Elections

Welcome back to SF President Obama! Now, say Supevisors, give us our marijuana

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Not that it’s ever a good idea, but avoid driving downtown today like the plague — President Obama’s in town! And, (as reported by SFGate), SF supervisors want him to take a stance on pot. Sup. Christina Olague has penned a letter co-signed by Sups. David Campos, and Scott Weiner that is a solid finger-wag at the current federal administrations actions against the medical marijuana industry. Here’s the meat of it:

 

We believe strongly in addressing medical cannabis as a public health issue, and we will strive to fully implement state law by protecting not only our patients, but our property owners and dispensary operators as well. We want to work with President Obama on a public health solution for medical cannabis at the federal level, once he wins a second term. In the meantime, the Department of Justice must respect our laws and honor the President’s commitment on this issue. Honoring this commitment can start by taking no further action against the nine landlords of City-permitted facilities here in San Francisco.

 

Those “nine landlords” refer to the property owners of the five SF cannabis dispensaries that have already closed, and the additional four that are set to close this month. The federal government has sent threatening letters to dispensary landlords that posit extensive jail time and civil forfeiture for those landlords that continue to allow federally-illegal drug trafficking on their property. 

Kudos to the new Sup. Olague for taking a stand. Of course, the letter’s premise is that the Sups. are staunch supporters of Obama’s re-election, they’re just asking him to improve on this particular issue. It begs the question: why would he make capitulations to win support that is already in pocket?

Tickets are sold out for his lunch at the Julia Morgan Ballroom (465 California, between Montgomery and Sansome Streets), although his campaign website encourages you to get on the waiting list — be careful, general admission tickets start at $5,000. The President’s only other scheduled stop, says SFGate, is at a “small roundtable” at One Market Plaza. 

Afterwards, the President will head south to Los Angeles to attend the annual fundraising gala for the LGBT Leadership Council, where he will no doubt be greeted affectionately for his “I support gay marriage”isms of last month. 

After an adorable election, free drinks at El Rio

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The mood was relaxed at El Rio tonight as the League of Young Voters held their post-elections party. There wasn’t much to today’s ballot- as the League put it in the intro to their Pissed Off Voter Guide, “Aw, what a cute little election!”

The League endorsed a yes vote on Propositions 28, 29 and B, and a no vote on Prop A, and it seems the results all went with these endorsements. 

Jeremy Pollock, a member of the steering committee of the League of Pissed Off Voters’ San Francisco chapter, said that he was especially pleased about Prop B’s passing. The measure will prioritize money for upkeep of Coit Tower and the surrounding Pioneer Park and limit private events in the iconic tower.

For Pollock, the fight over Prop B was like “David and Goliath,” especially when tens of thousands of dollars got poured into the anti-Prop B campaign at the last minute.

“It’s a statement against the privatization of Rec and Parks,” said Pollock.

Pollock was also pleased to see Wendy Aragon and Peter Laterbourn doing well in the DCCC assembly District 19 race.

But mostly, the attendants at the party were pleased to get a free drink for showing their “I voted” sticker. If you paid for a drink in San Francisco today, then you’re not a true lover of democracy.

 

Supervisors dominate DCCC race, but key newbies join them

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“I just stopped by on my way to finish campaigning,” Sup. David  Campos told me at the Bike Coalition’s 20th Annual Golden Wheel Awards (more on that tomorrow), the first in more than a majority of the Board of Supervisors at the event.

Campos was campaigning for reelection to the Democratic Party County Central Committee (DCCC) and the polls were still going to be open for almost two more hours. Perhaps he could still reach the one in four registered SF voters who bothered to weigh in on this lackluster election.

“There was nothing really on the ballot that excited voters,” Campos said. “Hopefully November will be different.”

Tonight’s returns — for leadership of a local Democratic Party that hopes for more  voter engagement in the fall races — showed that Campos and fellow supervisors David Chiu, John Avalos, and Scott Wiener expectedly topped the pack, with Bevan Dufty, who moved from the board to the Mayor’s Office this year, in fifth place. And longtime former legislator Carole Migden’s sixth place fininish in the 14-seat eastside DCCC race helped show that it was mostly about name recognition.

But there were a couple of first-time candidates in the winning field: Matt Dorsey and Zoe Dunning, who finished 8th and 12th respectively. Both played key roles in recent LGBT politics: Dorsey as the City Attorney’s Office spokesperson during the same-sex marriage saga of the last eight years, Dunning as a poster lesbian in ending the US military’s “don’t ask, don’t tell” policy.

“I think Zoe and Matt are the ones to watch,” DCCC member Alix Rosenthal told me at the Buck Tavern as she celebrated her reelection, after campaigning hard for both the progressive and women’s slates.     

Unprompted, Dorsey returned the recognition when I stopped by his party down the street at Churchill. “Alix and Rafael [Mandelman, who organized the progressive slate and finished 10th, right after Sup. Malia Cohen] ran other things, so it’s apples and oranges,” Dorsey humbly said of the two former Dist. 8 supervisorial candidates he bested, when I asked about his strong finish.

Dorsey ran an aggressive campaign, targeting high-turnout precincts and working hard to get the full spectrum of political endorsements (and posting all his answers to each group online), what he called “Moneyball politics.” And it translated into an impressive finish for a freshman candidate but longtime politico.  

“Right now, I’m looking to get back to the gym after a year and a half of campaigning,” said Dorsey, the spokesperson for the mayoral campaign of City Attorney Dennis Herrera, who was at the party, along with District Attorney George Gascon. 

Dorsey and his fellow Guardian/progressive slate members did better in Eastside Dist. 17 than Westside Dist. 19, taking 10 of 14 seats compared to four of 10, leaving a near-equal balance with the moderate Democrats once the seats of elected officials are factored in.

But if the spirits count for anything, Dorsey told me he ran especially hard to earn the seat that outgoing DCCC Chair Aaron Peskin appointed him to when long progressive activist Michael Goldstein died last year.

“Knowing that it was his seat,” Dorsey said, “motivated me to work harder.”

Tobacco tax: It’s going to be way too close

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About 25 percent of the vote in. 50.6 Yes, 49.4 No. Trending the wrong way. This is going to be very close.

I didn’t believe that the tobacco companies could beat this thing, and I thought the results from LA would push the Yes vote, but in LA county, Prop. 29 is losing. Odd to see the absentees more liberal than the election-day votes, but let’s remember: As the polls showed this getting closer, Big Tobacco threw more and more money into the strategic areas, and that’s clearly had an impact.

Wow. This could actually go down.

And if Californians aren’t going to tax cigarettes, which only about 12 percent of Californians even smoke, what does that say about the impact a big-money campaign could have against Gov. Brown’s tax measures in the fall?

Reading Ed Lee’s mind

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Political reporters love to believe we can read politician’s minds; it makes us feel important. (And Lord knows, these days we need something to make us feel important.) So let me go way out on a limb here and tell you what Mayor Lee is thinking right now:

1. Gotta minimize Prop. B. It was an aberration, a bunch of rich Nimbys from Telegraph Hill, nothing more to see here. Certainly not a public referendum on my Rec-Park director, Phil Ginsburg, and his efforts to make money by renting out city parks for private events. No no no, just ignore it and maybe it will go away.

2. We won back the Democratic Party. Good move to take a page from Aaron Peskin’s book and run a bunch of elected officials and former elected officials with high name recognition in a low-turnout election. Bevan Dufty, who happens to work for me, would make an excellent chair; should be easy to make that happen.

3. What if we look at the DCCC race in the 17th District as a first-pass primary for the 2014 Assembly seat when Tom Ammiano — who’s just way too independent and won’t get with my program — is termed out? Hmmm … David Chiu, who I can mostly deal with, is in first place — but John Avalos and David Campos are more popular than my pal Scott Wiener. And if the progressives get behind Campos, he’ll be tough to beat. Hmmm….

4. That oddball Michael Breyer ran for Assembly pretending he was me. He even put out a mailer with my mustache on the front suggesting that he’ll be just like I am (except that he’s white and has no experience and no credible program and isn’t going to win). But he got a lot of votes with the Ed Lee card and I could totally control him. Can’t support him over Phil Ting, of course, but maybe I can get him some help behind the scenes.

