Elections Archives — Page 13 of 37 — San Francisco Bay Guardian Archive 1966

Guardian Voices: Stop and Frisk didn’t work last time

Zelda Bronstein

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July 5, 2012

Guardian Voices: Stop and Frisk didn’t work last time

Mayor Lee’s musings before the Chronicle editorial board, in which he revealed his thoughts about instituting a “stop and frisk” policy in San Francisco, set off a very quick negative responses from two of his high-profile supporters in the African American community, Willie Brown and Supervisor Malia Cohen. But that’s only part of the surprise the mayor will face if he pursues this policy.

It wasn’t a real good week for Mayor Lee, who seemed to repeatedly trip himself up:

— In the chat about stop and frisk;
— In the admission at a Board of Supervisors hearing by Sutter/CPMC that the economic modeling of the hospital chain’s proposed project so undermined key elements of the deal that Mayor Lee demanded that it be redone;
— And in his testimony before the Ethics Commission on the Mirkarimi case that brought specific charges of perjury he has yet to answer.

But the stop and frisk was the most sobering of the three, for it shows a fundamental misunderstanding of the very nature of the city that he seeks to govern and an astounding insensitivity to its not-too-distant past.

The last time stop and frisk was implemented by the San Francisco Police Department was in 1974, at the height of the “Zebra” murders during which, over a six-month period from the end of 1973 to the beginning of 1974, 16 whites were murdered and another six wounded (one of whopm was a young Art Agnos) in shootings using a similar caliber hand gun. What made sensational headlines was the fact that the six survivors all agreed that the shooters were black.

Mayor Joe Alioto, facing a steep decline in tourist visits to the city and a drumbeat of headlines, surprised eferyone by announcing a stop and frisk policy aimed at young Black males. Within the first week some 500 stops were made. Not a single Zebra suspect was found.

The San Francisco NAACP and ACLU quickly filed suit in Federal Court where the policy was banned as being un-Constitutional racial profiling. The Zebra case was broken using the time tested technique of offering a reward for information. An informant stepped up, and in the summer of 1974, four men were arrested based upon his information. In 1976 the four men were convicted –and the stop and frisk policy had nothing to do with either their arrest or conviction. Nothing remained of the failed policy for 38 years.

What did remain was a deep and bitter memory of stop and frisk in the San Francisco African-American community — a memory neither Willie Brown nor Malia Cohen forgot.

If the mayor really believes that stop and frisk will work in the face of deep seated community resentment, based on actual local historic experience – for his remarks were all about “getting the guns” off the street in African American neighborhoods — then he has a profound misunderstanding of the nature of San Francisco.

San Francisco is perhaps one of the two or three most humanly diverse cities in North America. There is a bewildering mix of humans in our city, which confronts any policy based upon appearances — such as stop and frisk — with complexities that often render its actual use on the street ineffective. Simply stated, people are not as they seem in San Francisco, and many San Franciscans prefer to live no other way. Good cops understand this and work hard to learn who is who on the street. That’s called community policing and it often works in San Francisco.

But many times it doesn’t. Let me tell you a personal story.

During the school year, I try to pick up my two grandsons, Jalius and Jacob, every Tuesday. We spend some time together walking from their school, George Peabody, in the Inner Richmond, to the 33 Stanyan bus stop at Clement and Arguello for a bus ride back to the Haight-Ashbury. We walk and talk and then wait for the bus and talk some more.

A few months ago, we were waiting for the bus, the boys sitting on the bench, me standing and talking. I noticed a cop across the street doing a foot patrol, talking to merchants and customers. He kept looking at us. He was Chinese and my grandsons are half Chinese. Finally, he walked over to us and with a polite smile asked me why was I talking to these children.

I had an idea that was why he came over so I was expecting the question. I smiled back to him and said, proudly, “these are my grandsons, Jalius and Jacob”. He looked at me and then turned to the boys and said “is he?” They said “yes” and he looked back at me and said “just doing my job,” and turned and walked away.

And what a tough job it is as people are often other than they look in San Francisco. Old white men are not always what they seem, and young black men are not always what they seem, no matter how low they ware their pants. Policies based upon things being exactly as they appear will be overwhelmed by the human reality of the City of St. Francis.

There is a connection between people in this physically compact city of ours that forms a foundation for a common political outlook when it comes to personal and group rights and freedoms. San Francisco is a center-left city on matters of civil and human rights. Local elections have shown time after time that on civil and human rights the usual political divisions between the various parts of San Francisco don’t obtain. Trying to push a center-right stop and frisk policy on San Francisco will politically isolate Ed Lee, making all other parts of his agenda that much more difficult to accomplish. And as a city we need to get some big things done, quickly. Let’s move on, together, and get them done.

Davis launches D5 campaign with fortuitous timing

Sasha Cuttler

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July 3, 2012

14

Davis launches D5 campaign with fortuitous timing

When progressive activist Julian Davis formally launched his District 5 supervisorial campaign late last week with a well-attended kickoff party at the Peacock Lounge in Lower Haight, timing and circumstances seemed to be on his side.

Days earlier, Quintin Mecke – a rival for the progressive vote in this staunchly leftist district – announced to supporters that he needed to care for his ailing mother and wouldn’t be running after all. At the same time, appointed incumbent Christina Olague seemed to be rapidly falling from favor with many progressives.

First came the viral video of Olague gushing over all the support she’s received from Chinatown power broker Rose Pak during a fundraiser where she raised nearly $50,000, then her squirrely role in helping the moderates repeal ranked-choice voting, and finally the bizarre episode of clashing with a close progressive ally and friend to defend Mayor Ed Lee from perjury allegations.

Davis has sought to capitalize on the rapidly unfolding developments, today sending out a press release blasting Olague for having “joined the conservatives on the Board of Supervisors to repeal ranked choice voting for mayoral elections,” and telling the Guardian that Mecke’s exit will help clarify the choice D5 voters face.

“The fact that he’s out allows us to consolidate the progressive base,” Davis said, not mentioning that candidates John Rizzo and Thea Shelby will also be vying for the progressive vote.

At his kickoff party, Davis also demonstrated that he has substantial support from another significant D5 voting block – African Americans – for which he’ll be competing with political moderate London Breed, director of the African American Arts & Cultural Complex.

Davis said that with Olague’s support by Mayor Ed Lee and the city’s economic and political establishment, he’ll need to run a strong grassroots campaign based on “people power and shoe leather,” an approach that he’s also displaying with regular street corner campaigning.

“We’re at an economic, social, and political crossroads in San Francisco,” he said at his launch party. “Rogue developers are corrupting City Hall with a vision of luxury condos, corporate tax breaks, chain stores, and parking garages. It’s a vision of San Francisco that doesn’t include us. Everyday, progressive reforms are being dismantled and progressive values are being abandoned.”

Davis is hoping that Olague’s ties to Lee will drag her down in a district that voted almost 2-1 in favor of progressive John Avalos (whose campaign Davis actively worked on) over Lee in last year’s mayor’s race.

“Look what’s happening on the waterfront where Olague voted to approve the 8 Washington development. These are condos for the Kardashians, vacation homes for the ultra rich and the 1 percent. That’s not keeping it real for San Francisco,” he said at the kickoff. “So we’ve got to ask ourselves: how do they get away with it? The only way they can. By choosing your leaders for you. Over the past two years in San Francisco, we’ve had an appointed mayor, an appointed district attorney, an appointed sheriff, and an appointed District 5 supervisor. Does that sound like participatory democracy to you? Does that sound like your vote counts?”

And as Avalos also tried to do in his mayoral campaign, Davis says he wants to use his campaign to help restart the city’s progressive movement, which has been in tatters since being divided and nearly conquered by the politicians and political operatives who helped elevate Lee into Room 200 18 months ago.

As he told supporters, “We can re-launch the progressive movement in San Francisco from this district. We can take back City Hall. We will win this election with people power, street by street, block by block, neighbor to neighbor, shop by shop.”

Faces of feminism

Andrew Lam

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July 3, 2012

7

Is San Francisco still on the cutting edge of women’s issues? I recently spent a sunny Saturday morning buried in the radical archives of Bolerium Books (www.bolerium.com) — which is by the way, an amazing resource for anyone researching labor, African American, First Peoples, and queer history, among other things. Me, I was looking into our city’s rich history of feminist activism, inspiration for our upcoming Guardian “Bay Area Feminism Today” panel discussion. The event will unite amazing females from across the city who have but one thing in common: they’re pushing the envelope when it comes to the definition of what a “women’s issue” is, in a time when very few people claim feminism as their primary crusade. We’ll be talking more about their exciting projects –- but also touching on more universal issues. What is San Francisco’s role in fighting the nationwide attack on reproductive rights? How is our progressive community doing in terms of supporting women and maintaining a feminist perspective on issues?

Women’s work: it’s alive and kicking, and it deserves its moment in the spotlight. Meet our panelists here, in preparation for the real deal.

THE GUARDIAN PRESENTS: “BAY AREA FEMINISM TODAY”

Wed/11 6-8pm, free

City College of San Francisco Mission campus

1125 Valencia, SF

www.sfbg.com/bayareafeminismtoday

STEPHANY ASHLEY

St. James Infirmary programs director, ex-president of Harvey Milk LGBT Democratic Club

For me, sex worker rights are a feminist issue because they are about body autonomy. As much as reproductive choice is a feminist issue, so too is the right to determine the ways in which we use our bodies, change our bodies, and take care of our bodies. When people are criminalized for their HIV status, denied access to hormones and safe gender transitions, or are afraid to carry condoms because it might lead to police harassment or arrest — these are all feminist issues. At St. James Infirmary (www.stjamesinfirmary.org), we provide healthcare and social services from a peer-based model, so community is really the central aspect of the project. I was excited to chair the Harvey Milk LGBT Democratic Club (www.milkclub.org) last year, because I wanted to keep raising sex workers rights issues as part of the LGBT agenda. At St. James, nearly 70 percent of our community members are LGBTQ, so it’s really critical that sex workers rights are treated as a queer issue, a feminist issue, and a labor issue.

CELESTE CHAN

Artist and founder of Queer Rebels

My partner KB Boyce and I started our production company Queer Rebels (www.queerrebels.com) to honor the feminist and queer of color artists and elders who paved the way. Our main project is “Queer Rebels of the Harlem Renaissance,” a performance extravaganza which took place June 28-30. Such an exciting time! The Harlem Renaissance legacy remains with us to this day. It was an explosion of art, intellect, and sexual liberation led by queer Black artists. I’m also a board member at Community United Against Violence (www.cuav.org). CUAV was formed in the wake of Harvey Milk’s assassination and the White Night riots, and does incredible work to address violence within and against the LGBTQ community. Another way I’m involved with women’s issues is through Femme Conference (www.femme2012.com). In a culture where femininity is both de-valued and the expected norm, Femme Con creates a vital feminist space — this year it takes place in Baltimore, Maryland.

EDAJ

DJ and promoter of queer nightlife

I work in nightlife to provide space for communities that often don’t have spaces to come together. For 15 years, I have been providing music for women as the resident DJ at Mango (every fourth Sunday at El Rio, www.elriosf.com). I also work to support my fellow LGBT veterans by promoting their visibility through my nightlife projects. Ex-Filipino Marine and two-spirit drag king Morningstar Vancil’s story has inspired me to work on creating a space that raises awareness about LGBT veterans, especially women living with disabilities. I also think it’s important to do outreach in the Black LGBT community to help strengthen support for organizations such as the Bayard Rustin LGBT Coalition (www.bayardrustincoalition.com), a group that is not only fighting for Black LGBT equality, but is focused on social change for all oppressed people. After 10 years of executive producing the Women’s Stage at SF Pride, I was honored as a grand marshal this year at an event hosted by the BRC and Soul of Pride. It was beautiful to see so many Black LGBT people dedicated to moving global equality forward. Although there is a need to reach out to everyone in the Black LGBT community, naturally my goal is to first focus on connecting more women, a group that has always been less visible.

