking to replace termed out Sup. Sean Elsbernd – as the race to watch this year.

Olague has been trying to execute a tough balancing act between the progressive community that she’s long identified with and the moderates she began courting last year with her early support for Mayor Ed Lee, who returned the favor and appointed her to serve the final year of Ross Mirkarimi’s D5 term. But by most accounts, she hasn’t executed the feat well, usually siding with Lee on key votes, but doing so in a waffling way that has frustrated both sides.

Progressive candidates such as Julian Davis and John Rizzo will have plenty of fodder with which to attack Olague as a turncoat, including her votes on the 8 Washington project and Michael Antonini, her strange antics on repealing ranked-choice voting, and her close ties to power brokers such as Rose Pak, who hosted a fundraiser that provided more than half of the $81,333 Olague has raised this year, much of it from developers and other interests outside of D5.

Matt Gonzalez – the former D5 supervisor, board president (from where he appointed Olague to the Planning Commission), and mayoral candidate – was so frustrated with Olague that he withdrew his endorsement of her last month, a decision that her other progressive endorsers are also said to be mulling.

With Mirkarimi tarnished by his ongoing official misconduct probe, the endorsement of Gonzalez could be the most significant in this race, and he told us that he plans to make a decision by Friday, the deadline for submission of ballot statements and a point at which we may hear about other changed or dual endorsements from prominent progressives. Other key nods in the race so far have been Aaron Peskin endorsing Davis and Tom Ammiano endorsing Rizzo, two candidates each vying to become the favorite of the left, with Thea Selby, Hope Johnson, and Andrew Resignato also courting support from the left.

Yet so far, the strongest challenge of Olague seems to be coming from her right, with moderate London Breed leading the fundraising battle with $85,461 as of late June 30, including the maximum $500 donation from venture capitalist Ron Conway – the main fundraiser behind Lee’s election last year – which may be a sign that Olague’s support among moderates is also soft.

Olague may be trying to get back in good with the progressives, last week introducing pro-tenant legislation sought by the San Francisco Tenants Union. But impressions have formed and the pressure is now on, and so far Olague – who didn’t answer our calls seeking comment, another troubling trend – hasn’t performed well in public appearances, mangling organizations’ names and generally not winning over her audiences.

Will Olague step up now that the campaign in entering its public phase? Will another candidate catch fire with progressives? Find out tonight from 6-7:30pm at the Park Branch Library, 1833 Page Street. It’s sponsored by the District 5 Democratic Club, the D5 Neighborhood Action Committee and the Wigg Party.

Or if you miss it, catch the next one on Tuesday, sponsored by the Harvey Milk Democratic Club, starting at 7pm in the Eric Quezada Center, 518 Valencia Street.

If you want my advice

Andrew Lam
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If you want my advice

CAREERS AND ED In July, the unemployment rate in California was 11 percent. Which got us thinking: what’s the smart way to job hunt these days? We’re not the only ones — this month, the Commonwealth Club is hosting a series of lectures and workshops called “The Future of Work.” We tapped two of the series’ experts for email interviews, asking Marty Nemko, author of Cool Careers For Dummies, and Joel Garfinkle, Oakland-based career coach, for their takes on the matter. They offered two points of view on today’s dreary job market. Upside? Nemko, who spoke on August 1, is positive that more workers will be needed to implement upcoming immigration reform. Of course, he also foresaw growth in “bio-chemical terrorism.” Oh, the future.

San Francisco Bay Guardian: Tell us about your Commonwealth Club event.

Marty Nemko: [My focus was] on which careers are likely to burgeon [in] the result of [an] Obama win — which ones polls and Intrade [a speculative, crowd-sourced website] betting suggest will occur. I’ll also talk about how to survive and even thrive during what may be America’s decline and fall.

Joel Garfinkle: Working hard and being good at what you do is not enough to attain the level of success you truly deserve. So what exactly makes one person more successful than another? The answer: leveraging and applying perception, visibility, and influence better than anyone else.

SFBG: What kinds of issues are older workers facing in terms of getting new jobs?

MN: It’s very tough to convince an employer that a 40-year old with no experience is better than a 25-year old with experience. In this job market, the employer doesn’t have to settle.