5. This was an unusual election with radically low turnout. I know I can’t read too much into it. If the DCCC were on the ballot in November, or if there were a real presidential primary to bring people out to vote, the results would be very different. But still: All that new housing for rich people that my mentor Willie Brown and my friend Gavin Newsom got started seems to be having an impact. The city’s getting more conservative. Let’s just keep that one going and I’m home free.

6. What’s up with Lincecum? Damn those Padres.

Nah — the mayor’s too nice a guy to be thinking like that. Right?

 

40 percent reporting: Not a lot of change

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Witrh 40 percent of the precincts reporting, there’s been very little change in the results, which is surprising: Typically the absentees don’t reflect the election-day turnout. But Prop. A is still going down by huge margins, Prop. B is still winning (and at this point, that one’s probably in the bag, striking a blow against the privatization of public resources and offering a vote of no-confidence in the direction of the city’s Rec-Park department).

It appears likely that there will be an expensive November race for Assembly in D19, with the downtown-funded (but otherwise unknown) Democrat Michael Breyer who ran an almost-Republican campaign heading for a second-place finish against Assessor Phil Ting.

And there’s no change in the results for the DCCC.

I’m a little surprised (and disappointed) that Gabriel Haaland, a longtime incumbent, isn’t making the cut this time, and I’m surprised (and pleased) that newcomer Justin Morgan, a public-health physician, is still in the top 14 on the East Side. Zoe Dunning and Matt Dorsey, two very visible LGBT leaders (she on DADT, he on same-sex marriage) are running strong; Dorsey’s in the progressive camp, and Dunning, a former military officer, is more conservative. School Board member Hyrda Mendoza isn’t making the cut, either, which is odd for a citywide elected official.

At this point, it appears that theSF Democratic Party will be a more conservative organization than we’ve been used to over the past four years. At most, the progressives will have 14 or 15 votes out of 32 (24 elected and eight ex-officio). There are plenty of reasons for that, among them the retirement of some longtime progressive members (Aaron Peskin, Jane Morrison, Milton Marks); the redistricting that created a West Side district very few progressives could compete in — and the move by the more conservative elements of the party to run a slate that included Dufty and Cohen.

Things could still change; I could be wrong. But I don’t think I am.

Statewide results: Tobacco tax close, term-limits change leading

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The statewide results are very early, very limited and most likely very conservative, because they represent only absentees that have come from the few counties already reporting. Here’s what I can draw from them: The change in term limits, Prop. 28 — promoted by opponents of the current term-limits law but described as reducing the amount of time a legislator can serve — is going to win handily. It’s ahead 66-34. It doens’t mean voters are turning against term limits (sadly); there wasn’t a huge campaign on either side, so it’s mostly about the actual ballot language, and the sponsors were careful to say it “limits legislators terms in office.” Still, it’s good news for people like San Francisco Assessor Phil Ting, who is likely to head up to Sacramento for the first time and will be eligible to serve in the Assembly for 12 years.

The cigarette tax is also winning, despite about $40 million in spending by the tobacco companies. That one’s closer — 53-47 — but since absentees are usually more conservative than election-day votes, that’s a good sign. If things hold up the way they normally do, the gap will widen and both measures will win handily.

In the Congressional D2 race, Jared Huffman is, as expected, well in the lead with more than 40 percent of the vote. The second-place Dem is Norman Solomon, but he’s trailing the top Republican, Daniel Roberts, by three points. If Solomon does well with today’s voters, he may wind up in the November final.

 

Two things to watch for in CA

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There are two things that could be really significant around the state tonight (and no, I’m not talking about which liberal, balding Jewish man wins the primary in the San Fernando Valley, which will almost certainly be replayed in the fall). There’s a real chance that, thanks to redistricting, the Democrats could pick up enough seats to win a super-majority in the state Senate — meaning they could pass new taxes despite GOP recalcitrance. And while it’s unlikely that the Dems will get a two-thirds majority in the Assembly, there are a few Republicans out there who are starting to question the Grover Norquist line.

So what happens if, say, both houses approve an oil-severance tax or a restoration of the vehicle license fee? Will the Guv, who insisted in his campaign that he’d accept “no new taxes without a vote of the people” going to veto it? Seriously — is Jerry Brown going to veto an oil-severance tax?

Then there’s the Second Congressional District, where corporate Dem Jared Huffman is almost certainly going to come in first — but Norman Solomon, who is way closer politically to outgoing Rep. Lynn Woolsey, has a good chance of coming in second and making it to the November election. In which case the North Coast will see a classic fight between the left and the center of the Democratic Party, in one of the most progressive districts in the country — and it will attract national attention.

By the way: I’ve been checking out so many blogs tonight that I can’t remember where I saw this, but: The huge turnout in Wisconsin indicates that sharp political distinctions, clear-cut lines and hard fights, improve voter turnout. These cautious, don’t-take-risks pols shouldn’t be surprised that hardly anyone wants to vote for them.

Walker winning in Wisconsin — the fallout

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AP is callling the Wisconsin election for Scott Walker, although the results will no doubt tighten up as the night goes on.  But this is a wake-up call — for all of us. It’s one of the first clear tests of what happens when you have unlimited corporate money flowing into an election (Walker outspent his opponent about 8-1) and it’s a sign of how bad things can get under Citizens United.

It’s also going to dampen the enthusiasm of labor activists for the Obama re-election. Already, commenters on DailyKos are calling for progressives not to support the Democratic Party this fall — and while that’s common and people mostly get over it, Obama has to start moving now to shore up labor support. We’re all for gay marraige, and that was a strong and much-needed (if also much-delayed) stand, but it’s not going to be enough.

There’s going to have to be a concerted effort to end the demonization of public-sector workers. This election just shows how it’s gotten out of control.

 

The circus begins

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steve@sfbg.com

Mayor Ed Lee and his attorneys are presenting a voluminous yet largely speculative case against suspended Sheriff Ross Mirkarimi in their effort to remove him for official misconduct, broadening the case far beyond their most damning core accusation -– that Mirkarimi dissuaded witnesses from telling police that he bruised his wife’s arm during an argument on Dec. 31. And so far, there’s no evidence to support that key allegation.

In fact, Mirkarimi and his attorneys insist there was no effort to dissuade witnesses, one of many unsupported aspects to a case they say should never have been filed without stronger evidence. And they say the mayor’s team is now compensating for the weakness of its case by piling on irrelevant accusations and witnesses in an effort that amounts to character assassination.

There are even signs that the city is nervous about its case. Knowledgeable sources told the Guardian that the City Attorney’s Office last week offered to settle the case with Mirkarimi, offering a substantial financial settlement if he would agree to resign, an offer that Mirkarimi rejected.

It was one of a series of rapidly unfolding developments that also included a raucous Ethics Commission hearing, the disclosure of phone records by Mirkarimi’s side, a new list of charges, and the city’s release of the video Mirkarimi’s wife, Eliana Lopez, made with neighbor Ivory Madison, documenting the bruise in case of a child custody battle over their son.

Lopez has maintained that Mirkarimi never abused her and that she’s been hurt most by the efforts to prosecute him and remove him from office.

“I hope they realize after reflection that what they have done is irreparable and perpetually damaging to me and my family,” Lopez said in a statement condemning the city’s release of a video that she fears will remain online for her children and grandchildren to see.

Yet all indications are this spectacle is only going to grow more sordid, divisive, and sensational as it moves forward — belying the statement Lee made last week as he introduced his annual budget: “As many of you know, I’m a person who does not like a whole lot of drama.”

SIMPLE OR COMPLEX?

The May 29 Ethics Commission hearing to begin setting standards and procedures for the official misconduct proceedings against Mirkarimi illustrated two sharply divergent views on when elected officials should be removed from office. It also displayed the increasingly bitter acrimony and resentments on each side, emotions only likely to grow more pronounced as the hearings drag on for months against the backdrop of election season.

Both sides would like to see the decision as a simple one. Lee and his team of attorneys and investigators say Mirkarimi’s bruising of his wife’s arm and his unwillingness to cooperate with their investigation of what followed make him unfit for office. Mirkarimi and his lawyers admit his crime, but they say that’s unrelated to his official duties and that the rest of Lee’s charges against him are speculative and untrue.