JUANA FLORES

Co-director of Mujeres Unidas y Activas

My organization Mujeres Unidas y Activas (www.mujeresunidas.net) is based on a double mission: personal transformation and community power for social justice. MUA is a place where women arrive through different challenges in their lives. We try to provide emotional support and references so that they don’t feel like they’re alone, so that they have strength to begin the process of healing and making changes. Those can include issues of domestic violence, problems with teenage children, labor or housing issues — when they arrive at MUA they begin the process of developing their self esteem and becoming stronger. They also begin to participate in trainings and making changes in their community and to the system through civic and political participation. At MUA, women find a home. They feel comfortable because they’re always welcome. We’re developing strong leadership, leadership that is at the table when it comes to making decisions about our campaigns, like our letter of labor rights and the help we give to victims of domestic violence through our crisis line. Every day our members are developing their ability to be involved in the organization and community, and making changes in their personal and familial lives.

ALIX ROSENTHAL

Attorney and elected member of the SF Democratic County Central Committee

As an elected member of the SF DCCC (www.sfdemocrats.org), the governing body of the SF Democratic Party, I am working to involve the party in recruiting more women to run for political office locally. In the June 2012 election, I assembled a slate of the female candidates for DCCC — we called ourselves “Elect Women 2012.” It was a controversial effort, because it included both progressives and moderates. In the wake of a highly contentious and factional term on the DCCC, we hoped to prove that moderates and progressives can work together to re-energize Democrats in this important presidential election cycle. Running for office in San Francisco is a high stakes game; it is costly and requires an extensive political network. And so the DCCC is where many future candidates get their start — it is where they build the connections necessary to run for higher office, and where they hone their fundraising abilities. By recruiting and supporting women candidates for the DCCC, I am hoping to build a “farm team” of female candidates within the party. This year, I am proud that the seven women incumbents on the DCCC retained our seats in the June election, and that we achieved parity by electing four new women to the party’s governing board. I look forward to seeing what these women can accomplish together.

LAURA THOMAS

Deputy state director of Drug Policy Alliance

Ending the failed war on drugs is a women’s issue because women are far too often bearing the brunt of that failure, losing their freedom, children, economic independence, safety, health, and sometimes their lives as victims of the war on drugs. Women in prison in California can be shackled during childbirth, lose custody of their children because they use legal medical marijuana. They’re vulnerable to HIV and hepatitis C because they or their partners don’t have access to sterile syringes for injecting drugs. My major project for the Drug Policy Alliance (www.drugpolicy.org) is mobilizing San Francisco to show the rest of the world how effective progressive drug policy can be. I want to see San Francisco open the first supervised injection facility in the United States, to end new HIV and hepatitis C infections among people who use drugs. I want us to truly have effective, culturally appropriate substance use treatment for everyone who requests it. I want San Francisco to end the cycle of undercover drug buys-incarceration-recidivism. I want us to address the appalling racial disparities in who gets arrested, convicted, and incarcerated for drug offenses here. I want us to aggressively defend our ground-breaking, well-regulated medical cannabis dispensary system against all federal intervention. San Francisco is leading the way in the United States in addressing the harms of drug use and drug prohibition but we have a lot more we can do.

MIA TU MUTCH

Transgender activist and SF Youth Commission officer

I’ve worked for a plethora of LGBTQ organizations and have been on several national speaking tours. I currently serve as media and public relations officer of the San Francisco Youth Commission, and use my position to promote LGBTQ safety and overall health. I’ve partnered with several city departments in order to create a cultural competency video that will train all service providers on best practices for working with LGBTQ youth. As a vocal advocate against hate crimes and sexual assaults, I’m working with local groups to create a community patrol in the Mission to prevent violence against women and transgender people. I’m also the founder of Fundraising Everywhere for All Transitions: a Health Empowerment Revolution! (FEATHER), a collective aimed at making gender-affirming transitions more affordable for low income transgender people. I work to create avenues of equality for those who benefit the least from patriarchy by creating a culture of safety and support for people of all genders.

Our Weekly Picks: July 4-10

Andrew Lam

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July 3, 2012

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WEDNESDAY 4

“For the Greater Good, Or The Last Election”

Real quick, if you’re new here: San Francisco Mime Troupe productions do not contain any mimes of the painted-face-and-striped-shirt variety. The company’s first performances (in 1959) were silent, but since those early days, SFMT has evolved into its current, much-loved form: presenting lively political musicals at parks and other venues across NorCal every summer. Previous plays have feasted on such satire-ready topics as big oil, religious fanatacism, and the corporate takeover of America; this year, the headlines once again supply a ripe subject: one percenters behaving badly. For the Greater Good, Or The Last Election is actually a re-working of The Poor of New York, a soapy drama written in 1857 with greedy themes that still ring true in the good ol’ 21st. (Cheryl Eddy)

Various venues through Sept. 8

Wed/4 and Sat/7-Sun/8, 2pm, free (donations accepted)

Dolores Park, 18th St. at Dolores, SF

www.sfmt.org

THURSDAY 5

Skerik’s Bandalabra

For those of you bitching about jazz’s irrelevance in the 21st century: meet Skerik. The Seattle-based saxophonist performs with total abandon, filtering his horn through a tangle of effects pedals as he solos with incendiary force. Resembling a rock frontperson as much as a jazz bandleader, Skerik has spearheaded a handful of projects, from Garage a Trois, to the Tortoise-y Critters Buggin. He describes his latest outfit, Skerik’s Bandalabra, as conjuring “Fela Kuti meeting Steve Reich in rock’s backyard,” and with a lineup of several of Seattle’s hottest session players in tow, it’s one of his tightest, most funkified ensembles yet. Ever had the urge to hear a sax fed through a wah-wah pedal? Well then, look no further. (Taylor Kaplan)

With Wil Blades Trio

9:30pm, $10

Boom Boom Room

1601 Fillmore, SF

(415) 673-8000

www.boomboomblues.com

Smokey Robinson with the San Francisco Symphony

R&B legend Smokey Robinson got his start in the music business back in the 1950s, forming the Miracles while he was still in high school and eventually leading the band to stardom: they were Motown Records’ first million-selling artists on the strengths of hit songs such as “Shop Around,” “You’ve Really Got A Hold On Me,” “I Second That Emotion,” and “Ooh Baby Baby.” The velvet-voiced Robinson has continued to write and perform ever since, and has earned a host of well-deserved awards and accolades, including being honored by the Kennedy Center in 2006. Fans won’t want to miss the music icon tonight when he performs a special show with the San Francisco Symphony. (Sean McCourt)

7:30pm, $15–$115

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

Liars

Based in LA, then Jersey, then Berlin, then NYC, Liars change locales as often as they switch musical directions. The three-piece has come a long way since their early days in the “dance-punk” compartment, but since the brawny, percussive Drum’s Not Dead (2006) they’ve struggled a bit to deliver a definitive statement. This year’s WIXIW (say wish-you) finds Liars reinventing the wheel again, to produce their most synthified affair yet; picture the rocktronic fusion of Kid A-era Radiohead, approached with the finely calibrated ambience of Bjork’s Vespertine, Trent Reznor’s swagger, and Tom Waits’ lumbering dynamics. How will this abrupt switch in instrumentation affect their live setup? Will the band approach their older work with an electronic edge? Liars thrive on this sense of uncertainty. (Kaplan)

With Cadence Weapon 8pm, $22.50 Great American Music Hall 859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

FRIDAY 6

“Kung Fu Double-Feature”

Summer programming at the Roxie ain’t nothing to fuck with. Witness the kung fu double punch of 1979’s The Mystery of Chessboxing, a.k.a. Ninja Checkmate, featuring a villain named Ghost Face Killer who inspired you-know-which Staten Island hip-hop star; and Five Elemental Ninjas, a.k.a. Chinese Super Ninjas, which came out in 1982 and is therefore a late-ish entry from director Chang Cheh, superstar helmer for Hong Kong’s powerhouse Shaw Brothers Studio. What you won’t get: CG, 3D, Oscar-caliber acting, logic. What you can expect: rare 35mm prints of both films, supernatural ninjas cloaked in gold lamé, blood-squirting violence, an overabundance of unnecessary camera zooms, and some of the most hilariously stilted dubbing ever committed to celluloid. (Eddy)

Five Element Ninjas, 7:30pm; The Mystery of Chess Boxing, 9:30pm, $6.50–$10

Roxie Theater

3117 16th St., SF

www.roxie.com

Paper Bird

With seven members and no leader, Paper Bird should be a logistical nightmare, but this native Denver band has been making seamlessly joyful noise for five years. Contributions from nearly 10 different songwriters make its work, fresh, eclectic, and unpredictable. And despite the size of the group, Paper Bird exudes a charming sense of intimacy. Focused on vocal harmony, banjo, and brass, the band plays danceable folk music for all ages. These hometown heroes have been voted in Colorado’s top 10 underground bands for three years running by the Denver Post and were recently featured in NPR’s All Things Considered and now they’ve come to win the heart of the Bay Area. (Haley Zaremba)

With Muralismo, Corpus Callosum

9:30pm, $10

Hotel Utah

500 Fourth St., SF

(415) 546-6300

www.hotelutah.com

Foxtails Brigade

Laura Weinbach is a creative force to be reckoned with. Her band Foxtails Brigade spins whimsical tales woven with violin accompaniment by Anton Patzner (Judgement Day). The band just released the third episode of their “Farmhouse Sessions” series on Youtube — revel in Weinbach’s on-point articulation of the chorus, “I am not my, I am not myself/ We are not our, we are not ourselves” over the rhythmic picking of Patzner’s violin, Joe Lewis jamming on the guitar, and a steady drumbeat provided by Josh Pollack. For her springtime release, The Bread and the Bait, Weinbach was inspired by narratives of the Victorian Era, resulting in a lush and intricate sound. Check out her unabashedly romantic cover of Edith Piaf’s “La Vie in Rose,” a fan favorite,. If that doesn’t get you hooked, well then I’ll eat my Victorian Era laced bonnet. (Shauna C. Keddy)

With La Dee Da, Missing Parts

9:30pm, $10

Starry Plough

3101 Shattuck, Berk.

(510) 841-2082

www.starryploughpub.com

Swing U Benefit Ball

Modern city dwellers: it’s time to head out to the middle of the bay and swing back in time to an era that saw the glamorous Golden Gate International Exposition of 1939 hosting visitors from around the world on Treasure Island, greeted by local pirate pin-up queen Zoe Dell Lantis. Tonight’s classic USO-themed “Swing U Benefit Ball” will feature live music, dancing, pirate pin-up contests, vintage vendors, historical presentations, and more, all paying tribute to the important role that Treasure Island played in the development of the San Francisco Bay Area, and raising funds for the Treasure Island Museum. (McCourt)

7pm, $15–$30

Winery SF

200 California Ave., Building 180 North, Treasure Island, SF

www.sfswingfest.com

SATURDAY 7

All My Friends Are Still Dead

What would your survival chances be if you were a poor fish in a bowl, watching your fellow fish friends die off thanks to an irresponsible owner? How would it feel to try to make friends if you were the Grim Reaper? Enjoy a hilarious take on these predicaments and more in All My Friends Are Dead, an illustrated book by Jory John (contributor to NY Times, SF Chronicle, and Believer Magazine) and actor-writer Avery Monsen. John will read from the book’s sequel, All My Friends Are Still Dead, at bookstore-museum Paxton Gate’s Curiosities for Kids today. Reminiscent of Lemony Snicket (A Series of Unfortunate Events) and his morbid childrens’ tales, their book is an ironic yet endearing anti-fable — each page is cringe-worthy yet laughter-inducing. (Keddy)