JG: Mid-life career transitions occur because after years of success, many of my clients find that they lack fulfillment. Success isn’t enough anymore to satisfy them. [But] it’s difficult to make a mid-life career transition due to the lack of financial stability that exists when making the change. Learning of new skills in a different profession can be a daunting and intimidating task.

SFBG: What are some place that are still proving fruitful for job searchers?

MN: Some of my predicted areas for growth are auditing for corporations, the US Treasury, and the IRS; immigration-related bureaucrats that will be needed after Obama gets comprehensive immigration reform after the election; health care advocates to help people get the health care they need as ObamaCare is implemented; and bio-chemical terrorism. Anything mandated will be the last sort of employment to get cut. Lastly, multicultural marketers to address the tastes of the fastest-growing ethnic groups.

JG: Information technology is still growing. About two-thirds of hiring manages have been adding staff this year and will continue to add headcount to the IT departments. Health care is still pretty in-demand due to rising ages in the US. And many employers have had difficulty finding and hiring enough engineers.

SFBG: Should people still be striving for their dream job? Is that idea still relevant?

MN: It’s in the Bay Area’s drinking water. If there was a motto on the San Francisco flag, it would be “Do what you love and who cares if the money follows. My parents will support me.”

JG: The increase in collective desire to love one’s job comes from something missing in a person’s life. Statistics over the years have stayed consistent in stating that over two-thirds of Americans are unhappy in their jobs. The task is to recognize that people are uniquely special, have something to give, have a talent no one else shares in quite the same way.

MARTY NEMKO: “KEYS TO BEATING THE ODDS IN STARTING A BUSINESS”

(next lecture) Thu/9 6pm, $20

Commonwealth Club 

595 Market, Second Floor, SF

JOEL GARFINKLE: “GETTING AHEAD AND TAKING YOUR CAREER TO THE NEXT LEVEL”

Aug. 30, 7pm, $15 

Silicon Valley Bank

3005 Tasman, Santa Clara

(415) 597-6700

www.commonwealthclub.org

 

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

A Funny Thing Happened On the Way to the Forum Woodminster Amphitheater, Joaquin Miller Park, 3300 Joaquin Miller Rd, Oakl; www.woodminster.com. $12-56. Previews Thu/9, 8pm. Opens Fri/10, 8pm. Runs Thu-Sun, 8pm. Through Aug 19. Woodminster Summer Musicals presents the Sondheim comedy.

Henry V Sequoia High School, 1201 Brewster, Redwood City; www.redwoodcity.org. Free. Opens Sat/11, 7:30pm. Runs Sat, 7:30pm; Sun, 2pm. Through Aug 26. San Francisco Shakespeare Festival presents the Bard’s history play as part of its "Free Shakespeare in the Park" series.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu-Sat, 8pm. Through Aug 18. A multi-character solo show about the unique residents of San Francisco.

Enron Exit Theatre, 156 Eddy, SF; www.enron2012.com. $25. Thu-Sat, 8pm. Through Aug 17. In OpenTab’s production of British playwright Lucy Prebble’s 2009 Enron, tragedy plus time equals comedy plus puppets (in imaginative designs by Miyaka Cochrane), as fast-paced satire delivers a timely reconsideration of yet another infamous financial scandal. Some fictional elements shape the plotline but simplifying strategies serve well to clarify the real-life actions and consequences of Ken Lay (GreyWolf) and Jeffry Skilling’s (Alex Plant) deceptive energy-trading juggernaut, the onetime darling of Wall Street and the financial pages. There’s also much verbatim information (echoing the book and documentary, Enron: The Smartest Guys in the Room) enlivening the quick dialogue and underscoring the reckless, hubristic malfeasance that famously preyed on California’s electricity grid and threw Enron’s own employees under the bus. Director Ben Euphrat gets spirited and engaging performances from his principals, with especially nice work from Plant as a cruelly superior Skilling, Laurie Burke as ambitious straight-shooter Claudia Roe (a fictionalized composite creation of the playwright), and Nathan Tucker as manic sycophant Andy Fastow, feeding poisonous Enron debt into three beloved "raptors" (the pet names for some animated shadow companies arising from Fastow’s fast work in "structured finance"). At the same time, the staging can prove rough between concept and execution, with scenic elements sometimes confusing as well as aesthetically ragged (a red fabric serving as a large profit graph, for instance, just looks like some droopy inexplicable drapery at first; and the first puppets to appear are too small to be very effective either). Despite this messiness in terms of mise-en-scène, however, the play is generally clear-eyed and good for more than easy laughs — since no single villain but rather a system and culture are the proper targets here. As Prebble notes, the strategies developed by Enron, far from remaining beyond the pale, are now standard practices throughout the financial and corporate world. That, in some circles, is known as progress. (Avila)