Yet there’s nothing simple about this official misconduct case — or with the implications of how each side is trying to counter the others’ central claims. So despite the stated desires of some Ethics commissioners to narrow the scope of their inquiry and limit the number of witnesses, San Franciscans appear to be in for a long, dramatic, and divisive spectacle, with Mirkarimi’s fate decided by the Board of Supervisors just a month or so before the five supervisors who have been his closest ideological allies face reelection. Nine of 11 votes are required to remove an official.

The Mayor’s Office wants to call the most witnesses and present an elaborate (and expensive) case that includes a number of outside experts on law enforcement and domestic violence, painting a portrait of Mirkarimi as a serious wife-batterer whose past and future actions can be divined from that malevolent distinction, making him obviously unable to continue as San Francisco’s chief law enforcement officer.

“The extent of the abuse was far greater than what Mr. Mirkarimi has testified to,” claimed Deputy City Attorney Peter Keith, going on to say “there were attempts to control what she ate,” an apparent reference to Mirkarimi’s decision not to take Lopez to a restaurant for lunch on Dec. 31 because they were having a heated argument. He also repeatedly referred to Mirkarimi as a batterer and said “batterers behave in a certain way.”

Mirkarimi attorney Shepard Kopp calls that portrayal exaggerated and unfair, ridiculing the Mayor’s Office claims that its domestic violence expert, attorney Nancy Lemon, can predict Mirkarimi’s behavior based on grabbing his wife’s arm once: “Apparently she’s some kind of clairvoyant in addition to being an expert,” Kopp told the commission as he unsuccessfully sought Lemon’s removal from the witness list.

Ethics Commission Chair Benedict Hur took the lead role in trying to limit the witness list, focusing on stripping it of the various law enforcement experts who plan to describe how different agencies might react to dealing with Mirkarimi. “What I don’t understand is how his ability to do his job relates to whether he committed official misconduct,” Hur said.

Mirkarimi’s team says its case could be very simple, with only Lee and Mirkarimi called as live witnesses — but the attorneys reserved the right to offer testimony to counter false or damaging claims made by the Mayor’s Office.

Hur tried to limit the case to just witnesses and arguments that relate to Mirkarimi’s actions, but he was outvoted by those who wanted to let the city argue how those actions would affect perceptions of Mirkarimi by the many people that a sheriff must interact with.

In the end, the commissioners agreed to trim the eight expert witnesses sought by the mayor down to three and to cut its 17 proposed fact witnesses down to 12, calling 15 total witnesses. Mirkarimi’s team will call 10 witnesses, down from an initial 17. All witnesses will submit written declarations and then be subjected to live cross-examination if any of their testimony is disputed.

EVIDENCE AND SPECULATION

The speculative and prejudicial nature of some of the city’s case was attacked at the hearing by Mirkarimi’s attorneys and the large crowd that came to support him.

Commissioner Paul Renne asked the Mayor’s Office attorneys why they hadn’t summarized the expected testimony of their expert witnesses and “How are any of those opinions relevant to the issues in this case?”

“I have not had time to work with the witnesses to see what their opinions are,” replied Deputy City Attorney Sherry Kaiser, prompting Kopp to incredulously note, “The mayor is preparing the expert witnesses without knowing what their testimony will be. How can I respond to that?”

The issues of bias and conflicts of interest also came up surrounding what sources should be called as witnesses. Mirkarimi’s team wanted longtime Sheriff Michael Hennessey, Mirkarimi’s predecessor, while the Mayor’s Office pushed for Acting Sheriff Vicki Hennessy to convey how the Sheriff’s Department should function.

“Vicki Hennessy was a political appoint of Mayor Lee,” Waggoner objected, although the commission decided to use that appointee.

On several critical procedural questions, the commission sided with the Mayor’s Office, ruling that the commission decision needn’t be unanimous, that guilt could be established based on a preponderance of the evidence rather than beyond a reasonable doubt, and that normal rules of evidence won’t apply, with some hearsay evidence allowed on a case-by-case basis.

The pro-mayor decisions angered the roughly 200 Mirkarimi supporters who packed the commission hearing and an overflow room, many bearing blue “We stand with Ross” stickers and flyers, which had “Respect Eliana” on the flip side. There were only a couple of Mirkarimi critics at the hearing wearing white “I support Casa de las Madres” stickers, referring to the domestic violence group that has been calling for Mirkarimi’s removal since shortly after the incident went public.

Mirkarimi got a rousing welcome from the crowd when he arrived at the hearing, his voice choking up and eyes welling with tears as he said, “I cannot tell you, on behalf of me and my family, how grateful we are.”

The crowd was boisterous during the proceedings, loudly reacting to some claims by the deputy city attorneys and offering comments such as “Ed Lee is the one you should put on trial,” with Hur finally recessing the hearing after an hour and having deputies warn audience members that they would be removed for speaking out.

Renne, a career litigator and the District Attorney’s Office appointee to the commission, raised the most doubts about both the standard of guilt and rules of evidence being lower than in criminal proceedings, telling his colleagues, “I have some reservations.”

PHONE LOGS

Mirkarimi’s team also released to the Chronicle and the Guardian redacted phone records from Mirkarimi, Lopez, and Linnette Peralta Haynes — a family friend and social worker who served as Mirkarimi’s last campaign manager. The city has sought to portray Haynes, who has not been cooperating with the investigation, as a conduit to Mirkarimi’s efforts to dissuade Lopez and Madison from going to the police on Jan. 4.

Mirkarimi previously told the Guardian that he was unaware that Lopez had told Madison about the abuse incident or that they had made a video of her injury until several hours after Madison had called the police and they had come to the house to talk to Lopez, during which time Mirkarimi was in a series of meetings at City Hall.

The phone records seem to support that claim. They show that Lopez and Haynes — who is close to Lopez and recently went to Venezuela to visit her — exchanged a series of telephone calls on Jan. 4 starting at 11am. Their longest conversation, nearly 40 minutes, occurred at 11:18am.

Neither woman could be reached to describe the substance of that call. At 12:24pm, Lopez sent Madison — with whom she had been communicating by phone and text over the previous couple days — a text message indicating that she didn’t want Madison to report the incident to police, but that she would instead go to her doctor to document the injury.

A minute later, Madison called the police to report that Lopez had been abused by Mirkarimi.

Starting an hour later, the records show, Haynes and Lopez called each other but didn’t connect until 3:31, when they had a nearly 14-minute phone conversation, presumably discussing the fact that police had visited the house, with Lopez reportedly giving the phone to Madison at one point so Haynes could talk to her.

Yet the phone records indicate that neither Lopez nor Haynes tried to reach Mirkarimi until after that conversation, despite the city’s claims that Mirkarimi “or his agents” used his power to dissuade witnesses, most notably Lopez and Madison. The first attempt to reach Mirkarimi was at 3:46pm when Haynes called him twice but didn’t connect. Lopez then sent Mirkarimi a text message at 3:53pm asking “Where are you and where is the car,” but she got not reply. She texted him again at 4:18pm to say “Call me. It’s an emergency.”

Lopez made one last appeal to Madison in a 4:18pm phone conservation that lasted four minutes and 27 seconds and then she finally reached Mirkarimi by phone at 4:23pm. Mirkarimi and attorney David Waggoner say this is the first time that he became aware that Lopez had talked to neighbors and that the police had been called. Their conversation lasted a little more than five minutes.

Mirkarimi called Haynes at 5:12pm and they spoke for seven minutes. At 5:51pm, an increasingly panicked Lopez sent a text to Mirkarimi saying, “You have to call [Sheriff Michael] Hennessey and stop this before something happen. Ivory is giving the investigators everything. Use your power.” To which Mirkarimi responded 10 minutes later, “I cannot. And neither can he. You have to reject Madison’s actions. We both do. I cannot involve new people.”

NEW CHARGES

On June 1, the city released an amended list of charges against Mirkarimi that was intended to be a more specific list of accusations, as Waggoner requested during the May 29 Ethics Commission hearing. In it, the city asserts that the charter language essentially gives the city two avenues by which to remove officials, defining distinct “wrongful behavior” and “required conduct” clauses. Violation of either, they contend, is enough to remove an official.

“Official misconduct means any wrongful behavior by a public officer in relation to the duties of his or her office, willful in its character, including any failure, refusal or neglect of an officer to perform any duty enjoined on him or her by law…,” begins the charter language. This “wrongful behavior” section has long been in the charter, referring to specific actions by public officials to neglect their duties.