Paxton Gate’s Curiosities for Kids

1pm, free

766 Valencia, SF

(415) 252-9990

www.paxtongate.com

Y La Bamba

Indie-folk rockers Y La Bamba have been steadily making a name for themselves over the past couple of years, earning praise from the likes of NPR and musically popping up in television programs such as “Bones.” The latter is a fine example of a creative producer seizing upon the Portland-based band’s haunting and ethereal, yet rich and full sound, which is propelled by singer-songwriter Luzelena Mendoza, whose vocals float and weave above and throughout Latin-inspired rhythms and unique backing vocals. The band’s new album, Court The Storm, was produced by Los Lobos member Steve Berlin, and released this February — catch Y La Bamba in an intimate setting while you still can. (McCourt)

9pm, $16

Great American Music Hall

859 O’Farrell St., SF

(415) 885-0750

www.slimspresents.com

Blackalicious

This Sacramento rap duo has a lot more going for it than just an awesome name. Rapper Gift of Gab and DJ Chief Xcel, who met in high school, have been spinning catchy hip-hop tracks for more than a decade. Like fellow West Coast Rappers Jurassic 5 and Pharcyde, Blackalicious eschews the misogyny and violence too often synonymous with rap music. Their multi-syllabic rhymes are both complex and uplifting. Their debut album Nia is Swahili for “purpose” and spirituality is an important feature of their lives and work. When they hit the stage these down-to-earth, self-described “everyday brothers” will make your head bob, your feet tap, and your mind expand. (Zaremba)

With Richie Cunning, Raw-G

9pm, $25

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

MONDAY 9

The Eric Andre Show

If David Lynch were given his own late-nite program on a public-access channel in Pete & Pete’s basement, it might look and feel somewhat like The Eric Andre Show. Hosted by the LA-based stand-up comic, Adult Swim’s perverse, unhinged excuse for a talk show makes it way to the live stage with real/fake celebrity appearances (fake-George Clooney chugging coffee, perhaps?), charmingly incompetent house band, and incredibly seedy production values in full force. Beloved Oakland hip-hop duo Main Attrakionz will bring their hazy, lo-fi productions to the show as well, rounding out an evening of deranged, unpredictable, and supremely stoned entertainment. No Visine required. (Kaplan)

With Main Attrakionz, Stroy Moyd, Chris Garcia 8pm, $10 Rickshaw Stop 155 Fell, SF (415) 861-2011 www.rickshawstop.com

Stage Listings

Andrew Lam

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July 3, 2012

0

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

THEATER

OPENING

Duck Lake The Jewish Theater, 470 Florida, SF; www.duck-lake.com. $17-35. Opens Fri/6, 8pm. Runs Fri-Sat, 8pm. Through July 28. PianoFight’s resident sketch comedy group, Mission CTRL, performs its new "ballet-horror-comedy."

For the Greater Good, Or The Last Election This week: Dolores Park, 18th St at Dolores, SF; www.sfmt.org. Free (donations accepted). Opens Wed/4, 2pm. Runs Sat/7-Sun/8, 2pm. Various venues through Sept. 8. SF Mime Troupe launches its annual political musical (this year’s theme: one percenters behaving badly); the show travels around NorCal parks and other venues throughout the summer.

BAY AREA

King John Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Previews Fri/6-Sun/8, 8pm. Opens July 13, 8pm. Runs July 15, 21, 27, 29, Aug 4, 10-12, 8pm; July 22 and Aug 5, 4pm. Marin Shakespeare Company kicks off its 2012 outdoor summer festival season with this history play.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu-Sat, 8pm (no show Fri/6). Through Aug 18. A multi-character solo show about the characters of San Francisco.

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

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Hedwig and the Angry Inch Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Wed/4-Thu/5, 8pm; Fri/6-Sat/7, 7 and 9:30pm; Sun/8, 5pm. Boxcar Theatre performs John Cameron Mitchell’s musical about a transgendered glam rocker.

Jip: His Story Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. $8-50. Thu-Fri, 7:30pm; Sat, 2pm; Sun, 3pm. Through July 15. Marsh Youth Theater remounts its 2005 musical production of Katherine Paterson’s historical novel.

The Magic Flute War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. $31-340. Fri/6, 8pm; Sun/8, 2pm. San Francisco Opera adds some unexpected vitality to its new star-studded production of one of the world’s most popular operas, Mozart’s whimsical but philosophical tale of a romance and (Mason-inspired) spiritual evolution. Prince Tamino (poised tenor Alek Shrader) and sidekick Papageno (fine baritone Nathan Gunn in a blithe comedic performance) are on a quest to rescue from sorcerer Sarastro (imposing bass Kristinn Sigmundsson) the lovely Pamina (appealing soprano Heidi Stober), daughter of the Queen of the Night (the rousingly virtuosic Russian soprano Albina Shagimuratova). The battle royal between the Queen and Sarastro is one between darkness and light, but the emphasis of this joyful production is rightly on the latter, even as Tamino and Papageno’s journey takes them through the ritual rite of passage in Sarastro’s order, the Temple of Light. Visual artist Jun Kaneko (responsible for the giant ceramic heads on view outside the War Memorial Opera House until November) marshals a brightly extensive color palette and some state-of-the-art 3D software to create a mise-en-scène out of parallel planes of patterned line and color. These enveloping and fascinating geometric flights of fancy — animated by a drawn, human touch and organic trickles and blushes of color throughout — come complimented by wildly playful costumes, including a host of wonderfully oddball brightly painted birds, that make for some pleasantly cackling entrances. David Gockley’s English-language translation of the libretto, meanwhile, adds a zesty colloquial freshness whose tinge of irony contributes to an intellectual roominess that matches the aesthetic one, both together offering some necessary reflective space to the contemporary audience vis-à-vis the certainties of this Enlightenment fairytale. (Avila)

Proof NOHspace, 2840 Mariposa, SF; www.proofsf.com. Wed-Sat, 8pm. Through July 14. $28. Expression Productions performs David Auburn’s Pulitzer-winning play about a mathematician and his daughter.

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

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Tue-Sat, 8pm (also Wed and Sat, 2pm; no matinee Wed/4); Sun/8, 7pm. Extended through July 22. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

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

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $69-75. Thu-Sat, 8pm; Sun, 2pm. Through Aug 5. Comedy set behind the scenes at a San Francisco restaurant.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through August 4. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show Wed/4); Sun, 2 and 7pm. Through July 15. It’s not easy being a girl, and Eve Ensler’s newest play Emotional Creature leaves no scenario unexplored: from high school shaming rituals to ritual clitorectomies. If that sounds like a jarring juxtaposition, you’d be right. It’s difficult theatrically to transition seamlessly from a deeply affecting monologue about being a teenage sex slave in the Democratic Republic of Congo to a cute song about wearing miniskirts, and it’s equally difficult for the audience to change emotional gears rapidly enough to be able to adequately absorb the impact of each individual segment. Instead, the play comes off as an earnest but awkward Girl Scout Jamboree variety show — attempting to address as wide a variety of social ills as possible (from teen suicide to industrial pollution) — despite the strong and savvy acting chops of the six performers. In contrast to Ensler’s most popular work, The Vagina Monologues, which effectively "humanized" a part of the body by giving it something highly personal to say, Emotional Creature weirdly depersonalizes its girls by putting lines in their mouths ("I’m not the life you never lived") that clearly come from an adult perspective. And as for those girls who don’t particularly identify as "emotional creatures" at all? For them, there are no words. (Gluckstern)

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

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through July 22. The libel trial of a politically opportunistic newspaper publisher (Mark Andrew Phillips) and the private life of a famous dancer of the London stage — San Franciscan Maud Allan (a striking Madeline H.D. Brown) — become the scandalous headline-grabber of the day, as World War I rages on in some forgotten external world. In Aurora’s impressive world premiere by playwright-director Mark Jackson, the real-life story of Allan, celebrated for her risqué interpretation of Oscar Wilde’s Salomé, soon gets conflated with the infamous trial (20 years earlier) of Wilde himself (a shrewdly understated Kevin Clarke). But is this case just a media-stoked distraction, or is there a deeper connection between the disciplining of "sexual deviance" and the ordered disorder of the nation state? Jackson’s sharp if sprawling ensemble-driven exploration brings up plenty of tantalizing suggestions, while reveling in the complexly intermingling themes of sex, nationalism, militarism, women’s rights, and the webs spun by media and politics. A group of trench-bound soldiers (the admirable ensemble of Clarke, Alex Moggridge, Anthony Nemirovsky, Phillips, Marilee Talkington, and Liam Vincent) provide one comedy-lined avenue into a system whose own excesses are manifest in the insane carnage of war — yet an insanity only possible in a world policed by illusions, distractions and the fear of unsettled and unsettling "deviants" of all kinds. In its cracked-mirror portraiture of an era, the play echoes a social and political turmoil that has never really subsided. (Avila)

PERFORMANCE/DANCE

"Channels: An Evening of Cross-Disciplinary Performance" Shotwell Studios, 3252-A 19th St, SF; www.ftloose.org. Fri/6-Sun/7, 8pm. $10-20. Dancers Daria Kaufman, Bianca Brzezinski, and musician-composer Richard Warp perform Arti Ulate, a dance-theater piece; Brzezinski also performs a solo, Non-self.

"Comedy Bodega" Esta Noche Nightclub, 3079 16th St, SF; www.comedybodega.com. Thu/5, 8pm. Free (one drink minimum). Weekly free stand-up show. This week: Yayne Abeba, David Hawkins, Anna Seregina, Veronica Porras, Baruch P. Hernandez, and George Chen.

"Comedy Returns to El Rio" El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon/9, 8pm. $7-20. With Joe Klocek, Josh Healey, Regina Stoops, Johan Miranda, Shanti Charan, and Lisa Geduldig.

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

"The Eric Andre Show" Rickshaw Stop, 155 Fell, SF; www.rickshawstop.com. Mon/9, 8pm. $10. Adult Swim-spawned, SF Sketchfest-presented faux-cable access variety show with musical guests and "real and fake celebrity appearances," hosted by actor Eric André.

"The Fag Hag Comedy Show" Deco Lounge, 510 Larkin, SF; www.brownpapertickets.com. Sun/8, 8pm. $10. Charlie Ballard hosts this stand-up comedy extravaganza, with headliner Glamis Rory and more.

"A Funny Night for Comedy" Actors Theatre of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/8, 7pm. $10. Natasha Muse and Ryan Cronin host stand-up comedians, including headliner Jason Wheeler, at their monthly talk show.

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

Carolina Lugo and Carolé Acuña’s Café Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/8, 6:15pm. $15-19. Mother-daughter flamenco dance and music company.

"Majestic Musical Review Featuring Her Rebel Highness" Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

"Schwabacher Summer Concert" Herbst Theatre, 401 Van Ness, SF; www.sfopera.com. Thu/5, 7:30pm. $25-40. The young talent of the Merola Opera Program performs scenes from works by Bizet, Stravinsky, and more.

A quick glimpse into the SF Mime Troupe’s history

Jesse Hawthorne Ficks

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July 3, 2012

1

The amazing SF Mime Troupe has been part of San Francisco so long, it basically is San Francisco. In honor of 53 years of guerilla theater (and new show “The Last Election”), the troupe put together this little vid full of nifty clips of past presentations. Catch ’em in Dolores Park and beyond.

Save the date: SFBG “Bay Area Feminism Today” Forum on July 11

Andrew Lam

-

July 2, 2012

7

Save the date: SFBG “Bay Area Feminism Today” Forum on July 11

Last year, the Guardian held a series of Mayoral Issue Forums focusing on things from public power to climate change. They helped to drive discussion in the progressive community — and they were real fun. This year, we’re keeping the ball rolling by focusing on an issue that doesn’t get nearly enough attention: the state of feminism in the Bay, and in the Bay’s progressive movement in particular. Only this time around, we’re not saving all the fun for the political community. We’ve invited an all-female line-up hailing from many different sectors of the city: nightlife, the arts, City Hall, and activists involved in trans, immigrant, domestic violence, and health issues. What makes a women’s issue? Where is good work being done on them and where do we need to work harder?