Humor Abuse American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $25-95. Tue-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Aug 19. "This is a show about clowning," advises Lorenzo Pisoni at the outset of his graceful solo performance, "and I’m the straight man." It’s a funny line, actually — funny because it’s true, and not true. In the deft routines that follow, as well as in the snapshots cast on the atmospherically dingy curtain hung center stage, the career of this Pickle Family Circus brat (already alone in the spotlight by age two) never veers far from the shadow of his father. That fact remains central to the winning comedy and wistful reflection in Humor Abuse. Reared in the commotion and commitment of the famed San Francisco circus founded by his parents Larry Pisoni and Peggy Snider, Lorenzo had a childhood both enviable and unusually challenging. The fact that he shares his name with both a grandfather and his dad’s famous clown persona is instructive. His trials and his triumphs are further conflated — along with his father’s — in such elegant catastrophes as falling down a long flight of stairs. And in his good-humored and honest reflections, the existential poignancy at the heart of such artful buffoonery begins to rise to the surface. The spoken narrative feels a little pinched or abbreviated, in truth, but there are no shortcuts to the skill or wider perspective inculcated by the charming Pisoni and (under direction of co-creator Erica Schmidt) set enthrallingly in motion. (Avila)

The Merchant of Venice Gough Street Playhouse, 1622 Gough, SF; www.custommade.org. $25-32. Thu-Sat, 8pm; Sun, 7pm. Extended through Aug 19. Custom Made Theater presents director Stuart Bousel’s generally sharp staging of Shakespeare’s perennially controversial but often-misunderstood play. The lively if uneven production ensures the involved storyline cannot be reduced to the problematical nature of its notorious Jewish villain, Shylock (played with a compellingly burdened intensity by a quick Catz Forsman), but rather has to be seen in a wider landscape of desire in which money, status, sex, gender, political and ethnic affiliations, and human bodies all mix, collide, and negotiate. To this end, this Merchant is set amid a contemporary financial district coterie (given plenty of scope in Sarah Phykitt’s thoughtfully pared-down scenic design), where titular melancholic businessman Antonio (Ryan Hayes) sticks his neck out (or anyway a pound of flesh) for his beloved friend Bassanio (Dashiell Hillman) — no doubt the unspoken source of Antonio’s brooding heart as staged here — as the latter seeks a loan with which to court the lovely and brilliant Portia (a winning Megan Briggs). While the subplot concerning the wooing and flight of Shylock’s daughter, Jessica (Kim Saunders), is less adeptly rendered, fluid pacing and a confident sense of the priorities of the drama overall offer a satisfying encounter with this fascinatingly subtle play. (Avila)

Les Misérables Orpheum Theatre, 1192 Market, SF; www.bestofbroadway-sf.com. $83-155. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Aug 26. SHN’s Best of Broadway series brings to town the new 25th anniversary production of Cameron Mackintosh’s musical giant, based on the novel by Victor Hugo. The revival at the Orpheum does without the famous rotating stage but nevertheless spares no expense or artistry in rendering the show’s barrage of colorful Romantic scenes (with Matt Kinley’s scenic design drawing painterly inspiration from Hugo’s own oils) or its larger-than-life characters — first and foremost Jean Valjean (a slim but passionate Peter Lockyer), nemesis Javert (Andrew Varela), and rescued orphan beauty Cosette (Lauren Wiley). Chris Jahnke contributes new orchestrations to the rollicking original score by Claude-Michel Schönberg (music) and Herbert Kretzmer (lyrics) in this flagrantly sentimental, somewhat problematic but still-stirring meld of music and melodrama in dutiful overlapping service of box office treasure and powerful humanist aspirations. (Avila)

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 Princess Bride: Live! Dark Room Theater, 2263 Mission, SF; foulplaysf.com/princessbride. $20. Thu-Sat, 8pm. Through Aug 25. Dark Room Productions presents a live tribute to the cult fairy-tale movie.