The second “required conduct” clause of this sentence — which was created in 1996, never vetted by the courts, and which Mirkarimi’s attorneys say is unconstitutionally vague — continues, “…or conduct that falls below the standard of decency, good faith and right action impliedly required of all public officers and including any violation of a specific conflict of interest or governmental ethics law.”

In trying to indict Mirkarimi for actions before he was sworn in as sheriff, the city attempts to argue that his official duties really began with his election, claiming that in this interim period he “had the duty and the power in his official capacity as Sheriff-Elect to work with the Sheriff’s Department and its officials to prepare himself to assume the full duties of Sheriff.” And if that’s not enough, the city argues that he was chair of the Board of Supervisors Public Safety Committee during that same Nov. 8-Jan. 8 time period, further subjecting his actions to official misconduct scrutiny.

The “wrongful actions” charges against Mirkarimi were listed in the document as domestic violence, abuse of office, impeding a police investigation, and “crime, conviction, and sentence,” while the “breach of required conduct” charges were listed simply as his sheriff and supervisorial roles.

The document then attempts to paint an expansive portrait of the Sheriff’s official duties, going beyond the narrow construction of the charter to include the general law enforcement duties listed in state law, interactions with various government and nonprofit groups, administrative responsibilities as a city department head, and passing mentions in the California Family Code that police officers “must enforce emergency protective orders in domestic violence cases.”

Yet the promise that the rest of the document would detail Mirkarimi’s wrongful actions with greater specificity than the previous list of official charges doesn’t seem to be met by this document, which repeats the same narrative of actions that Waggoner had criticized for vagueness.

For example, on the pivotal charge that he dissuaded witnesses and impeded the police investigation, the new charges say that during the period from Dec. 31-Jan. 4, “Sheriff Mirkarimi participated in and condoned efforts to dissuade witnesses from reporting this incident to police and/or cooperating with police investigators,” without describing any specific witnesses or actions that he took.

And by the mayor’s team’s own admissions, the prosecutors don’t know what Mirkarimi did to dissuade witnesses, which they hope to learn through future testimony.

The closest the new document comes to directly tying Mirkarimi’s actions to the official misconduct language is with Mirkarimi’s plea to a misdemeanor false imprisonment charge: “False imprisonment of a spouse is a crime of domestic violence. The California Penal Code considers spousal abuse to be a ‘crime against public decency and good morals.'”

Mirkarimi disagrees with that interpretation, noting that he and his attorneys specifically considered whether pleading to false imprisonment -– a general charge with many possible meanings -– would violate the city’s official misconduct provisions, and he told the Guardian that he was assured by his attorneys it didn’t. Mirkarimi told us he would not have entered the plea and would have instead fought the charges in court if he thought it would disqualify him from serving as sheriff.

Waggoner told us that “The Mayor’s Amended Charges are further evidence that this entire ordeal is a political hatchet job reminiscent of a Soviet show trial. Far from being a careful analysis of any actual evidence, the new charges are vague, redundant, and conflate the offices of Sheriff and Supervisor.”

But ultimately, the case against Mirkarimi is a political one, not a legal case subjected to the normal standards of evidence and procedure. And whether Mirkarimi keeps his job will be a decision made by politicians based on a variety of factors, some of which have little relation to whatever happened on Dec. 31 and Jan. 4.

What’s next: the Ethics Commission will meet on June 19 to rule on more of the outstanding issues in the case and begin hearing testimony. To review the long list of documents from the case, visit www.sfethics.org.

Don’t water down campaign laws

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EDITORIAL The San Francisco Ethics Commission, which is hardly aggressive about cracking down on campaign-finance violations, has suggested some rule changes that would water down the city’s ethics laws. The supervisors should reject most of the suggestions — and start talking about real reform.

The commission has asked Sup. Scott Wiener to bring the changes to the board, and Wiener told us that he has problems with some of them and is going to be working with his colleagues, particularly Sup. David Campos, to fix the package.

It will need a lot of amendments to be acceptable.

The current proposal would make life easier for campaigns and big donors, but would make it harder for the public to figure out who’s putting up the money and where it’s going. For example, it would exempt from the spending cap all money spent complying with the ethics laws. That sounds fair at first glance — but the amounts involved are huge. For a mayoral race, as much as $147,000 would be exempted. That’s a lot of money for “compliance.”

More important, the ethics proposal would eliminate the restrictions on how much a single donor can give in an election season. Right now, the cumulative limit is $500 for each office on the ballot, which limits the impact that a handful of big-money contributors can have on an election. Under the new rule, a wealthy person who wants to make sure that every politician in town owes him or her can donate the maximum to a long list of candidates, giving more power to a few.

Wiener says that under ranked-choice voting, donors should be able to give to more than one candidate for a single office. Fine — but the cap doesn’t have to be eliminated. It could easily be amended to account for RCV.

The plan would somewhat loosen the reporting requirements in the last days of a campaign, eliminating weekend disclosures. It would decrease the transparency rules for campaign committees that shuffle money back and forth to hide its true source. It would aalow more spending by independent committees with less disclosure.

In other words, it would undermine the ability of the voters to know who is funding which candidates and initiative campaigns. There’s no reason to do any of that.

The problem with the current law is not that it requires too much disclosure — it’s that, in many ways, the controls on political money are too weak. And if the supervisors are serious about reform, there’s plenty to be done.

Ethics laws currently bar anyone who is seeking a city contract from donating to local officials. But it’s still perfectly legal for someone seeking a permit or zoning change to throw around cash. And there are endless problems with developers who need city officials on their side. Extending the contribution ban to anyone seeking special zoning or permit approval for any project with construction costs above a certain threshold — say, $10 million — would exclude, say, homeowners who want to build a new deck, but would limit the role of real-estate money in campaigns.

The amendments need eight votes to pass; before it even gets to the full board, the Rules Committee ought to ship this mess back to the Ethics Commission and tell the supposed watchdogs to try again.

Stage Listings

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

THEATER

OPENING

Aftermath Stagewerx, 446 Valencia, SF; www.brownpapertickets.com. $25. Previews Thu/7, 8pm. Opens Fri/8, 8pm. Runs Thu-Sat, 8pm. Through June 30. Theatre, Period presents Jessica Blank and Erik Jenson’s docu-drama, based on interviews with Iraqi civilians forced to flee after the US military’s arrival in 2003.

Lips Together, Teeth Apart New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Wed/6-Fri/8, 8pm. Opens Sat/9, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Terrence McNally’s play about two straight couples spending July 4 amid Fire Island’s gay community.

Reunion SF Playhouse, Stage Two, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20. Previews Wed/6-Thu/7, 7pm; Fri/8, 8pm. Opens Sat/9, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm. Through June 30. SF Playhouse presents a world premiere drama by local playwright Kenn Rabin.

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

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Previews Fri/8 and June 15, 8pm; Sat/9, 8:30pm. Opens June 16, 8:30pm. Runs Sat, 8:30pm; June 22, 8pm. Through July 21. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

BAY AREA

Wheelhouse TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Previews Wed/6-Fri/8, 8pm. Opens Sat/9, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2); Sun, 2 and 7pm. Through July 1. TheatreWorks’ 60th world premiere is a musical created by and starring pop-rock trio GrooveLily.

ONGOING

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

The Full Monty Eureka Theatre, 215 Jackson, SF; www.roltheatre.com. $25-36. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 30. In desperate times, how far would you go to turn a buck? The central premise of the 1997 movie and its namesake musical comedy The Full Monty, the answer to this question is right in the title, which limits the suspense, but amps up the expectations. Set not in Sheffield, England as in the movie, but the similarly economically challenged climate of Buffalo, New York circa the late nineties, the comical romp follows a group of unemployed steel workers who decide, rather optimistically, that spending one night as exotic dancers will solve their immediate financial woes. Banish all notions of a Hot Chocolate sing-along; the soundtrack of the stage musical has little in common with its cinematic predecessor, but there are a couple of toe-tappers, particularly the songs writ for the ladies: a belter’s anthem for their spry but elderly accompanist Jeanette (Cami Thompson), a snarky commentary on male beauty, “The Goods,” for the ensemble. On opening night, Ray of Light’s production ran about 15 minutes long after a late start, and the tempo seemed sluggish in parts, but once it hits its stride, The Full Monty should provide a welcome antidote to the ongoing, we’re-still-in-a-recession blues, red leather g-strings and all. (Gluckstern) Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Thu/7, 8pm; Sat/9, 8:30pm; Sun/10, 7pm. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

100 Saints You Should Know Thick House, 1695 18th St, SF; www.therhino.org. $10-30. Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 3pm. Through June 17. Theatre Rhinoceros performs Kate Fodor’s comedy-drama about family love, homosexuality, and adolescence.