It’s gonna be good. And we want you to be there, won’t you join us? Bring your questions.

THE GUARDIAN PRESENTS: “BAY AREA FEMINISM TODAY”

July 11, 6pm-8pm, free

Room 109, City College of San Francisco Mission District branch

1125 Valencia, SF

**THIS IS A BILINGUAL EVENT. SPANISH LANGUAGE TRANSLATION WILL BE AVAILABLE (!)**

>>>>>>>>RSVP on Facebook<<<<<<<<

Introducing our panelists…

Stephany Ashley is the Programs Director of the St. James Infirmary, a peer-based healthcare clinic serving current and former sex workers and their families. She is the recent past President of the Harvey Milk LGBT Democratic Club, and is currently serving her 4th term on their Executive Board. Her recent work has included organizing with the National Reproductive Justice Network, campaigning for Rafael Mandelman for Supervisor and John Avalos for Mayor, and consulting the World Health Organization on addressing violence against sex workers in the context of HIV. She is a former member of the Exotic Dancers Union (SEIU 1021).

Celeste Chan is Co-Director of Queer Rebel Productions (www.queerrebels.com), and a Board Member of Community United Against Violence (www.cuav.org). She’s been connected with feminist and queer organizations such as SFWAR, Incite! Women of Color Against Violence, WOMAN inc, Riley Center, and CUAV. As an artist, she creates work born from queer Diaspora through wit, words, and film (www.celestechan.com).

Edaj is a versatile artist whose career as a choreographer, producer, emcee and DJ, began in 1991 while serving in the USAF in Okinawa Japan. From 2002 – 2010, she was Executive Producer of the Women’s Stage at San Francisco Pride, where she ensured there was a space for women at the celebration and showcased a diverse, multi-talented global representation of the women’s community on the stage. Through her company, Mizdj Creations, her work with supporting and empowering women through artistic expression stretches across the nation and internationally as she constantly lends her expertise toward establishing opportunities for women to excel in the arts.

Juana Flores is the Co-Director of Mujeres Unidas y Activas. An immigrant from Mexico, Juana joined Mujeres Unidas y Activas as a member in 1991, and as staff in 1994. During her tenure on MUA’s staff, Juana has taken a leadership role in key local, statewide, and national immigrant rights campaigns, such as the campaigns to defeat statewide propositions 187, 227, and 209 and local proposition 21 and efforts to protect statewide prenatal health care programs. She has built strong partnerships with organizations representing other immigrant communities around welfare reform and defending immigrant parents’ rights in the San Francisco school district. She’s advocated for immigrant women’s protections in the Violence Against Women Act and against immigration enforcement policies that target immigrant survivors of violence.

Alix Rosenthal was elected to the San Francisco Democratic County Central Committee, the governing body of the San Francisco Democratic Party, in July 2010. She serves as its treasurer. In the June 2012 election, she won re-election and also assembled a controversial slate of female candidates for DCCC. A longtime Burning Man participant, Alix sits on the Board of Directors of the Black Rock Arts Foundation, which promotes civic engagement by placing interactive public art projects around the world. In October 2011, she was elected Co-Chair of the Board of Directors of the California Music and Culture Association (CMAC), California’s only nightlife trade association, which advocates for the music and entertainment industry at the state and local levels. Alix has been a lifelong advocate for women, having founded the San Francisco Women’s Political Summit, and having served as President of the National Women’s Political Caucus (SF chapter).

Laura Thomas is the San Francisco deputy state director for the Drug Policy Alliance, the nation’s leading organization promoting alternatives to current drug policy that are grounded in science, compassion, health and human rights. She has been causing trouble in San Francisco for nearly 25 years, starting as an AIDS activist with ACT UP. She was part of the Dyke March Organizing Committee and volunteers with the local syringe exchange. She currently serves on the Board of Directors of the Asian and Pacific Islander Wellness Center and the Executive Board of the Harvey Milk LGBT Democratic Club. She lives in San Francisco with her partner, their three cats, and her many pairs of red shoes.

Mia Tu Mutch is a youth advocate and has been working at the LGBTQ Community Center as a youth specialist, helping to coordinate the Center’s meal night for homeless queer youth. Mia is a student at City College of San Francisco, is a member of the Youth City Services committee, and is the Youth Commission’s Media and Public Affairs Officer. She is passionate about making the Youth Commission a household name in San Francisco and particularly interested in providing resources and support to LGBTQ youth.

And your moderator…

Caitlin Donohue is the culture editor of the San Francisco Bay Guardian. She reports a lot on marijuana, sex, street art, and other horribly unfun, irrelevant things. She will have pink hair.

Save the date: SFBG “Bay Area Feminism Today” Forum on July 11

Andrew Lam

-

June 29, 2012

0

Last year, the Guardian held a series of Mayoral Issue Forums focusing on things from public power to climate change. They helped to drive discussion in the progressive community — and they were real fun. This year, we’re keeping the ball rolling by focusing on an issue that doesn’t get nearly enough attention: the state of feminism in the Bay, and in the Bay’s progressive movement in particular. Only this time around, we’re not saving all the fun for the political community. We’ve invited an all-female line-up hailing from many different sectors of the city: nightlife, the arts, City Hall, and activists involved in trans, immigrant, domestic violence, and health issues. What makes a women’s issue? Where is good work being done on them and where do we need to work harder?

It’s gonna be good. And we want you to be there, won’t you join us? Bring your questions.

THE GUARDIAN PRESENTS: “BAY AREA FEMINISM TODAY”

July 11, 6pm-8pm, free

Room 109, City College of San Francisco Mission District branch

1125 Valencia, SF

**THIS IS A BILINGUAL EVENT. SPANISH LANGUAGE TRANSLATION WILL BE AVAILABLE (!)**

>>>>>>>>RSVP on Facebook<<<<<<<<

Introducing our panelists…

Stephany Ashley is the Programs Director of the St. James Infirmary, a peer-based healthcare clinic serving current and former sex workers and their families. She is the recent past President of the Harvey Milk LGBT Democratic Club, and is currently serving her 4th term on their Executive Board. Her recent work has included organizing with the National Reproductive Justice Network, campaigning for Rafael Mandelman for Supervisor and John Avalos for Mayor, and consulting the World Health Organization on addressing violence against sex workers in the context of HIV. She is a former member of the Exotic Dancers Union (SEIU 1021).

Celeste Chan is Co-Director of Queer Rebel Productions (www.queerrebels.com), and a Board Member of Community United Against Violence (www.cuav.org). She’s been connected with feminist and queer organizations such as SFWAR, Incite! Women of Color Against Violence, WOMAN inc, Riley Center, and CUAV. As an artist, she creates work born from queer Diaspora through wit, words, and film (www.celestechan.com).

Edaj is a versatile artist whose career as a choreographer, producer, emcee and DJ, began in 1991 while serving in the USAF in Okinawa Japan. From 2002 – 2010, she was Executive Producer of the Women’s Stage at San Francisco Pride, where she ensured there was a space for women at the celebration and showcased a diverse, multi-talented global representation of the women’s community on the stage. Through her company, Mizdj Creations, her work with supporting and empowering women through artistic expression stretches across the nation and internationally as she constantly lends her expertise toward establishing opportunities for women to excel in the arts.

Juana Flores is the Co-Director of Mujeres Unidas y Activas. An immigrant from Mexico, Juana joined Mujeres Unidas y Activas as a member in 1991, and as staff in 1994. During her tenure on MUA’s staff, Juana has taken a leadership role in key local, statewide, and national immigrant rights campaigns, such as the campaigns to defeat statewide propositions 187, 227, and 209 and local proposition 21 and efforts to protect statewide prenatal health care programs. She has built strong partnerships with organizations representing other immigrant communities around welfare reform and defending immigrant parents’ rights in the San Francisco school district. She’s advocated for immigrant women’s protections in the Violence Against Women Act and against immigration enforcement policies that target immigrant survivors of violence.

Alix Rosenthal was elected to the San Francisco Democratic County Central Committee, the governing body of the San Francisco Democratic Party, in July 2010. She serves as its treasurer. In the June 2012 election, she won re-election and also assembled a controversial slate of female candidates for DCCC. A longtime Burning Man participant, Alix sits on the Board of Directors of the Black Rock Arts Foundation, which promotes civic engagement by placing interactive public art projects around the world. In October 2011, she was elected Co-Chair of the Board of Directors of the California Music and Culture Association (CMAC), California’s only nightlife trade association, which advocates for the music and entertainment industry at the state and local levels. Alix has been a lifelong advocate for women, having founded the San Francisco Women’s Political Summit, and having served as President of the National Women’s Political Caucus (SF chapter).

Laura Thomas is the San Francisco deputy state director for the Drug Policy Alliance, the nation’s leading organization promoting alternatives to current drug policy that are grounded in science, compassion, health and human rights. She has been causing trouble in San Francisco for nearly 25 years, starting as an AIDS activist with ACT UP. She was part of the Dyke March Organizing Committee and volunteers with the local syringe exchange. She currently serves on the Board of Directors of the Asian and Pacific Islander Wellness Center and the Executive Board of the Harvey Milk LGBT Democratic Club. She lives in San Francisco with her partner, their three cats, and her many pairs of red shoes.

Mia Tu Mutch is a youth advocate and has been working at the LGBTQ Community Center as a youth specialist, helping to coordinate the Center’s meal night for homeless queer youth. Mia is a student at City College of San Francisco, is a member of the Youth City Services committe, and is the Youth Commission’s Media and Public Affairs Officer. She is passionate about making the Youth Commission a household name in San Francisco and particularly interested in providing resources and support to LGBTQ youth.

And your moderator…

Caitlin Donohue is the culture editor of the San Francisco Bay Guardian. She reports a lot on marijuana, sex, street art, and other horribly unfun, irrelevant things. She will have pink hair.

Stage Listings

Andrew Lam

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June 26, 2012

0

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

THEATER

OPENING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Opens Thu/28, 8pm. Runs Thu-Sat, 8pm (no show Fri/29 or July 6). Through Aug 18. A multi-character solo show about the characters of San Francisco.

Hedwig and the Angry Inch Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Opens Wed/27, 8pm. Runs Wed-Thu, 8pm; Fri-Sat, 7 and 9:30pm; July 8, 5pm. Through July 8. Boxcar Theatre performs John Cameron Mitchell’s musical about a transgendered glam rocker.

Jip: His Story Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. $8-50. Previews Fri/29, 7:30pm. Opens Sat/30, 5pm. Runs Sun/1, 4:30; Thu-Fri, 7:30pm; Sat, 2pm; Sun, 3pm. Through July 15. Marsh Youth Theater remounts its 2005 musical production of Katherine Paterson’s historical novel.

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $69-75. Opens Fri/29, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Aug 5. Comedy set behind the scenes at a San Francisco restaurant.

ONGOING

Aftermath Stagewerx, 446 Valencia, SF; www.brownpapertickets.com. $25. Thu/28-Sat/30, 8pm. Theatre, Period presents Jessica Blank and Erik Jenson’s docu-drama, based on interviews with Iraqi civilians forced to flee after the US military’s arrival in 2003.