Project: Lohan Costume Shop, 1117 Market, SF; www.projectlohan.com. $25. Thu-Sat, 8pm; Sun, 7pm. Through Aug 19. D’Arcy Drollinger pays tribute to the paparazzi target with this performance constructed solely from tabloids, magazines, court documents, and other pre-existing sources.

Sweeney Todd: The Demon Barber of Fleet Street Eureka Theatre, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Thu/9-Sat/11, 8pm (also Sat/11, 2pm). Halloween comes early this year thanks to Ray of Light Theatre’s production of Sweeney Todd and all its attendant horrors. Set in bleakest, Industrial Revolution-era London, this Sondheim musical pushes the titular Todd to enact a brutal vengeance on a world he perceives as having stolen the best of life from him, namely his family and his freedom. No fey, gothic vampire, ROLT’s Sweeney Todd (played by Adam Scott Campbell) is both physically and psychically imposing, built like a blacksmith and twice as dark. Pushed over the line between misanthropic and murderous, Sweeney Todd methodically plots his revenge on the hated Judge Turpin (portrayed with surprising sympathy by Ken Brill) while the comfortably comical purveyor of pies, Mrs. Lovett (Miss Sheldra), dreams of a sunnier future. Mrs. Lovett’s no-nonsense, wisecracking ways aside, there are few laughs to be had in this slow-burning dirge to the worst in mankind, and as the body count rises, it is made abundantly clear that all hope of redemption is also but a fantasy. Contributing to the dark mood are Maya Linke’s imposing, industrial set, Cathie Anderson’s ghostly green and hellfire amber lighting, and a spare chamber ensemble of six able musicians conducted by Sean Forte. (Gluckstern)

"Un-Abridged: The Best of Ten Years of Un-Scripted" SF Playhouse, 533 Sutter, SF; www.un-scripted.com. $10-20. Thu-Sat, 8pm. Through Aug 18. The veteran Bay Area company celebrates its tenth anniversary season with a four-week retrospective of its favorite long- and short-form improv shows. Check website for schedule.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm. Extended through Aug 25. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

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

Circle Mirror Transformation Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $20-57. Tue and Thu-Sat, 8pm (also Sat/11, Aug 16, and 25, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Though Aug 26. Marin Theatre Company and Encore Theatre Company co-present the regional premiere of Annie Baker’s comedy about a drama class.

A Doll’s House Willows Theatre, 1975 Diamond, Concord; www.willowstheatre.com. $20-29. Wed-Thu, 7:30pm (also Wed, 3:30pm); Fri-Sat, 8pm (also Sat, 2pm); Sun/12, 3pm. Through Aug 18. The large stage at Willows Theatre is a sunken living room with walls the color of butterscotch pudding, a long rumpled powder-blue sofa, scattered seasonal decorations, and a single translucent panel that brings to mind a Bob Barker-era game show set. It’s like a cross between a showroom and homeroom without meaning to be either, but that less than winsome amalgam hits the right note for Irish playwright Frank McGuiness’s modern adaptation of Henrik Ibsen’s 1879 play. Here, the Helmers are just a couple of upstate New Yorkers with slightly funny-sounding names circa Christmas 1959: Nora (a captivatingly buoyant yet subtly shaded Lena Hart) is a bubbly young mother of three, and Torvald (a credibly oblivious Mark Farrell) is a smug but affable bank executive on the rise. A secret intervention in Torvald’s career by a devoted Nora, his up-to-now happily caged "little songbird," once saved them from ruin (via a reckless loan borrowed on a forged signature), but now it invites a calamitous mixing of formerly separate spheres as the man who loaned Nora the money, once-disgraced Nils Krogstad (a fine, persuasively desperate yet smooth Aaron Murphy), blackmails her to insure his precarious position at her husband’s bank. A panicked Nora confides in old friend and reluctant single-lady Christine (an impressively stoic, subtly wounded Kendra Oberhauser). Meanwhile, terminally ill family friend Dr. Rank (an initially wooden, later warmer Dale Albright) watches Nora from a devoted but helpless vantage. If the plot feels at times like a mirthless episode of I Love Lucy, that again may speak to the aptness of McGuiness’s transposition as much as the sometimes forced way playwright Ibsen has of rearranging the dramatic furniture. But the generally strong cast under Eric Inman’s able direction offers enough vivid dramatic tension to keep us engaged, while suggesting the continuing relevance and limits of the play’s robust critique of marriage and patriarchy. (Avila)

Happy Hour with Kim Jong Il Cabaret at the Marsh Berkeley, 2120 Allston, Berk; (415) 826-5750,l www.themarsh.org. Free. Fri, 6pm. Through Aug 24. Comedy work-in-progress by Kenny Yun, with live music by cabaret singer Candace Roberts.