Othello Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. $15-18. Thu/7-Sat/9, 8pm. Ninjaz of Drama performs Shakespeare’s classic in a contemporary setting.

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

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Extended run: June 14 and 21, 7:30pm; June 15-16 and 22-23, 8pm (also June 16 and 23, 2pm); June 18 and 24, 5pm. Annie Elias and Cutting Ball Theater artists present a world premiere “documentary theater” piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

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

BAY AREA

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

Crevice La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu/7-Sat/9, 8pm. Just in case you were feeling panicked about the persistently recessed state of the economy and what might be your own less than ideal place in it, the Impact Theatre and Playground co-presentation of Lauren Yee’s Crevice might help to put your woes into perspective. That’s because slacker sibs Liz (Marissa Keltie) and Rob (Timothy Redmond) are only slightly exaggerated representatives of Generation Next whose penchant for making lackluster life choices has sentenced them to an indefinite prison term of couch-surfing and Teen Mom marathons in their childhood home. Naturally, they desire change, but it’s not until their mother (Laura Jane Bailey) starts having a hot fling with a younger man that things do. In an egregious breach of the TMI line, it appears that Mom’s orgasms open a “crevice” into an alternate reality that Rob and Liz subsequently fall into. Thus removed from the entropy of their former reality they begin testing the parameters of their new one, quickly coming to the realization that sometimes the alternatives to what you already have are even worse. Getting home again is a convoluted, not fully mapped-out process, but in the interim, their navigation of their erstwhile wonderland offers most of the play’s best lines as well as the uncomfortably effective transformation of Reggie D. White from Liz’s nerdish best buddy to multi-lingual Mafia killer and casual sadist. (Gluckstern)

God of Carnage Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $34-55. Tue and Thu-Sat, 8pm (also June 16, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through June 17. Marin Theatre Company performs Yasmina Reza’s Tony-winning comedy about two sets of parents who meet after their children get into a schoolyard fight.

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

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

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

The Tempest Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; (510) 809-3290, www.calshakes.org. $35-71. Tue-Thu, 7:30pm; Fri-Sat, 8pm (also June 23, 2pm); Sun, 4pm. Through June 25. California Shakespeare Theater opens its season with this dance-filled interpretation of the Bard’s classic tale.

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

PERFORMANCE/DANCE

American Foundation for Equal Rights benefit Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; www.brownpapertickets.com. Mon/11, 8pm. $25-50. BATS Improv and Tom Bruett of marriageequalityplays.com present short plays by local playwrights, plus an improvised short play, on the theme of marriage equality.

“Beef Cake Comedy Show” Deco Lounge, 510 Larkin, SF; www.decosf.com. Sun/10, 8pm. $10. Comedy music group Saw Dem Eyes headlines this night of “straight guys telling jokes with their shirts off.”

“The BY Series” ODC Theater, 3153 17th St, SF; www.odcdance.org. Thu-Sat, 8pm; Sun, 2pm. Through June 17. $25. Robert Moses’ Kin Dance Company presents work by guest choreographers Molissa Fenley, Ramon Ramos Alayo, and Sidra Bell, plus the world premiere of Moses’ Scrubbing the Dog.

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

“Elementary, My Dear Watson, It Was Crack” Purple Onion, 140 Columbus, SF; (415) 956-1653. Thu/7, 9pm. $20. Comedian Will Franken performs his latest one-man sketch comedy show.

“A Funny Night for Comedy” Actors Theatre of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/10, 7pm. $10. Natasha Muse and Ryan Cronin host a comedy talk show, followed by “A Funny Night for Improv” at 9pm.

“Feel the Power of the Dork Side” Exit Theatre, 156 Eddy, SF; www.brownpapertickets.com. Fri/8-Sat/9, 8pm. $15. Engineering professor by day, stand-up comedian by night: Dr. Pete Ludovice performs his solo show.

“Get In Front” Herbst Theater, 401 Van Ness, SF; www.getinfront.org. Wed/6, 7pm. $35-250. A benefit for Cancer Prevention Institute of California, this event features performances by principal dancers from San Francisco Ballet, Alonzo King LINES Ballet, ODC/Dance, and more.

“House of Matter” Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Fri/8-Sat/9, 8pm; Sun/10, 7pm. $15-25. Nicole Klaymoon’s Embodiment Project presents its latest installment of urban dance theater.

“Idina Menzel: Barefoot at the Symphony” Davies Symphony Hall, 201 Van Ness, SF; (415) 864-6000. Thu/7, 8pm. $69.50-125. The Tony winner performs a show of Broadway and modern pop songs.

“Kunst-Stoff Arts/Fest 2012” Kunst-Stoff Arts, One Grove, SF; kunststoffartsfest2012.eventbrite.com. Thu/7-Sat/9 (Program One) and June 14-16 (Program Three), 8:30pm; Tue/12, 8pm (Program Two). $15. Program one: Dance Elixir and Kunst-Stoff Dance Company; program two: Silvia Girardi performing multimedia theater work All I Wanted to Say; program three: Bruno Augusto and Meisha Bosma.

“Performance Night at the Strand” Strand Theater, 1127 Market, SF; maryarmentroutdancetheater.com. Fri/8, 8:15pm. Free (donations accepted). Mary Armentrout Dance Theater, Oakland’s Milkbar, and Paz de la Calzada present an evening of site-specific performances and installations inspired by de la Calzada’s mural on the shuttered Strand Theater.

“R16 North American B-Boy Championships” Palace of Fine Arts Theater, 3301 Lyon, SF; www.r16usa.com. Sat/9, 2-6pm. $10-25. Come check out dancers popping, locking, and otherwise vying to represent North America at the Supreme World Championship finals in South Korea.

San Francisco Ethnic Dance Festival de Young Museum, 50 Hagiwara Tea Garden, Golden Gate Park, SF; www.worldartswest.org. Sat/9, 2pm. $15. Artist dialogue with “American Tribal Style Belly Dance” creator Carolena Nericcio, followed by a performance by FatChanceBellyDance. Also Sun/10, 2pm, Asian Art Museum, 200 Larkin, SF; www.worldartswest.org. Sun/10, 2pm. Free with museum admission ($7-12). Shamanic dance performace by Korean dance master Il Hyun Kim.

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

“Talkies” Artists’ Television Access, 992 Valencia, SF; www.atasite.org. Fri/8, 8pm. $6. Stand-up comedy and short comedic films hosted by Anna Seregina and George Chen.

“Voca People” Marines’ Memorial Theatre, 609 Sutter, Second Flr, SF; www.marinesmemorialtheatre.com. Tue-Fri, 8pm; Sat, 6:30 and 9:30pm; Sun, 3 and 6pm. Through June 17. $49-75. A capella from outer space.

“X” Garage, 715 Bryant, SF; www.brownpapertickets.com. Wed/6-Thu/7, 8pm. $10-20. Australian performer Sunny Drake presents his new show in conjunction with the National Queer Arts Festival.

BAY AREA

“Jazz Hams” Odell Johnson Performing Arts Center, Laney College, 900 Fallon, Oakl; www.brownpapertickets.com. Sat/9, 8pm; Sun/10, 1pm. $10. The plus-sized performers of Big Moves present a new, full-scale production featuring an array of dance styles.

The funny money against Prop. B

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Credit where it’s due: My competitor and sometimes journalistic adversary Joe Eskenazi has a nice little piece on the weird money behind the campaign against Prop. B, a policy statement about the privatization of Coit Tower. He points out that such varied groups as the California Dental Association and the San Manuel Band of Mission Indians have coughed up money to protect the right of San Francisco officials to close Coit Tower to the public and rent it out for fancy corporate parties.

And how exactly did that happen?

Well, Eskenazi manages to tie Willie Brown into it. (He also calls this “Nimby against the Swells,” which isn’t quite fair — I don’t think the supporters of Prop. B are trying to keep anything out of their back yards. If anything, they want more noisy tourists and fewer quiet, subdued rich-people events. And I don’t think the “swells” are against it as much as the mayor, his Rec-Park director and big businesses that generally back the privatization of public resources.)