A Behanding in Spokane SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $20-70. Wed/27-Thu/28, 7pm; Fri/29-Sat/30, 8pm (also Sat/30, 3pm). If Garth Ennis had been asked to write a comic book about a one-handed sociopath with a dark obsession, he might well have written something similar to Martin McDonagh’s A Behanding in Spokane. And admittedly, approached from that angle, a lot of the script’s dramatic flaws are more easily forgiven. There’s not a whole lot of subtle context or languid metaphor to be found in McDonagh’s criminal caper about the little-known “hand-dealing” trade, but as in Ennis’ best known work, Preacher, the pretty girl (Melissa Quine) is the smartest one in the room; the sociopath (Rod Gnapp) is interested in enacting as vicious a revenge on all humanity while spewing as many blatantly offensive invectives as possible; the boyfriend (Daveed Diggs) has some arrested development issues to work out; and the receptionist (Alex Hurt) takes the caricature of man-child to a whole new level. In fact, while all four actors deliver rock-solid performances of their mostly unsympathetic characters, it’s Hurt’s that impresses most. His spooky intensity and goofily tone-deaf determination plays like a combination of Adam Sandler and Arno Frisch, and if there’s a real sociopath in the room, the evidence suggests it’s probably him. Ultimately though the piece relies too heavily on hollow one-liners to remain interesting — a 20-minute farce stretched to 90 minutes — and quite unlike an Ennis comic, it does not leave one wanting more. (Gluckstern)

Bruja Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Extended run: Wed/27-Fri/29, 8pm; Sun/1, 2:30pm and 7pm. Although San Francisco’s Mission District is inexorably morphing into an empire of twee boutiques and haute cuisine, it’s still the first port of call for many Latin American migrants, and there are plenty of panaderias and botanicas tucked in between the sushi joints. In the Magic Theatre’s production of Bruja, playwright Luis Alfaro transplants the story of Medea to 24th Street by way of Michoacán, exploring the tension between retaining old-country values and staking out a future in a new world. Directed by artistic director Loretta Greco, the title role played by a stunning Sabina Zuniga Varela, this chamber version of the Greek tragedy hits hard, exposing each character’s darkest secrets to an unforgiving light. And every character, save the doomed brothers Acan and Acat (played the night I saw it by Daniel Castaneda and Gavilan Gordon-Chavez), has a secret to hide, even Medea, a curandera or healer by trade, whose powers run deeper and darker than her new world acquaintances, or even her old servant (Wilma Bonet) suspect. And when Jason (Sean San José) and his callous boss Creon (Carlos Aguirre), ruthlessly push Medea to her breaking point, her bloody vengeance proves, if little else, that she can play at ruthlessness better than anyone, whatever the consequences. (Gluckstern)

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

The Full Monty Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $25-36. Thu/28-Sat/30, 8pm (also Sat/30, 2pm). In desperate times, how far would you go to turn a buck? The central premise of the 1997 movie and its namesake musical comedy The Full Monty, the answer to this question is right in the title, which limits the suspense, but amps up the expectations. Set not in Sheffield, England as in the movie, but the similarly economically challenged climate of Buffalo, New York circa the late nineties, the comical romp follows a group of unemployed steel workers who decide, rather optimistically, that spending one night as exotic dancers will solve their immediate financial woes. Banish all notions of a Hot Chocolate sing-along; the soundtrack of the stage musical has little in common with its cinematic predecessor, but there are a couple of toe-tappers, particularly the songs writ for the ladies: a belter’s anthem for their spry but elderly accompanist Jeanette (Cami Thompson), a snarky commentary on male beauty, “The Goods,” for the ensemble. On opening night, Ray of Light’s production ran about 15 minutes long after a late start, and the tempo seemed sluggish in parts, but once it hits its stride, The Full Monty should provide a welcome antidote to the ongoing, we’re-still-in-a-recession blues, red leather g-strings and all. (Gluckstern) Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Lips Together, Teeth Apart New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed/27-Sat/30, 8pm; Sun/1, 2pm. New Conservatory Theatre Center performs Terrence McNally’s play about two straight couples spending July 4 amid Fire Island’s gay community.

100 Saints You Should Know Thick House, 1695 18th St, SF; www.therhino.org. $10-30. Fri/29-Sat/30, 8pm; Sun/1, 3pm. Homespun scenic design notwithstanding, Theatre Rhinoceros and artistic director John Fisher offer a fine, engrossing production of this 2007 play by Kate Fodor (Hannah and Martin, RX), a sturdy comedy-drama about two fractured families colliding awkwardly in a sort of spiritual vacuum. Matthew (an intriguingly restrained Wiley Herman) is a desolate but forbearing Catholic priest sent on a leave of absence after a venial transgression involving some artful nude male photographs. Returning home, he endures a pained relationship with his devout, passively domineering Irish mother (Tamar Cohn, channeling a nicely measured mixture of stony discipline and childlike vulnerability). Soon Matthew gets an unexpected visit from single mom Theresa (a bright but shrewdly self-possessed Ann Lawler), a former Deadhead who now cleans the rectory and finds herself overcome with an urge to ask the gentle priest about prayer — just at the moment his faith seems to have left him. Meanwhile, Theresa’s too-cool-for-school teenager, Abby (a deft and hilarious Kim Stephenson), waits outside and does some preying of her own on a slower-witted but game young man from the neighborhood (a charmingly quirky Michael Rosen), both of them roiling with confused yearnings. The appealing characters and unexpected storyline come supported by some excellent dialogue, developing a searching theme that ultimately has less to do with formal religion than the ordinary but ineffable need it promises (problematically) to meet. “I think I could be religious or whatever if it made any sense,” notes Abby, “but it doesn’t make any sense.” It’s easy to agree with the teenager on this one. 100 Saints is a genuinely funny and compassionate play discerning enough to avoid naming the depths it sounds. (Avila)

Proof NOHspace, 2840 Mariposa, SF; www.proofsf.com. Wed-Sat, 8pm. Through July 14. $28. Expression Productions performs David Auburn’s Pulitzer-winning play about a mathematician and his daughter.

Reunion SF Playhouse, Stage Two, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20. Wed/27-Thu/28, 7pm; Fri/29-Sat/30, 8pm. SF Playhouse presents a world premiere drama by local playwright Kenn Rabin.

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

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Opens Wed/27, 8pm. Runs Tue-Sat, 8pm (Tue/3 performance at 7pm; also Wed and Sat, 2pm; no matinee July 4); Sun/1 and July 8, 7pm. Through July 15. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

Slipping New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed/27-Sat/30, 8pm; Sun/1, 2pm. Midwestern high-school senior Eli (Evan Johnson), a recent transfer from San Francisco, is a rebellious gay teen with issues — what American teen doesn’t have issues? But then Eli’s, which include the loss of a beloved father and a Hamlet-like resentment for his recently widowed, sexually liberated academic of a mom (a subtle Stacy Thunes), have already driven him over the ledge. Eli’s “slip” into a state of deep grief is further accelerated by the complicated, violently closeted love he left back in San Francisco. In flashbacks, Eli relives this punishing, irresistible relationship with Chris (a coiled, forceful Fernando Navales) as meanwhile new best friend Jake (Benjamin T. Ismail) gradually expresses more than platonic interest and life with mother builds toward a showdown, in New Conservatory’s Bay Area premiere of Bay Area–born playwright Daniel Talbott’s thoughtfully drawn if dramatically underdeveloped play. In contrast to Ron Gasparinetti’s purposefully vague “anywhere” of a monochrome set (consisting of several low or sloped stone slabs), director Andrew Nance’s cast are engagingly precise in their clear-eyed take on adolescent anguish. Johnson proves gracefully multifaceted as Eli, at turns unbearable in his loose, simmering rage and disarming in his helplessness and heartbreak. And a charmingly awkward and earnest Ismail makes wholly convincing Jake’s innocent moth-to-flame attraction. Indeed, the play’s weaknesses — including a dizzying amount of hopping around the time-space continuum and, more critically, a dramatic arc that’s too neat and shallow to be really satisfying — do not completely detract from a worthwhile subject that often feels drawn from life. (Avila)

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

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

BAY AREA

Emilie: La Marquise Du Chatelet Defends Her Life Tonight Berkeley City Club, 2315 Durant, Berk; www.brownpapertickets.com. $18-25. Thu/28-Sat/30, 8pm; Sun/1, 2pm. Symmetry Theatre Company presents Bay Area playwright Lauren Gunderson’s romantic drama centering on the life of 18th-century French physicist and mathematician, Émilie du Châtelet (Danielle Levin) and her (here tempestuous) long-term romance with Voltaire (Robert Parsons). In a familiar conceit left accordingly vague, fate rematerializes Emilie from some hazy afterlife so that she may relive key moments in her life and account for herself. A Cartesian mind/body split rules the replay, with Emilie finding herself painfully attenuated from the world of the senses — her flashback self (played by an impressive Blythe Foster) alone able to enjoy sensual contact with her surroundings. Meanwhile, love and loyalty face the test as Emilie goes head-to-head with a male-dominated scientific establishment over a certain theorem she calls “force vivre” — a formula into which Gunderson cleverly folds theoretical physics and the irrational heart. There’s even a visual aid: a running tally is kept throughout on a screen at the back of the stage, where hash marks appear and disappear under the headings “philosophy” and “love” as the scenes wind their desultory way back toward the moment of her demise. Chloe Bronzan directs a cast of strong actors but their work is uneven. Foster alone is consistently commanding in a part that, while minor, suggests what a more muscular approach overall might have accomplished. The normally formidable Parsons seems uncommitted in the part of Voltaire, admittedly a character too simpering and watery as written to merit much credence. Instead of palpable relationships — whether with lovers or ideas — Emilie deploys self-conscious verbiage, strained repartee and heavy thematic underscoring to churn what amounts to thin drama. (Avila)

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show July 4); Sun, 2 and 7pm. Through July 15. Berkeley Rep presents Eve Ensler’s world premiere, based on her best-seller I Am an Emotional Creature: The Secret Life of Girls Around the World.

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

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Fri/29, 8pm; Sat/30, 5pm. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

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

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Previews Wed/20, 8pm. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Throgh July 22. The libel trial of a politically opportunistic newspaper publisher (Mark Andrew Phillips) and the private life of a famous dancer of the London stage — San Franciscan Maud Allan (a striking Madeline H.D. Brown) — become the scandalous headline-grabber of the day, as World War I rages on in some forgotten external world. In Aurora’s impressive world premiere by playwright-director Mark Jackson, the real-life story of Allan, celebrated for her risqué interpretation of Oscar Wilde’s Salomé, soon gets conflated with the infamous trial (20 years earlier) of Wilde himself (a shrewdly understated Kevin Clarke). But is this case just a media-stoked distraction, or is there a deeper connection between the disciplining of “sexual deviance” and the ordered disorder of the nation state? Jackson’s sharp if sprawling ensemble-driven exploration brings up plenty of tantalizing suggestions, while reveling in the complexly intermingling themes of sex, nationalism, militarism, women’s rights, and the webs spun by media and politics. A group of trench-bound soldiers (the admirable ensemble of Clarke, Alex Moggridge, Anthony Nemirovsky, Phillips, Marilee Talkington, and Liam Vincent) provide one comedy-lined avenue into a system whose own excesses are manifest in the insane carnage of war — yet an insanity only possible in a world policed by illusions, distractions and the fear of unsettled and unsettling “deviants” of all kinds. In its cracked-mirror portraiture of an era, the play echoes a social and political turmoil that has never really subsided. (Avila)

Wheelhouse TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Wed/27, 7:30pm; Thu/28-Sat/30, 8pm (also Sat/30, 2); Sun/1, 2 and 7pm. TheatreWorks’ 60th world premiere is a musical created by and starring pop-rock trio GrooveLily.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Fri/29, 6pm; Sat/30, 11am. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

Alicia Dattner Exit Theatre, 156 Eddy, SF; www.theexit.org. Thu/28-Sat/30, 8pm. $26. The comedian performs.

“DEEPER, Architectural Meditations at CounterPULSE” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/29-Sun/1, 8pm. $25. Lizz Roman and Dancers perform a site-specific work.

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

“I Heart Hamas: And Other Things I’m Afraid to Tell You” Exit Theatre, 156 Eddy, SF; www.brownpapertickets.com. Fri/29-Sat/30, 8pm. $20. Jennifer Jajeh performs her solo show, soon to be presented at the Edinburgh Festival Fringe.