Keith Moon/The Real Me TheaterStage at the March Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Fri/10, Aug 17, Sept 13, 20, 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 Aug 26. 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.

Noises Off Live Oak Theatre, 1301 Shattuck, Berk; www.aeofberkeley.org. $15. Fri-Sat, 8pm; Sun/12, 2pm. Through Aug 18. Actors Ensemble of Berkeley performs Michael Frayn’s backstage comedy.

Roald Dahl’s Willy Wonka and the Chocolate Factory Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Thu and Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm. Through Aug 19. Berkeley Playhouse performs a musical based on the candy-filled book, with songs from the 1971 movie adaptation.

"TheatreWorks 2012 New Works Festival" TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $19-25 (fest pass, $65). Various times, through Aug 19. The 11th annual festival features a developmental production of The Trouble With Doug by Will Aronson and Daniel Maté and staged readings of Sleeping Rough by Kara Manning, The Loudest Man on Earth by Catherine Rush, Being Earnest by Paul Gordon and Jay Gruska, and Triangle by Curtis Moore and Thomas Mizer.

Upright Grand TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $24-73. Wed/8, 7:30pm; Thu/9-Fri/10, 8pm. TheatreWorks launches its 43rd season with the world premiere of Laura Schellhardt’s play about a musical father and daughter.

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: BATS School of Improv Theatresports Championship (Thu/9); Freestyle Improv (Fri/10); Elvis Beach Party Musical (Sat/11).

"Bawdy Storytelling" Verdi Club, 2424 Mariposa, SF; www.bawdystorytelling.com. Wed/8, 7pm. $20. The theme: "Go BIG or Go Home!"

"Comedy Returns to El Rio" El Rio, 3158 Mission, SF; www.elriosf.com. Mon/13, 8pm. $7-20. Comedy with Nathan Habib, Brendan Lynch, Andrea Carla Michaels, and more.

"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)

"Electile Dysfunction: The Kinsey Sicks for President" Rrazz Room, 222 Mason, SF; www.therrazzroom.com. Wed/8-Sat/11 and Aug 14-18, 8pm; Sun/12 and Aug 19, 7pm. $35-40. The "dragapella beautyshop quartet" satirizes the upcoming election.

"Indulge! Benefit" ODC Theater, 3153 17th St, SF; www.odctheater.org. Tue/14, 8pm. $35-50. An evening of

desserts and dance to benefit ODC’s future programs.

"Ladies to the Rescue" CounterPulse, 1310 Mission, SF; www.counterpulse.org. Wed/8-Thu/9, 7pm. $7-20. Flyaway Productions and Oasis For Girls present an evening of youth performances, based on the question "Who is Tending the City?"

"Majestic Musical Review Featuring Her Rebel Highness" Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun/12, 5pm. $25-65. A trio of 18th century princesses (the graceful, full-throated, international team of Velia Amarasingham, Linsay Rousseau Burnett, and Maria Mikheyenko), chafing under the patriarchal constraints of their otherwise exalted status, metamorphose into a defiant band of disco queens in this stylish, high-kitsch musical revue by writer-producer Amarasingham and composer–musical director Simon Amarasingham. The action begins in desultory fashion, bar-side in the Harlot lounge, amid scuttlebutt from a pair of chatty housemaids (Meira Perelstein and a tuneful Diana DiCostanzo) overseen by a giddy royal valet (a gregariously foppish Michael Sommers, also the show’s emcee and narrator). When the dallying princesses finally arrive (sumptuously attired in appealing period costumes by Noric Design), they ascend a small stage attended by Lady Lucinda Pilon (a Goth-inflected Amber Slemmer, alternating nights with director Danica Sena), and launch into a slick set of tightly choreographed ‘autobiographical’ numbers as the prerecorded music progresses stylistically from smooth, harpsichord-tinted dance-floor beats to all-out four-on-the-floor Donna Summer–style revelry. Despite a certain static, slightly stark ambiance in the site-specific surroundings, with the right crowd and a couple of drinks this 90-minute revue is easily a doubly retro girl-power party for all. (Avila)

"Measure for Measure" Café Royale, 800 Post, SF; sftheaterpub.wordpress.com. Tue/14, Aug 20-21, and 27, 8pm. Free ($5 suggested donation). SF Theater Pub performs the Shakespeare play.