But there’s another interesting twist: I’m not sure the folks who gave to the Golden State Leadership Fund Political Action Committee, which is running a No on B independent expenditure, had any clue where their money was going.

Sure, the Chamber of Commerce and BOMA know what’s up, and it’s pretty clear why they like the idea of raising money for the parks by holding exclusive private events instead of by raising taxes. But the Indians? And the dentists? By what possible stretch do they care about a San Francisco ballot measure that has nothing to do with Native American rights or oral health?

Eskenazi may be right — maybe Brown called the Indians and asked, and they threw the money his way to help his buddy the mayor (while keeping the mayor’s fingers out of this particular political pie). But the Golden State Leadership PAC, through which all this money flowed, has been around for years and gives money to candidates all over the state. (It’s definately something of a slush fund for local races — files in the Secretary of State’s office show that in 2008, money from Pacific Gas and Electric Co. flowed in and out of the PAC as it ran a campaign against the San Francisco public-power measure, Prop. H. PAC money went to David Chiu, Phil Ting and Ed Lee for mayor.) It’s based in West Hollywood and the treasurer is a guy named William Molina.

I called the San Manuel Band of Mission Indians and the California Dental Association and asked them why there were helping fund a campaign against Prop. B in San Francisco. The press person at the dental group apparently had no idea what I was talking about and asked for more details about the contribution. I gave her the date and the PAC and I haven’t heard back.

The Indians didn’t seem to clear on Prop. B, either. Kenneth Shoji, a spokesperson for the group, told me by email:

The San Manuel Band of Mission Indians made a contribution of $25,000 to the Golden State Leadership Fund PAC with the expectation of helping to support candidate(s) for public office in the 2012 elections.  We do not control where or how the PAC might extend its support beyond that.

In other words: This Coit tower thing is news to us.

UPDATE: I got essentially the same message from the dentists. Alicia Malaby at the CDA writes:

 When an organization such as CalDPAC contributes to an independent expenditure committee, that committee may spend money on races and issues that CalDPAC supports, but may also spend money on other campaigns. CalDPAC does not control how those committees spend money, and in this case, CalDPAC has no interest in and no position on Proposition B.

UPDATE TWO: Ron Cottingham at PORAC just called me and said his group has no position on or interest in Prop. B. The money that went to the PAC was earmarked to support Rob Bonta for Assembly in the East Bay. Presumably the PAC folks keep track of such things.

Maybe not. Maybe Willie or someone else made a call. It happens all the time.  I mean, somebody clearly was raising money for this PAC, which right now isn’t doing a hell of a lot besides No on B in San Francisco. (Oh, I called Brown, too. He hasn’t called back. He never does. I still always try.)

Either way, it’s a classic San Francisco political story — and it reflects how muddy and corrupt local politics can still be, even in an era of electronic disclosure and ethics laws. Why, if the dentists and Indians don’t like Prop. B, didn’t they (or any of the others in the PAC) create a No on B committee, disclose who was behind it and let the voters know a little more about the real money trail? Why funnel all this cash through a little-known Southern California PAC?

And for that matter, why is there a sudden influx of late money in this race? Has the mayor and the Chamber types suddenly discovered that Prop. B might pass — and might set a precedent against future privatization efforts?

June 5 is Election Day. Vote early and often.

 

 

 

 

 

Vote yes on Prop A for competitive bidding for garbage and against Recology monopoly

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As a reporter for the old Redwood City Tribune in 1965 or so, I got a call one day from the late  Luman Drake, then an indefatigable environmental activist in Brisbane.  “Bruce,” he said, “you are good at exposing scandals on the Peninsula, but you have missed the biggest scandal of them all. Garbage, garbage in the Bay off Brisbane, garbage alongside the Bay Shore going into San Francisco.”

He then outlined for me, his voice rising in anger, how the scavengers of an early era had muscled through a longtime contract to dump San Francisco’s garbage into the bay alongside the Bay Shore freeway.  And, he said, they are still doing it. Why can’t you fight it? I asked naively.

“Fight it, fight it,” he replied. “The scavengers are the most powerful political force in San Francisco and there’s not a goddamn thing we can do about it.” I checked out his story, then and through the years, and he was right.  Everyone driving in and out of San Francisco could watch with horror  for years as the scavengers kept dumping San Francisco garbage into a big chunk of the bay.  (Note the oral history from Drake and then Mayor Paul Goercke and others who fought the losing fight for years to kick out the scavengers from Brisbane.) http://legendarymarketingenius.com/oralhistorySBMW.html)

Five decades later, the scavengers are still a preeminent political power in San Francisco. The scavengers (now Recology) have operated since 1932 without competitive bidding, without regulation of its high residential and commercial rates, without a franchise fee, and without any real oversight. Finally, after all these years as king of the hill, Recology’s monopoly is being challenged by Proposition A, an initiative aimed at forcing Recology for the first time to undergo competitive bidding and thereby save city residents and businesses millions of dollars  in rates and service.

Let me say up front that I salute former State Senator and retired Judge Quentin Kopp and Tony Kelly, president of the Potrero Hill Boosters and the Guardian’s candidate for District l0 election (Potrero Hill/BayView/Hunters Point). They have taken this measure on when nobody else would, without much money or resources, and up against  a $l.5 million campaign by Recology and enormous, nasty political pressure.  I also salute those who publicly signed on to their brochure: Coalition for San Francisco Neighborhoods, San Francisco Tomorrow, SF Human Services Network, David Bisho,Walter Farrell, George Wooding, Irene Creps, Alexa Vuksich, the San Francisco Examiner, SF Appeal.com, and the Guardian. 

I was delighted to get a Yes on A brochure at my house in West Portal and find that Kopp and Kelly et al had money enough to make a strong statement in a strong  campaign mailer.  Kopp and Kelly persuasively summarized the key points for A and against more galloping  Recology monopoly in the brochure.  Meanwhile, the  Recology forces have been  using  gobs of money, a massive mail campaign, robot calls, and deploying the kind of political muscle their predecessors used to keep dumping garbage in the bay off Brisbane for decades. Since the Yes on A camp has trouble cutting through the cannonading and the flak, let me lay out the A  arguments verbatim from its brochure.

Question in the brochure:  “Why is Recology spending millions to buy this election? Recology has contributed $l,580,292.70 against Prop A. (Form 460 SF Ethics Commission.” Answer in the brochure;  “So they can raise your garbage rates after the election! ‘San Francisco Prepares For Recology to Raise Garbage Rates’ (Contract is Proof Recology Plans to Hike Garbage Rates Following Election’”) Then they laid out l0 reasons to vote Yes on A.

1. “71 Bay Area cities have competitive bidding or franchise agreements for garbage services. Because San Francisco doesn’t, residential trash collection rates have increased 136% in the last 11 years, with another massive increase coming after the election! We pay more than twice as much for garbage and recycling as San Jose, a city with twice the land and about 400,000 more people.

2. “The garbage collection/recycling monopoly now grosses about $220 million per year from the city’s residents and businesses, without any regulation of commercial rates.

3. “How did we end up paying so much? In 2001 the monopoly requested a 52% rate increase, Department of Public Works staff recommended 20% and the then DPW director (now Mayor) Ed Lee granted a 44 %rate increase. That’s why the Examiner said: ‘no-bid contracts generally make for dirty public policy, and this includes…The City’s garbage collection monopoly…’

4. “Don’t believe the monopoly’s 78% recycling rate claim backed only by its puppet city department. A former Recology recycling manager has testified under oath that fraudulent reporting, excessive state reimbursements and even kickbacks to and from Recology employees are behind this bogus claim.  Another ‘whistleblower’ has revealed that even sand removal from the Great Highway was included in this 78%.

5. “With a far smaller population, Oakland receives $24 million each year as a franchise fee, which supports city services and prevents other tax and fee increases.  San Francisco receives zilch from the monopoly holder in franchise fees for our General Fund.

6. “Proposition A is on the ballot through citizen/ratepayer time and effort, in the face of intimidation and harassment by the monopoly’s agents and its multi-million dollar campaign against it.

7. “Proposition A is simple: it authorizes the Director of Public Works and the Board of Supervisors’ Budget Analyst to prepare competitive bidding regulations for residential and commercial collection, recycling, and disposal, by modifying an outdated 1932 ordinance.