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

“Majestic Musical Review Featuring Her Rebel Highness” Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

“Mission in the Mix” Dance Mission Theatre, 3316 24th St, SF; www.brownpapertickets.com. Fri/29-Sat/30, 8pm; Sun/1, 7pm. $17. SF Hip-Hop DanceFest producer Micaya presents new work by her SoulForce Dance Company, plus guest performances.

“Nerdgasm” Garage, 715 Bryant, SF; wonderdave.wordpress.com. Thu/28, 8pm. $12. Poetry, storytelling, and more, for nerds and by nerds. Part of the National Queer Arts Festival.

“One Night Only Benefit Cabaret” Marines Memorial Theater, 609 Sutter, SF; www.richmondermet.org. Mon/2, 7:30pm. $25-65. Cast members from the American Idiot tour perform original music and comedy to raise money for the Richmond/Ermet AIDS Foundation and Broadway Cares/Equity Fights AIDS.

“Picklewater Clown Cabaret: Robot’s Revenge!” Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. Mon/2, 8pm. $15. Picklewater and guests perform physical comedy and other circus acts.

“Same Amor” Shotwell Studios, 3252-A 19th St, SF; www.ftloose.org. Fri/29-Sat/30, 8pm; Sun/1, 3pm. $10-20. Flamenco and contemporary dance, comedy, and live music, featuring Acuña Danza Teatro.

San Francisco Ethnic Dance Festival Novellus Theater, Yerba Buena Center for the Arts, 700 Howard, SF; www.worldartswest.org. Sat/30-Sun/1, 3pm (also Sat/30, 8pm). $18-58. This final weekend of programming includes dance from Hawaii, India, Indonesia, Japan, Liberia, Mexico, the Philippines, Spain, Tajikistan, and Uzbekistan.

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

“This Is What I Want Performance Festival” SOMArts Cultural Center, 934 Brannan, SF; thisiswhatiwant.eventbrite.com. Wed/27-Fri/29, 8pm. $20. Part of the National Queer Arts Festival, this event features different bills each night of new, multidisciplinary performances from San Francisco and Los Angeles-based artists.

“Walking Distance Dance Festival” ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/29-Sat/30, 6:30pm; Sun/1, 2pm. $20-75. LEVYdance, inkBoat, Kunst-Stoff, and more participate in this new festival, featuring dance artists performing throughout ODC’s two-building campus.

“When We Fall Apart” Z Space, 450 Florida, SF; www.zspace.org. Wed/27-Sat/30, 7pm (also Fri/29-Sat/30, 9pm). $25-35. Joe Goode Performance Group presents a world premiere, an exploration of “home” with a set designed by architect Cass Calder Smith.

The right business tax

Andrew Lam

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June 26, 2012

21

EDITORIAL In some ways, the battle over San Francisco’s business tax represents a shift in the local power structure: For most of the past 30 years, the finance, insurance and real-estate industries — the traditional downtown corporate leaders — called the shots at City Hall. Any honest list of the most powerful people in town started with bankers and real-estate developers, and most of the time, they got their way.

Now, under Mayor Ed Lee, the tech sector is starting to eclipse the old guard. Venture capitalists like Ron Conway have the mayor’s ear, and companies like Twitter are getting the favorable tax breaks. And the tech sector, which tends to have high payroll costs, is agitating for a shift from a payroll to a gross-receipts levy, arguing that the existing tax is a “job killer.”

The gross-receipts plan is probably a better way to go, if only because the current tax applies only to a small percentage of the city’s businesses (although most of those who are exempt are small businesses). But a 1.5 percent tax on payroll isn’t a job killer any more than a modest tax on gross receipts is a brake on growth. Both are rough, imperfect but satisfactory ways to approximate the size of a company — and since a California city can’t legally impose a corporate income tax, that’s about the best San Francisco can do.

The real issue isn’t so much about the form of the tax — just about everyone at City Hall is good with switching to gross receipts — but about the total net revenue the city’s going to get out of the deal. The mayor’s willing to ask the business community to come up with an additional $13 million a year — less than half of one percent of the city’s General Fund and only about a 3.5 percent increase in the current business-tax revenue. It’s a tiny number — and since it’s based on projections, it could wind up disappearing altogether in a down economy.

The real cuts in the General Fund over the past five years — that is, the program reductions — amount to close to a billion dollars. By any rational estimate, the city needs at least $250 million a year in new revenue to keep pace with local needs and to begin to restore some of the lost services. Mayor Lee’s proposal is a pittance.

The alternative, suggested by Sups. John Avalos, David Campos, Jane Kim and Eric Mar, would add $40 million in new revenue. That’s enough to make up for what the city lost when 52 big businesses sued over the old business tax in 2001. It’s still, however, a very modest tax increase (particularly considering that the tax base would grow from 7,500 to 33,500 businesses). And while the mayor and the four progressive supervisors are in talks about combining forces and putting a single plan before the voters (which would be the best approach by far), Avalos and his allies need to remain firm: The mayor’s $13 million is far too little. It barely counts as a new revenue measure at all.

We agree that winning voter approval for a local tax hike will be challenging — but this is the perfect time to do it, with a high-turnout presidential election. And if all the city can get is a paltry $13 million a year out of the deal, you have to wonder: Why even bother?

Olague is the swing vote on voting system repeal

Sasha Cuttler

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June 25, 2012

58

Olague is the swing vote on voting system repeal

Conservative Sup. Mark Farrell’s effort to repeal San Francisco’s ranked-choice voting system for citywide elected officials is headed to the Board of Supervisors tomorrow, and all eyes are on swing vote Sup. Christina Olague. She surprised her longtime progressive allies with her early co-sponsorship of the measure when it was introduced in March, but she’s now expressing doubts about the measure.

The board rejected an earlier effort by Farrell and Sup. Sean Elsbernd to repeal RCV outright, but then Farrell tried again with a measure that excludes supervisorial elections and has a primary election in September, and if nobody gets 65 percent of the vote then the two two finishers have a runoff in November.

“I’m not going to support something that calls for a runoff in September,” Olague told the Guardian, referring to the primary election, although she did echo the concerns from RCV’s critics who claim that it confuses voters. She also said that it hasn’t helped elect more progressives and that “some progressives I talked to aren’t 100 percent behind it.”

Such talk worries Steven Hill, the activist who helped create the voter-approved system, and who has been battling to shore up support for it in the face of concerted attacks by more conservative politicians, newspaper columnists, and downtown interests, all of whom preferred the old system of low-turnout, big-money December runoff elections.

“I think it’s working well. San Francisco saves a ton of money by not having two elections,” Hill said. He said downtown money will skew the runoffs elections even more in the wake of the Supreme Court’s Citizen United ruling allowing unlimited political spending. “With Citizen’s United,” he said, “they’ll just do a ton of independent expenditures.”

He said Olague had told him she intended to withdraw her co-sponsorship of the measure, but she hadn’t done so yet. Olague told us that she wanted to discuss the matter with Farrell before withdrawing her support, that she hasn’t been able to reach him yet, and that she’s been focused on other issues she considers more important, such as crime prevention.

The measure currently is being co-sponsored by the board’s five most conservative supervisors and Olague, meaning it will go before voters on the November ballot if they all remain supportive. Hill said that the measure may not be voted on tomorrow because of an administrative snafu dealing with noticing requirements, but the hearing would proceed anyway, possibly offering clues as to the measure’s chances of success.

Thick petition against a big project

Zelda Bronstein

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June 25, 2012

45

My old friend Sue Hestor stopped by my house June 24 to ask if any of my neighbors might want to sign the referendum petition on 8 Washington. She was carrying a clipboard with a document the size of a phone book attached to it. Almost 600 pages, neatly bound.

I flipped through it. Lots and lots of background documents on the project, nothing anyone’s ever going to read. But thanks to some slick moves by the developer, Simon Snellgrove, supported by his allies on the Board of Supervisors, the referendum petition has to have all of that material attached.

See, the petition seeks an election to overturn a piece of legislation. Doesn’t happen often in San Francisco, and as far as I know, it’s never been successful. State law, of course, says that you have to show people the bill you want to overturn.

But when activists in Bayview Hunters Point tried to run a referendum campaign on the area’s redevelopment plan, they lost before they even had a chance. The City Attorney’s Office ruled that each petition had to include the entire redevelopment plan, all 62 pages. Since the petitions didn’t include every single page of that plan, the signatures were rejected.

In this case, Snellgrove’s crew made sure that the final legislation approved by the supes included numerous mentions of other documents that were, in legal terms, “included by reference.” Lots of documents. And all of them had to be copied, bound and attached to every set of petitions that every circulator carries.

It’s a bear: You can’t send petitions around by mail, you can’t carry a whole stack to a big event … and it costs $18 to print and bind a set. The foes of 8 Washington will need at least 1,000 sets to get the required 28,000 signatures. That’s $18,000, just to get started.

Which would clearly appear to be a chill on the rights of the people to force a ballot referendum.

Still, they soldier on. Hestor told me she’s “fundraising like crazy” to get enough money not to pay signature-gatherers but just to print the petitions. Jon Golinger, who’s helping run the campaign, says he confident there will be more than enough copies to do the job.

So if you want to get a little exercise for your arms (don’t laugh –one petitioner is already having arm problems lugging this stuff around) and you’re interested in helping out, check out the campaign HQ at 15 Columbus or call 415-894-7008. There’s a rally Saturday/30 at 10am.

San Francisco Mime Troupe presents FREE summer shows

Maria Poblet

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June 25, 2012

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San Francisco Mime Troupe presents FREE summer shows

The Tony Award-winning San Francisco Mime Troupe continues its 53rd season with FOR THE GREATER GOOD, OR THE LAST ELECTION. Pity the poor 1 per cent. Abused in that sliver of press they don’t own, condemned in the streets by a rabble who don’t appreciate the benefits of being trickled down upon, and raked over the coals by the few politicians who aren’t lined up to kiss their wealth and power. Michael Gene Sullivan directs this musical satire about “true” American values from the point of view of the misunderstood Godzillionaires who have made this country what it is today: broke.

FREE showings plus live music half hour before the show.

Opening Day is Wednesday, July 4 @ 2pm (Music 1:30) @ 18th St. and Dolores St., SF | FREE

For the complete summer schedule click here

Avalos emerges as the board’s main progressive champion

Sasha Cuttler

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June 20, 2012

23

Avalos emerges as the board’s main progressive champion

Sup. John Avalos seems to be the only consistent champion of progressive values at the Board of Supervisors these days, as he demonstrated once again yesterday as he tried to present some alternatives to the neoliberal corporatism that has seized City Hall over the last couple years.

Last week, Avalos was the only vote against a pandering proposal by Sup. Mark Farrell to exempt more small businesses from the city’s payroll tax, which is projected to cost the city $1.5 million next fiscal year and $2.5 million the following one, blowing a $4 million hole in the two-year budget that supervisors are now finalizing for approval in two weeks.

Yesterday, as the measure was about to receive final approval on its second reading, Avalos made a motion to delay it until after the fall election when voters may consider a pair of measures to transition from a payroll to gross receipts tax as the means of assessing local businesses. Mayor Ed Lee and Board President David Chiu introduced one measure that is revenue neutral, while an alternative by Avalos would bring in about $40 million per year.

Avalos didn’t have the votes for the long delay, so he got behind a compromise motion by Sup. Jane Kim to delay the measure until July 10 so the Budget Committee can at least factor it into its deliberations. Farrell opposed the move, insisting that “this is about creating jobs now,” despite the fact that businesses couldn’t apply for the exemption until next February.

A spirited debate followed, in which Avalos criticized City Hall’s current penchant for business tax cuts and questioned whether it really creates the jobs its boosters claim. He also noted that it is the multitude fee increases that local politicians have approved in recent years to balance the budget without raising taxes that have become most onerous for small businesses.

“When we were raising fees over the last five years, we were raising taxes on small businesses,” Avalos said, suggesting that rolling back those fees and taxing larger corporations that can afford it is a better strategy for helping small businesses and encouraging them to create jobs.