"On Broadway" San Francisco Conservatory of Music, 50 Oak, SF; www.mandance.org. Fri/10-Sat/11, 8pm. $25-45. The Man Dance Company performs inventive, queer-themed takes on classic Broadway song and dance numbers.

"Soundwave ((5)) Humanities: Revelations: Myths + Meditations" Episcopal Church of St. John the Evangelist, 1661 15th St, SF; www.projectsoundwave.com. Sun/12, 8pm. $12-25. Performances and "experiences" by Michael Elrod, Voicehandler, and Xavier Leonard and Cassidy Rast.

"Summer Sampler" ODC Theater, 3153 17th St, SF; www.odcdance.org. Sat/11, 4 and 7pm. $30-40. ODC’s annual summer event — which doubles as veteran ODC dancer Daniel Santos’ farewell performances — includes KT Nelson’s Cut-Out Guy, Brenda Way’s Unintended Consequences, and Way’s Part of a Longer Story.

"Writers With Drinks" Make-Out Room, 3225 22nd St, SF; www.makeoutroom.com. Sat/11, 7:30pm. $5-10. Readings by Jane McGonigal, Saqib Mausoof, Rachel Swirsky, and Simon Sheppard.

BAY AREA

"Al-Stravaganza: A Burlesque Tribute to the Music of Weird Al" Uptown, 1928 Telegraph, Oakl; www.hubbahubbarevue.com. Mon/13, 9pm. $5. A burlesque journey through the music and comedy of Weird Al. Admit it, you’re curious.

"Magic Jester’s Summer Breeze Show" Temescal Arts Center, 511 48th St, Oakl; www.magicjestertheater.com. Sat/11, 8-10pm. $5-10. Improv comedy performance.

"Mrs. Pat’s House" La Peña Cultural Center, 3105 Shattuck, Berk; www.lapena.org. Fri/10-Sun/12, 8pm. $15. Jovelyn Richards performs her original play about a Great Depression-era brothel, accompanied by a live jazz and blues band. *

We need a hero

Andrew Lam
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We need a hero

caitlin@sfbg.com

HERBWISE News coverage of the Olympics have successfully converted the world’s premier sporting event into a gossip fest befitting a British royal family divorce, and talk of record-setting Olympic swimmer Michael Phelps’ pot smoking have ignited the cannabis blogosphere. But not so fast: Phelps hasn’t owned up to smoking weed since 2009, when he was spotted ripping a bong during an extended break from training. He told CNN in an interview that aired just last week that the feeling of having the photo published was “the lowest of the low.” Perhaps the cannabis world should look elsewhere for celebrity endorsement…

THERE’S ALWAYS SNOOP

“Kids were walking around light-headed. The animals and everything.” Oakland radio DJ cum-MTV News executive producer Sway had the pleasure of introducing Snoop Dogg’s latest reincarnation at a recent press conference (still available online if this abbreviated sum-up doesn’t cut it for you.) But before he introduced Snoop Lion, he wanted us to know Dogg had smoked out Sway’s guest house on a recent visit — so badly, in fact that it took weeks to air out. Think of the children!

Snoop is. He just recorded Reincarnated, a roots album with Diplo. The first single “La La La” already available to buy. The rapper said the project is for his fans that can’t stomach his career’s gangsterisms. “I can’t just keep taking them to a dead end street and dropping them off,” he said. “I got to teach them how to fish, how to plant, how to grow.” Oh, and he’s bored. ” I’m a wise man in this music industry,” he said. Onto the next genre, where he at least has to hustle.

“I’ve always said I was Bob Marley reincarnated,” the Lion mused. The rebirth apparently took place on visit to a Jamaican temple. A priest informed Snoop “you are Brahimi, you are the light, you are the lion.” Said Snoop, “from that moment on, it was like I began to understand why I was there.” Helpfully, Vice cameras were on hand for the meeting, for Snoop getting dreadlocks, and for the creation of the album. A documentary named Reincarnated will be debuting at the Toronto International Film Festival, but surely the intrepids of Vice Media will be happy to bring it your way after that.