8. “Like all other competitive-bid city contracts, the winning garbage service bid will be ratified by the Board of Supervisors without any political tinkering.  The winning bid will contain the best deal for city ratepayers.

9. “If the monopoly is truly the corporation portrayed in its expensive campaign to defeat Prop A, it would easily win every bid.  As the Examiner stated last year, ‘…contracts won by competitive bidding are always better for the public in the long run.’

10. And then the list of endorsers ‘and tens of thousands of other ratepayers.’”

Kopp and Kelly et al are providing a major public service by challenging an arrogant monopoly of an essential public service and keeping alive the concept of competitive bidding on city contracts in San Francisco.   I drink to them from a pitcher of Potrero Hill martinis. Vote early and often for Prop A.  B3

Dick Meister: Two big tests for labor

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By Dick Meister

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

Helping get President Obama re-elected tops organized labor’s political agenda. But for now, unions are rightly focusing on special elections this month in Wisconsin and Arizona, where other labor-friendly Democrats are being challenged by labor foes.

Coming up first, on June 5, is the Wisconsin election to recall Republican Gov. Scott Walker, who’s been labor’s public enemy No. 1 for his blatant anti-union policies. He’s been acclaimed by anti-labor forces nationwide and as widely attacked by labor.

Both sides see the election as highly symbolic, a possible guide for those seeking to limit the union rights of public employees and other workers or, conversely, for those attempting to halt the spread of Walker-like attacks on collective bargaining in private and public employment alike.

There are many reasons for replacing Walker with his recall election opponent, Democratic Mayor Thomas Barrett of Milwaukee. The AFL-CIO has come up with about a dozen reasons, headed by Walker’s severe limiting of the bargaining  rights of Wisconsin’s 380,000 public employees – a key action that helped trigger what Obama has described as a national “assault on unions.”

The AFL-CIO also complains that Walker has:

*”Led Wisconsin to last place in the nation in job creation.”

*”Disenfranchised tens of thousands of young voters, senior citizens and minority voters with voter suppression and voter ID laws.”

*”Put the health care coverage of 17,000 people at risk with unfair budget cuts.”

*”Allowed the extremist, corporate-backed American Legislative Council to exercise extraordinary influence.”

*”Made wage discrimination easier by repealing Wisconsin’s Equal Pay enforcement law.”

*”Attacked public workers’ retirement security.”

*”Blocked the path of young workers to middle class jobs by repealing rules on state apprenticeship programs.”

*”Killed the creation of more than 15,000 jobs when he rejected $810 million in federal  funds to construct a passenger rail system between Milwaukee and Madison.”

*”Sponsored new tax breaks for the wealthy and corporations that will cost the state $2.4 billion over the next 10 years.”

*”Proposed cuts to the state’s earned income tax credit that will raise taxes on 145,000 low-income families with children.”

Despite all that – and more – polls show the recall vote could go either way, with lots of campaign funding for Walker flooding in from  corporations and other union opponents across the country.

Unions have lots of tough campaigning ahead, as they do in Arizona. There, on June 12, a special election will determine who will serve in the Congressional seat held for three terms by Democrat Gabrielle Giffords. She resigned in mid-term this year while still recovering from the serious wounds she suffered during a 2011 shooting in Tucson in which six people were killed.

Ron Barber, a Giffords’ staffer who was wounded in the Tucson attack, will challenge Republican Jesse Kelly in the race to elect a representative to serve the rest of Giffords’ term. Kelly, who ran a close losing race against Giffords in 2010 , opposes  much of what the AFL-CIO supports.

The labor federation is especially unhappy with Kelly’s support for GOP proposals in Congress “which would turn Medicare into a voucher system,” and for getting $68 million in federal stimulus funds for his family’s construction firm while at the same time attacking Obama for creating the stimulus program.

Apparently, says the AFL-CIO, “Kelly lining his own pockets with stimulus dollars is proper. Everything else is socialism.” The AFL-CIO is likewise unhappy with Kelly’s endorsement by organizations considered “extremist and racist” by civil rights groups.

Like labor, Barber is a strong supporter of Social Security and Medicare. But Kelly says that Social Security is a “giant Ponzi scheme” and that Medicare recipients are “on the public dole.”

He’s said health care is a “privilege” and so presumably should not be a government-guaranteed right, and claimed that “the highest quality and lowest cost can only be delivered without the government.”

Kelly wants to reduce the Federal Drug Administration “as much as humanly possible.” He’s also advocated an end to government food safety inspections, leaving individuals to do their own inspections rather than rely on “the nanny state” to do it for them.

No wonder labor is mounting major campaigns against Kelly in Arizona and Walker in Wisconsin. Labor victories are needed there to help protect unions, their members and many others from attempts to weaken the rights, protections and other essential aid provided through government.

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

Why is a NY real estate developer targeting Prop. 28?

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Why is a New York real estate developer putting up more than half a million dollars to try to crush California’s term-limits reform initiative?

Seriously: Howard Rich and his family and associated companies have poured $654,880 into preventing state legislators from serving 12 years in one house. It’s a relatively modest change in the law, which now allows three terms in the Assembly and two in the Senate. Total amount of time as an elected legislator is actually reduced (since many Assembly members set their sights on the Senate almost as soon as they’re elected).

And 12 years is enough time to learn how the system works, to encourage longer-term thinking on the budget — and to reduce the role that paid lobbyists play in setting the legislative agenda.

Which may be why Mr. Rich, a libertarian and private-property-rights nut  who doesn’t like the “radical agenda of the left” and runs Americans for Limited Government, is willing to put up a relatively huge sum of cash for an election that’s happening on the other side of the country.

But it ought to give Californians pause — a guy like this is trying to dominate a low-turnout election in the interest of keeping Sacramento safe for big business. One more reason to get out and vote June 5.

Election turnout expected to be less than 40 percent

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If they held an election and nobody noticed, would it still count? Because that’s what this Tuesday’s presidential primary election is starting to feel like: the election that everyone ignored.

Okay, okay, not everyone is ignoring this election. San Francisco Elections Director John Arnst tells us that his department has received about 55,000 mail-in ballots so far out of the nearly 217,000 they sent out, a turnout of about 25 percent. And 1,110 voters have cast their ballots in person during early voting at City Hall as of this afternoon, a level lower than the 2010 or 2008 primaries “by quite a bit,” Arnst said.

That’s not really surprising given that both major political parties have already chosen their presidential candidates, there are no other offices being seriously contested, and the rest of the ballot consists of the Democratic County Central Committee (and its Green and Republican parties counterparts) races and a pair each of ho-hum statewide and local ballot measures. The most interesting one is Proposition A, which seeks to break Recology’s waste collection monopoly in San Francisco by requiring competitive bidding.

“If the garbage issue is the most exciting issue on the ballot, you know it’s the most boring election ever,” says Tony Kelly, who is leading the campaign for Prop. A.

With the exception of a press conference that Kelly and other Prop. A supporters held last week to accuse Recology of being complicit in an alleged recycling kickback scheme by some of its employees, there’s been little to indicate Prop. A has much chance of success given that almost every endorsing group (except the Guardian) opposes the measure.

“Goliath doesn’t lose very often, and we’re being outspent 100 to one,” Kelly said, expressing hopes that the measure can at least garner 35-40 percent of the vote to send a message that Recology should work with the city to allow competitive bidding on some of its contracts.

But with turnout expected to be low, Recology isn’t taking any chances. Its political consultant, Eric Potashner, says the campaign has been assembling up to a couple hundred volunteers and its SoMa headquarters each weekend and “we’re doing the full grassroots outreach.” He expressed confidence that the measure will be defeated: “Folks have been well educated on this issue.”

Arnst estimates that this will be a historically low turnout election: “Top end right now, comparing the last three presidential primaries, I’m looking at 40 percent as the top turnout possible.”

But you know what that means, right? Your vote could be more decisive than ever, particularly for the 24 members of the DCCC, the outcome of which could move the ideological center of that body before its important endorsements in the fall Board of Supervisors races. So click here to take a look at the Guardian’s endorsements and don’t forget to vote.