Eventually, Avalos won the short delay on a 7-4 vote, with Sups. Farrell, Carmen Chu, Sean Elsbernd, and Scott Wiener opposed.

Meanwhile, Avalos managed to place on the fall ballot an increase in the real estate transfer taxes paid on properties worth $2.5 million or more, convincing Sups. Kim, David Campos, and Eric Mar to support the proposal as the 5 pm deadline for at least four supervisors to place measures on the ballot neared. It would raise $16 million and compete with a similar measure by Lee that would raise $13 million through a smaller increase on properties worth more than $1 million.

Avalos also joined Campos and Chiu in opposing final approval for the 8 Washington housing project for the uber-wealthy. On the same 8-3 vote, the board also rejected Chiu’s efforts to allow opponents of the project to circulate referendum petitions without having to lug around a thick stack of all the studies referenced in the project approval.

Chiu appealed to his colleagues to support “citizens of San Francisco exercising the constitutional right to referendum,” but he won few sympathies on a board that these days seems most concerned with the interests of this city’s wealthiest individuals and corporations.

Stage Listings

Andrew Lam

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June 19, 2012

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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

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Previews Thu/21-Sat/23 and Tues/26, 8pm (also Sat/23, 2pm); Sun/24, 7pm. Opens June 27, 8pm. Runs Tue-Sat, 8pm (July 3 performance at 7pm; also Wed and Sat, 2pm; no matinee July 4); July 1 and 8, 7pm. Through July 15. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

ONGOING

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

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

Bruja Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Wed/20-Sat/23, 8pm (also Sat/23, 2:30pm); Sun/24, 2:30pm. Although San Francisco’s Mission District is inexorably morphing into an empire of twee boutiques and haute cuisine, it’s still the first port of call for many Latin American migrants, and there are plenty of panaderias and botanicas tucked in between the sushi joints. In the Magic Theatre’s production of Bruja, playwright Luis Alfaro transplants the story of Medea to 24th Street by way of Michoacán, exploring the tension between retaining old-country values and staking out a future in a new world. Directed by artistic director Loretta Greco, the title role played by a stunning Sabina Zuniga Varela, this chamber version of the Greek tragedy hits hard, exposing each character’s darkest secrets to an unforgiving light. And every character, save the doomed brothers Acan and Acat (played the night I saw it by Daniel Castaneda and Gavilan Gordon-Chavez), has a secret to hide, even Medea, a curandera or healer by trade, whose powers run deeper and darker than her new world acquaintances, or even her old servant (Wilma Bonet) suspect. And when Jason (Sean San José) and his callous boss Creon (Carlos Aguirre), ruthlessly push Medea to her breaking point, her bloody vengeance proves, if little else, that she can play at ruthlessness better than anyone, whatever the consequences. (Gluckstern)

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

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

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

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

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

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

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

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

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

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

BAY AREA

Black n Blue Boys/Broken Men Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Wed/20 and Sun/24, 7pm (also Sun/24, 7pm); Thu/21-Sat/23, 8pm (also Sat/23, 2pm). Berkeley Rep presents a world premiere from writer-performer Dael Orlandersmith (a Pulitzer finalist for 2002’s Yellowman).

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

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Previews Wed/20-Thu/21, 8pm. Opens Fri/22, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show July 4); Sun, 2 and 7pm. Through July 15. Berkeley Rep presents Eve Ensler’s world premiere, based on her best-seller I Am an Emotional Creature: The Secret Life of Girls Around the World.

The Great Divide Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed/20-Thu/21, 7pm; Fri/22-Sat/23, 8pm; Sun/24, 5pm. Shotgun Players performs Adamn Chanzit’s drama about the hot topic of fracking, inspired by Ibsen’s An Enemy of the People.

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

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

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

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

The Tempest Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; (510) 809-3290, www.calshakes.org. $35-71. Wed/20-Thu/21, 7:30pm; Fri/22-Sat/23, 8pm (also Sat/23, 2pm); Sun/24, 4pm. California Shakespeare Theater opens its season with this dance-filled interpretation of the Bard’s classic tale.

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

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

PERFORMANCE/DANCE

“Bare Bones Butoh Presents: Showcase 24” Studio 210, 3435 Cesar Chavez, SF; deborahslater.org/studio210.php. Fri/22-Sat/23, 8pm. $5-20. New material and works-in-progress by both local and national cutting-edge artists.

Alicia Dattner Exit Theatre, 156 Eddy, SF; www.theexit.org. Fri/22, 8pm. $26. The comedian performs.

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

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

“hOPPomage” Shotwell Studios, 3252-A 19th St, SF; www.brownpapertickets.com. Fri/22-Sat/23, 8pm. $10-15. An evening of “mental dance” inspired by artist Dennis Oppenheim with Driveway Dancers.

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

“Majestic Musical Review Featuring Her Rebel Highness” Harlot, 46 Minna, SF

; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

“Mission in the Mix” Dance Mission Theatre, 3316 24th St, SF; www.brownpapertickets.com. Fri-Sat, 8pm; Sun, 7pm. Through July 1. $17. SF Hip-Hop DanceFest producer Micaya presents new work by her SoulForce Dance Company, plus guest performances.

“Porch Light: California Dreaming” Contemporary Jewish Museum, 736 Mission, SF; www.thecjm.org. Thu/21, 7pm. $15. Storytelling with Janet Varney, John Law, Dayvid Figler, and more.

San Francisco Ethnic Dance Festival Novellus Theater, Yerba Buena Center for the Arts, 700 Howard, SF; www.worldartswest.org. Sat/23-Sun/24, 3pm (also Sat/23, 3pm). $18-58. This weekend’s program includes dance Appalachia, Huntary, China, India, Mexico, the Middle East, Peru, Tahiti, and Zimbabwe.

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

“Snob Theater” Dark Room, 2263 Mission, SF; snobtheater.tumblr.com. Fri/22, 10pm. $10. With comedians Rick Overton, Drennon Davis, Chris Thayer, and Coree Spencer, and musicians Debbie Neigher, Laura Weinbach, and Anton Patzner.

“When We Fall Apart” Z Space, 450 Florida, SF; www.zspace.org. Wed/20-Thu/21 and June 27-28, 7pm; Fri/22-Sat/23 and June 29-30, 7 and 9pm. $25-35. Joe Goode Performance Group presents a world premiere, an exploration of “home” with a set designed by architect Cass Calder Smith. *

Hot pink action

Andrew Lam

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June 19, 2012

0

ONGOING

Faetopia Tower Records building, 2286 Market, SF. www.faetopia.com. Through Fri/22, noon-midnight, (event times vary), $10 suggested donation. What’s a radical queer to do in the season of commercialized sexuality? Seize an empty records store and fill with blithe faggotry. The crew behind Faetopia is organizing nights of queer cinema, hip-hop and ecology classes, drag musicals, skillshares, and much more — drop in.

Frameline Film Festival Various times and venues, SF. Through Sun/24. www.frameline.org. The 36th year of this international gay and lesbian film fest has taken over SF — from a documentary on a female Olympian weightlifter to sweet tales of love, to goofy nights of short flicks.

National Queer Arts Festival Various times and venues, SF. www.queerculturalcenter.org. The fest has been raging since the start of the month, but this week you can catch Marga Gomez at the LGBT Center (Fri/22), darkly humored dance pieces at The Garage (Sat/23), and Ali Liebegott’s “Faggot Dinosaur” art exhibit at Alley Cat Books.

“Searching for Queertopia” Galeria de la Raza 2857 24th St., SF. www.galeriadelaraza.org. Through June 30. 7:30pm, free. An exhibition documenting Las Intrépidas, a traditional celebration of muxe (queer) culture in the Oaxacan town of Juchitán de Zaragoza.

WEDNESDAY 20

The Guardian’s 8th annual Pullin’ Pork for Pride Pilsner Inn, 225 Church, SF. www.sfbg.com. 5:30-9pm, free. Squee! Our annual meat treat (free pulled pork sandos for all!) will be soundtracked by Hard French heartthrobs, DJs Brown Amy and Carnita.

Gay Pride Comedy Show Deco Lounge, 510 Larkin, SF. (415) 346-2025, www.decosf.com. 7pm, $20. Camp out at this lineup of stand-up queers, compiled by hometown comedian Charlie Ballard in order to challenge the common perception of what a gay person is.

Bi-BQ bisexual pride potluck and promenade Dolores Park Café, 501 Dolores, SF. (707) 799-4343, www.sfpride.org. 5pm, free. The pre-party for Frameline Film Festival’s showing of Bi-Candy features a potluck barbeque, Dolores Cafe performances, and a promenade en masse to Victoria Theatre.

Booty Call QBar, 456 Castro, SF. www.bootycallwednesdays.com. 9pm-2am, $3. The thing about Booty Call — besides its quickly-shirtless bevy of Castro babes — would be its extravagant photobooth, designed each week by a different, deserving SF creative type. Get trashed, dance crazy, but stay pretty for the camera (and hostess Juanita More.)

Stay Gold Public Works, 161 Erie, SF. www.publicsf.com. 10pm-3am; $3 before 11pm, $5 after. Suggested apparel for the Pride edition of the monthly queer hip-hop banger: vinyl flower print bodysuit, winged sneakers, ass.

THURSDAY 21

Dude magazine launch party Eros, 2051 Market, SF. www.erossf.com. 7-10pm, free. Australian transmasculinity zine is planting a flag in our soil, and celebrating with this reception at all-male sex club Eros.

“Fabulous” Creativity Explored, 3245 16th St., SF. www.creativityexplored.org. Through Aug. 1. Opening reception: 7pm-9pm, free. Artist Sara O’Sullivan curates this collection of gender-bending and queer culture at CE’s gallery for developmentally-disabled creative people. Inspired by O’Sullivans love of drag queens, the show features a life-size hot pink cardboard drum set.

OccuPride planning meeting Faetopia, 2286 Market, SF. www.faetopia.com. Perhaps you’re one of those radical queers looking for some outlet for your general angst regarding capitalism and the over-commercialization of even our most human desires. Hie thee to this get-together of like-minded souls who will be planning an action to take Pride back to its alternative roots.

Pride Nightlife California Academy of Sciences, 55 Music Concourse, Golden Gate Park, SF. www.calacademy.org. 6-10pm, $12. Sexologist Carol Queen, drag fauna Juanita More and Heklina, darling queer DJs, and other exotic fauna join Claude the albino alligator at the Academy’s weekly party night. Star”gay”ze in the planetarium and learn about the same-sex predilections of your fave constellations.

Stone Pony solstice anniversary Stone Pony, 3552 20th St., SF. 6-10pm, free. If you haven’t assembled your outfits for the weekend but can’t stomach the thought of hitting the thrift town racks, you’ve come to the right place — this mystical vintage boutique is celebrating its Pride season one-year anniversary with champagne, “epic floral arrangements,” music, and yes — style style style for sale sale sale.

Wrestle Mania Pride Kick-off Party Lexington Club, 3464 19th St., SF. www.lexingtonclub.com. 9pm, free. Do babes with biceps get you bent? Cruise to the Lex for its lezzie arm wrestling party — where you won’t need to strong arm anyone to get them moving to DJs Ms. Jackson and China G.

FRIDAY 22

Bearracuda Public Works, 161 Erie, SF. www.publicsf.com. 9pm-3am, $10–$15. Fluff your fur for this bear bash — Doc Sleep, Ted Eiel, dabecy from Electronic Music Bears, and Robert Jeffrey of Dial Up give you something to step to.

Bibi five-year anniversary Som Bar, 2925 16th St., SF. www.som-bar.com. . 9pm-2am, $15 advance tickets. This is the only Pride party featuring non-metaphoric sword acrobatics. The queer Middle Eastern-North African community will converge for the fifth anniversary of its favorite, undulating dance party. Belly dance and aforementioned sword play figures alongside DJs Emancipation and Nader.