When Sway asked him straight up if he’d be converting to Rastafarianism, Snoop said that being a rasta was more about lifestyle than religion. “It’s the way you live, it’s the way you do what you do. I felt like I’ve always been Rastafari. I just didn’t have my third eye open. But it’s wide open right now.”

What his tri-eye see? Will Snoop Lion shake his mane at cannabis Prohibition in the United States? What would Bob Marley do?

WWBMD?

Tuff Gong would certainly not have been stoked had he been in the Bay on July 31, when SF dispensaries Vapor Room and HopeNet shut their doors for the last time after receiving prohibitory letters from US Attorney Melinda Haag. The next day, activists took to the streets in a mock funeral for medical cannabis, touting “Cannabis is Medicine: Let the States Decide” signs, a coffin, and a paper mache version of Haag to the US Federal Building, where she has an office.

BOOK BEAT

New release exploring the complications involved in ending Prohibition: Marijuana Legalization: What Everyone Needs to Know (Oxford University Press, 288pp, $16.95), co-authored by Oakland’s Beau Kilmer. Kilmer is the co-director of RAND’s Drug Policy Research Center, and appears to be recommending a cautious approach to making pot legal — a prospect being voted on in three states in the fall election.

When the people lead

Andrew Lam
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By Jon Golinger

OPINION Thursday, July 19, 2012 was an especially gorgeous day in San Francisco. On that warm and sunny summer afternoon, a colorful collection of more than 100 citizens from every corner of the city gathered together on the steps of City Hall to announce they had done something political insiders and powerbrokers had just weeks earlier dismissed as “impossible.”

This grassroots coalition of neighborhood leaders, tenant activists, homeowners, seniors, environmentalists, and recreation enthusiasts had just collected more than 31,000 petition signatures in less than 30 days from San Francisco voters. For the first time in more than 20 year, they had just qualified a referendum for the ballot challenging a Board of Supervisors-approved ordinance. They had just stopped in its tracks the seemingly done-deal to dramatically increase height limits on the waterfront for the proposed 8 Washington luxury condo high-rise project.

This citizen activism was made even more difficult by developer Simon Snellgrove, who went to extraordinary lengths to interfere with the petition drive and prevent it from succeeding, including:

• Using crafty legal maneuvers to require the petition to include not just the five-page city ordinance it challenges, but 515 additional pages of charts and addendums. This created a 520-page “book” that was expensive to print and heavy to carry.

• Spending $30,000 to pay hired “blockers” to encircle petition gatherers wherever they could find them and shout, intimidate, and otherwise interfere with their talking to voters.

• Paying an attorney to hover over the shoulders of workers at the Department of Elections as they counted petition signatures, repeatedly challenging their decisions.

While all of these hurdles and questionable tactics certainly had an impact, the citizen activists and volunteers nevertheless persevered. Soon after the 65 boxes overflowing with signed petitions had paraded through the corridors of City Hall, they were certified as sufficiently valid by the San Francisco Department of Elections. The “impossible” was done.

A recent poll by David Binder Research found that voters citywide would overwhelmingly reject the 8 Washington waterfront height limit increase by a vote of 56 percent to 25 percent if the Waterfront Referendum were put to a vote today. However, before it is officially placed on the ballot, the referendum process offers the Board of Supervisors a “second-chance” to make the right decision at its September 4th meeting.

Supervisors Christina Olague, Jane Kim, Eric Mar, and Malia Cohen — who all voted in favor of the waterfront height limit increase in June — now have the opportunity to take some time to talk with their constituents, reexamine their initial decision, and hopefully make a different choice.

But if they fail to do so, the referendum on the proposed 8 Washington project’s “Wall On the Waterfront” will appear on the November 2013 ballot and the people will decide. The people will decide whether a special exemption should be made to give away prime public land to a developer to build multi-million-dollar condos that 99 percent of San Franciscans can’t afford. The people will decide whether to allow the construction of a high-rise luxury condo building on the waterfront that would be 50 feet higher than the old Embarcadero Freeway. The people will decide whether we should protect or neglect our unique and beautiful waterfront. If the leaders fail to lead, the people will lead.

Jon Golinger is the Campaign Director for No Wall on the Northeast Waterfront www.NoWallOnTheWaterfront.com

Alerts

Andrew Lam
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WEDNESDAY 8

Speak up: stop and frisk Southeast Community Complex, 1800 Oakdale, SF; Stop and frisk — the controversial, pretty much definitely Fourth Amendment-violating policy that police in New York cling to despite protest and that Mayor Ed Lee recently proposed implementing in San Francisco — just won’t go away, despite opposition from pretty much everyone. This panel discussion and opportunity to debate issues relating to the proposed stop and frisk policy. The event is presented by the Osiris Coalition and filmmaker Kevin Epps.

First District 5 debate of the season Park Branch Library, 1833 Page, SF; District 5 is in the center of San Francisco, and much of the excitement of November’s city elections will center on its race for supervisor. A wide range of candidates will vie for the coveted spot that Ross Mirkarimi left to become sheriff. All of the candidates have promised to show up to this first debate in the hotly contested race. The debate is presented by District 5 Democratic Club, the District 5 Neighborhood Action Committee, and the Wigg Party.

THURSDAY 9

Occupy the Bay Berkeley Fellowship of Unitarian Universalists’ Hall, 1924 Cedar, Berk; www.bfuu.org. 7pm, $5-10 suggested donation. Filmmakers Name Name and Namey Namey have been documenting Occupy in the Bay Area since the fall. Come reminisce, learn, and be inspired by their film at its premier. You made this history happen, celebrate it, baby!

SATURDAY 11

Black Riders Liberation Party La Peña Cultural Center, 10pm, $5-10. The Black Riders Liberation Party considers itself the new generation of the Black Panther Party, organizing similar programs to stop police violence and gang violence and feed communities. This Saturday, the Party parties. Come celebrate the Black Riders and meet organizers, bring a canned food donation for a discount.

Pistahan Yerba Buena Gardens, Mission and Third St., SF; www.pistahan.net. 11am, free. This giant annual Filipino celebration goes all weekend. Start off the weekend with a parade from Beale and Market streets to Yerba Buena Gardens, where the festival of music, food, performance and education begins.

Foreclosure victory block party 376 Bradford, SF; www.occupybernal.org. 10am, free. Shortly after we named Ross Rhodes a Local Hero (Best of the Bay 2012) for his work protecting his home and those of his Bernal Heights neighbors from unjust foreclosure, he received a loan modification agreement. Come celebrate with Ross and others from Occupy Bernal with a block party at his house. There will be educational presentations about banks’ predatory role in the foreclosure crisis and efforts to fight back in the morning, followed by general partying.

SUNDAY 12

Lessons from Vermont Eric Quezada Center, 518 Valenica, SF; www.collectiveliberation.org. 3-5pm, free. Yes, we have the Affordable Care Act, but it leaves much to be desired, unless you’re in Vermont. There, Governor Peter Shumlin signed universal healthcare into law in May 2011. But of course, Shumlin didn’t do this alone. Come hear a presentation from some of the organizers who won this victory, all the way from the Vermont Workers’ Center.

MONDAY 13

Undocumented and unafraid Asian Law Caucus, 55 Columbus, SF; www.asianlawcaucus.org. 12-1:30pm, free. The Asian Pacific Islander undocumented student group ASPIRE will lead this talk on the immigration rights struggle. The last talk in the Asian Law Caucus-led summer brown bag series is especially timely as undocumented youth work on figuring out if and how they might benefit from President Obama’s policy directive giving limited amnesty to undocumented college students, and what it means for family and friends, especially those already in ICE custody. This talk on the issues youth without legal status face and how to keep building towards the DREAM Act, which would offer broader protections that Obama’s policy.

TUESDAY 14

Milk Club District 5 debate Eric Quezada Center, 518 Valencia, SF; www.milkclub.org. 7-8:30 p.m., free. A District 5 supervisors race debate hosted by the Harvey Milk Democratic Club. Milk Club President Glendon Hyde, aka Anna Conda, says candidates will cover drug policy, public space, sex worker rights, the housing crisis, queer seniors’ issues, and much more. As an extra special bonus, the debate will be hosted by transgender performer Ben McCoy and the Guardian Managing Editor Marke Bieschke.

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