Bustin’ Out! Official Trans March After-Party El Rio, 3158 Mission, SF. www.elriosf.com. 8pm, $5–$50. DJs Ome, Jillio, and Bobby of Tortillas Picantes will spin at the be-patioed, community-oriented Mission bar. The get-down is a benefit for TGI Justice, a network of transpeople in and out of jail who are set on defeating the unjust prison industry.

Horse Meat Disco Mezzanine, 444 Jessie, SF. www.mezzaninesf.com. 9pm, $17. A huge mixed party (also including awesome local sunny electronic duo Poolside, the jubilant sounds of Crystal Ark, and the Honey Soundsystem DJs) will feature the beloved Horse Meat boys from London, who did much to stoke the last decade’s obsession with rare disco and classic house treats.

Marga and the Babes queer comedy LGBT Center, 1800 Market, SF. www.queerculturalcenter.org. Marga Gomez does a mean Desi Arnaz impersonation (among her other talents). Join the Bay favorite yuckster and adorable queer comics Natasha Muse and Justin Lucas tonight.

MR. Monarch, 101 Sixth St., SF. www.clubmonarch.net. 9pm-4am, $15. It’s the last twirl for this fabulous annual dance-around hoo-haw: Slammin’ (real) house DJs David Harness, Ellen Ferrato, and Rolo spin some amazing tunes to help you find a fine fellow whisker whisperer or just a quick ride. Borrow a mustache; this’ll be a good one.

Neon Vinyl The Ambassador, 673 Geary, SF. www.ambassador415.com. 10pm, free. DJs Enso, Kool Karlo, and Ilya bring future-retro Pride beats and decades of dance tracks poured through a house filter.

Old French Hole The Knockout, 3223 Mission, SF. www.theknockoutsf.com. 9pm-2am, $5. Assemble your favorite old-timey dance partiers from up and down the West Coast (the Hard French kiddos, DJ Primo from the Knockout’s aces Oldies Night, DJ Beyondadoubt from Portland’s Hole in My Soul), pump them full of Pride-ful pleasure, and call it a really stupid amalgamation of their party names. Twist, and shake.

Radical Queer Vegan Anti-Social Modern Times Bookstore, 2919 24th St., SF. www.gayshamesf.org. 5:30pm, free. But what of the sober queer, or the queer that cares more for sustainable food systems than Absolut cocktail specials? This Pride-time edition of the monthly Gay Shame potluck-roundtable might be flush with fresh-faced, vegan out-of-towners, so start soaking those cashews now.

San Francisco Lesbian/Gay Freedom Band Pride concert SF Conservatory of Music, 50 Oak, SF. www.sfcm.edu. 7pm and 9pm, $15–$30. Jack Curtis Dobowsky’s “Harvey Milk: A Cantata” will be featured at this musical celebration with SF community choral groups. Come early — 6:15pm — to hear Dobowsky talk about the creation of his piece, which features unpublished texts by Milk himself.

Steam Powerhouse, 1347 Folsom, SF. www.powerhouse-sf.com. 10pm-2am, $5. As far as partying in a towel goes, this party is the ultimate. Down cheap tequila in one of SoMa’s evolving sex clubs, cruise the man meat, get a buck-a-minute massage, and ditch the terrycloth for a spin in the famed Powershower.

The Super Queer Open Mic Show Center for Sex and Culture, 1349 Mission, SF. www.sexandculture.org. 8pm, $12–$20. Eight years of queers grabbing the microphone are celebrated at this year’s Pride edition of the reading series. Trans artist Amy Dentata and genderqueer humorist Dana Morrigan star as featured guests.

Trans March Dolores Park, Guerrero and 20th St., SF. www.transmarch.org. 3:30-6:30pm park gathering; 6:30pm march to UN Plaza, free. Could this be our favorite parade of Pride? It’s hard to pick sides, but this all-ages gathering of the transgendered community makes a good case for itself. A First Peoples’ welcoming and blessing with Ohlones and two-spirit folks is one highlight of this feel-good manifestation.

Unofficial: the third annual Original Plumbing trans pride dance party Elbo Room, 647 Valencia, SF. www.elbo.com 10am-2pm; $7 before 11pm, $10 after. The all-around cutest transguy zine out there is throwing down the welcome mat for your post-march dancefest. Get snapped by photog Amos Mac and get it done on the dancefloor to DJ Rapidfire of Stay Gold and NYC’s DJ Average Jo. Kelly Lovemonster go-gos!

We’re Here, We’re Queer, We’re Some Thing The Stud, 399 Ninth St., SF. www.thestudsf.com. 10pm-late, $10. In honor of the swish season, SF’s weekly alt-drag dance party fantasy is staying up late. Cast of characters includes Glamamore, Ambrosia Salad, and NYC’s House of Stank. Host Vivvyanne Forevermore promises surprises, or rather “big, gay surprises.”

SATURDAY 23

A Coupla Old Crackpot Crones The Garage, 715 Bryant, SF. www.crackpotcrones.com. 8pm, $15. One-time Green Party mayoral candidate and playwright Terry Baum and comedian Carolyn Myers pull together a variety show to benefit the Pat Bond memorial Old Dyke Award. Mom coming out, Baum’s surprise 2011 election appearance, and Eleanor Roosevelt’s lady love all figure in sketches.

Bondage A Go-Go Cat Club, 1190 Folsom, SF. www.sfcatclub.com. 9:30-2:30am, $10-20. Wear your pink and black to this lustful benefit for struggling, worker-owned stripclub The Lusty Lady. Dancers from the Lusty will host a spank-a-thon, and offer lap dances in exchange for contributions towards the future of our favorite sex-positive titty bar.

Country Pride Sundance Pre-Party Sundance Saloon, 550 Barneveld, SF. 8pm-midnight, $10. There’s always quite a lineup of hot hoofers at this regular country line-dance hootenanny — but the pre-Pride bonanza will be full of new faces and spiffy boots and saddles.

Dark Room The Hot Spot, 1414 Market, SF. Dark electro, witchy goth, and cutting-edge spook-house darken the door of this Civic Center dive as the drag-and-laser-studded monthly freakfest raises money for Lyon-Martin Health Services. (100 percent of door proceeds will benefit reproductive health in SF!)

Dyke March Dolores Park, 20th St. and Guerrero, SF. www.thedykemarch.org. DJs noon-5pm, march at 6pm, free. Sit pretty in Dolo, swigging a homemade watermelon margarita made by your industrious neighbor at this centerpiece to ladylove Pride season. When you hear the revving of Dykes on Bikes, you’ll know it’s time to relocate to the parade route.

Go Bang! Go Pride! Deco Lounge, 510 Larkin, SF. www.decosf.com 9pm-3am, free before 10pm, $5 after. You better! The city’s loveliest underground disco tribute gives the Studio 54 treatmeant (gritty Tenderloin version) to Pride, with DJs Redux, Marcus Jerard, Steve Fabus (happy birthday!) and Sergio.

Good Vibrations Pink Pleasure Party Good Vibrations, 603 Valencia, SF. www.goodvibes.com. 8pm, free. This is not the weekend for a poorly-stocked bedside drawer. Good Vibes pulls in DJs Becky Knox and Dalle for its yearly Dyke March hang-out. Snag you a strap-on from SF’s most famous sex shop and get festivating.

It Gets Indie teen benefit concert Great American Music Hall, O’Farrell, SF. Facebook: it gets indie. 7:30pm, $25. Princeton and Local Hero top the bill at the show to benefit the “It Gets Better” campaign.

Lexington Club Dyke March after-party Lexington Club, 3464 19th St., SF. www.lexingtonclub.com. 9pm-2am, free. DJ Ms. Pop presides over the heaving, hot masses at this no-cover, low-attitude dance banger. Grind with your “love” in the post-March endorphin rush.

No Way Back and Honey Soundsystem Soundsystem Monarch, 101Sixth St., SF. www.clubmonarch.net. 7pm-2am, $5. No Way, Honey! Two of our favorite intelligent house and techno crews join forces for two levels of stratospheric bliss. Hot hot hot dancing and very smart dancers.

Pink Triangle installation and commemoration Twin Peaks Vista Overlook, SF. www.thepinktriangle.com. 7:30am installation,10:30am ceremony, free. Volunteers needed for this awesome tradition: putting that huge-ass pink triangle up on Twin Peaks. Get some elevation and lend a hand.

Pride Festival Civic Center, SF. www.sfpride.com. Noon-6pm; Also Sun/24 $5 donation. For a glimpse at the commercial pull of the LGBT community, check out the vendor stalls at this mega-mass. Gay doggie sweaters galore. But it’s not all commercial — BSDM and radical faerie areas give wandering attendees the chance to learn more about alternative sexualities from those who practice them in real life.

(p)RIDE Party Public Works, 161 Erie, SF. www.publicsf.com. 9pm-3am, $8–$10. A can’t-miss combination for those looking to pop ass all night: the Stay Gold DJs are teaming up with their friends from Ships in the Night, Party Hole, and Queer Qumbia. Hip-hop served all night long with a side of vogue.

SUNDAY 24

Continental breakfast at the Lex Lexington Club, 3464 19th St., SF. www.lexingtonclub.com. 3pm, free. Will there be food at this continental breakfast? Well… the press release didn’t specify but know that the Mission’s fave dyke dive will be hawking Pride-special mimosas and bloodies. DJ Katie Duck spins your hunger pangs away with sunny Sunday soul, blues, and rock 45s.

Hard French Hearts Los Homos SomArts Cultural Center, 4-11pm, $25–$60. hardfrenchpride2012.eventbrite.com. Eclectic electric! This year, the cruisey queer golden children pull out all the stops. Oakland soul legend (and Etta James’ homegirl) Sugar Pie DeSanto headlines, with mustache-lipstick indie electricians SSION and PDX bounce soundsmith Beyondadoubt in supporting roles. Wave (your hips) goodbye to Pride with resident HF DJs Brown Amy and Carnita and their patented soul 45s sunshine.

Honey Soundsystem Holy Cow, 1535 Folsom, SF. www.honeysoundsystem.com. 6pm-3am, $5. The queer techno crew’s weekly Sunday parties are absolute musts for sophisticated queers who love a transcendent musical and artistic mix of past-present-future sounds and sights. And then everyone makes out. (Special extended hours, y’all.)

Juanita More’s Pride Party Chambers, 601 Eddy, SF. 12:30-6pm; Jones, 620 Jones, SF. 3pm-midnight. www.juanitamore.com. $25 advance tickets. After eight years in the game, Juanita’s bash, the place to be for discerning queers, has outgrown the patio of the Phoenix Hotel — the action’s spread to encompass two venues, with shuttle buses ferrying drag groupies in between the two. Benefiting the LGBT Community Center, which turned 10 this year, the party will feature one of Pride’s annual highlights, a performance by the young Cougar Cadets drumline.

Pride Parade Begins at Market and Beale, ends at Market and 8th St., SF. www.sfpride.org. 10:30am, free. This is where you will try to catch Sarah Silverman (and try not to weep when the PFLAG contingent passes) before the hangover/desire for more alcohol overwhelms. Stay strong, soldier!

Queerly Beloved El Rio, 3158 Mission, SF. www.elriosf.com. 3-8pm, $7–$10. Glittorises will tremble for local alt-queer pornographer Courtney Trouble in a rare live burlesque performance — and she’s bringing a queer smut cavalcade with her to move the earth. FTM dreamboat James Darling burlesque babe Dorian Faust, and the crew from live sex sensation Cum & Glitter will perform sensual wonders; DJs and Lady Tragik provide dance party, and a kinky kissing booth will welcome those whose lips aren’t otherwise entertained.

TUESDAY 24

This is What I Want Various times and venues. www.whatiwantfestival.com. Through June 30. How does our desire shift with the economy? Links between the heart, loins, and stock market are explored at this performance art festival, which has an important symposium component in which attendees will lend their voice to to those on stage.

Our annual guide to the (actually!) coolest Pride events