THE CLEAN SLATE

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>>Read our full endorsements here

President
Barack Obama

US Senate
Dianne Feinstein

US Congress, District 2

Norman Solomon

US Congress, District 12
Nancy Pelosi

US Congress, District 12
Barbara Lee

US Congress, District 13
Jackie Speier

State Senate, District 11
Mark Leno

State Assembly, District 17
Tom Ammiano

State Assembly, District 19

Phil Ting

Democratic County Central Committee

District 17 (East Side)

John Avalos
Matt Dorsey
Petra DeJesus
Jamie Rafaela Wolfe
Chris Gembinski
Alix Rosenthal
Leslie Katz
Gabriel Robert Haaland
Rafael Mandelman
Carole Migden
Justin Morgan
David Campos
David Chiu
Leah Pimentel

District 19 (West Side)

Mike Alonso
Wendy Aragon
Kelly Dwyer
Peter Lauterborn
Hene Kelly
Arlo Smith
Eric Mar
Trevor McNeil
Chuck Chan
Kevin Bard

STATE BALLOT MEASURES

Proposition 28
YES

Proposition 29
YES

SAN FRANCISCO BALLOT MEASURES

Proposition A
YES

Proposition B
YES

EAST BAY ENDORSEMENTS

State Senator, 9th District
Loni Hancock

State Assembly, 15th District
Nancy Skinner

State Assembly, 18th District
Abel Guillen

Superior Court, Office Number 20
Tara Flanagan

County supervisor, 5th District
Keith Carson

Tricky sings

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MUSIC Compared with the smooth operator currently installed in the Oval Office, how nervous Richard Nixon looks now as a representative of America abroad, all stiff grins, rumpled shiftiness, outbursts of awkward rhetoric. Reviewing vintage footage of him recently, I half expected a rappin’ granny to suddenly appear, and goofy Uncle Dick to start “breaking it down.” And yet, 40 years after California’s second-most problematic political progeny (pace, zombie Reagan) went to Beijing to “open China” — ending 25 years of separation and going on to win re-election in a landslide, despite the growing Watergate scandal — might it be time to look past the jerky, jowly image of Tricky Dick and reassess the character of the man and the moment, to keep us on our toes?

“Nixon was an incredibly complicated man, whose intellect constantly got in his way,” Canadian opera director Michael Cavanagh told me over the phone during a wide-ranging interview. “And it’s especially relevant to examine him now in that light, with a certain distance of history. We tend to stop at the jowls, the scandal, and the Republicanism. But it’s often been remarked during this election cycle that there’s no way in hell Nixon would ever be considered for the Republican ballot now. He was too small ‘r’ republican, too centrist. So there’s this complexity to him that confronts lefties with their own stereotypes, assuming most patrons of the arts lean left. That’s something I really like.”

Cavanagh’s complexifying occasion will be his production of John Adams’ 1987 Nixon in China, part of the San Francisco Opera’s nifty-looking summer season. The opera, with a luminescent libretto by poet Alice Goodman and an engrossing, fever-dream score by Adams, whose melodies, time signatures, and musical reference points churn and shift like memory itself, takes us from the moment Nixon’s Spirit of ’76 touches down on the tarmac (Kissinger in tow), through his historic meetings with Chou En-Lai and Mao Tse-Tung, along with First Lady Pat on an eventful factory tour, and finally into the major characters’ bedrooms, memories, and fantasies. It’s a sensually intoxicating work, full of barnstorming arias sung by a multi-ethnic cast (you will have “I am the wife of Mao Tse-Tung” stuck in your head for days) that examines media spectacle, modern myth-making, and cultural difference on a truly, well, operatic scale.

San Francisco Bay Guardian Nixon was Californian, Adams is a longtime Bay Area resident. It’s the 40th anniversary of the China visit, and also an insanely contentious election year. The Bay Area as a huge Chinese population — many families escaped Mao’s Cultural Revolution. Do you feel any particular pressure bringing this production here, now? 

Michael Cavanagh I feel a tremendous amount of responsibility, but I also feel a lot of freedom. Of course, the events the opera depicts and its roots in the Bay Area will resonate, and that’s hugely exciting. But this isn’t a documentary, it’s a rumination, more of a poem. As Nixon says in the beginning of the opera, “News has a kind of mystery” — and I feel that’s what Adams and Goodman were really expanding upon with this.

I do think that this production, especially, will bring up memories for a lot of people. I myself had an inkling of this whole thing happening when I was really young — it’s something that a lot of the world shares, a memory of this iconic moment, even if that memory is only a glimpse of pavement or a handshake, kind of like my own. The opera works with that abstraction, those fuzzy frames of memory that overlay images of the past, while still sharpening some of the more historically relevant moments. I hope people can relate to it on all of those levels.

SFBG Twenty-five years separate us from the opera’s premiere in Houston in 1987 — and yet China remains, to use a slightly loaded term, as inscrutable as ever to many Americans, yet as enmeshed in their daily lives as ever. What relevance do you think the opera may hold today?

MC I think it has an eerie relevance. Even back when Nixon in China premiered, China was still remote and threatening to many, and this was before the reform machine revved into life, before China’s emerging economic dominance. In one scene, in Mao’s library, Mao goes off quite poetically about the revolution, and how things were changing, and he plays fast and loose with the concepts of capitalism and communism, almost as if he foresees the necessary reforms ahead, that came to pass.

Beyond that, the opera is very prescient about the evolution of the media — this was one of the first major world events to be broadcast on a global scale, to be covered as the kind of spectacle we base much of our opinions and thoughts on today. We think of Nixon as shifty-eyed, but he was really just trying to figure out where the cameras were most of the time, trying to acclimate to this new kind of fishbowl environment in which political figures were treated like movie characters. The opera records the beginnings of all that, and ends with them reviewing their memories of everything that’s occurred as if it was all this footage, which it is quite actually on stage.

Basically, though, the deepest relevance a work can have is by connecting to the audience through its characters. Take Pat Nixon. We hurt for Pat Nixon. She’s been betrayed. Nixon promised her a simple home life, the comforts of family and a man at home, and here she is traveling all the way to China! She’s bewildered, but as First Lady there’s really no place for that, so she forges her own, I think very American kind of resolve that cracks a couple times, but still gets her through.

It’s a very poignant psychological and emotional study, projected on the world stage, and amplified as only opera can. That’s what opera does better than any other art form: it amplifies life.

SFBG You’re a Canadian — have you caught any flack for interpreting these events that are so associated with the US?

MC You know, despite appeals to the contrary, our two countries really share the same history. This version of the opera was premiered in Vancouver during the Olympic Festival — it’s what Canada chose to represent itself will to the entire world. And when it comes down to it, really, everything you do effects us Canadians just as much. We sleep with the elephant. *

NIXON IN CHINA

June 8-July 3, times and prices vary

War Memorial Opera House

301 Van Ness, SF.

(415) 861-4008

www.sfopera.com

 

Stage Listings

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

100 Saints You Should Know Thick House, 1695 18th St, SF; www.therhino.org. $10-30. Previews Thu/31, 7:30pm and Fri/1, 8pm. Opens Sat/2, 8pm. Runs Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 3pm. Through June 17. Theatre Rhinoceros performs Kate Fodor’s comedy-drama about family love, homosexuality, and adolescence.

BAY AREA

Black n Blue Boys/Broken Men Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Opens Wed/30, 8pm. Runs Tue, Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 7pm). Through June 24. Berkeley Rep presents a world premiere from writer-performer Dael Orlandersmith (a Pulitzer finalist for 2002’s Yellowman).

The Tempest Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; (510) 809-3290, www.calshakes.org. $35-71. Previews Wed/30-Fri/1, 8pm. Opens Sat/2, 8pm. Runs Tue-Thu, 7:30pm; Fri-Sat, 8pm (also June 23, 2pm); Sun, 4pm. Through June 25. California Shakespeare Theater opens its season with this dance-filled interpretation of the Bard’s classic tale.

ONGOING

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

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

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

Othello Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. $15-18. Thu-Sat, 8pm. Through June 9. Ninjaz of Drama performs Shakespeare’s classic in a contemporary setting.

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

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

BAY AREA

Crevice La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm. Through June 9. Just in case you were feeling panicked about the persistently recessed state of the economy and what might be your own less than ideal place in it, the Impact Theatre and Playground co-presentation of Lauren Yee’s Crevice might help to put your woes into perspective. That’s because slacker sibs Liz (Marissa Keltie) and Rob (Timothy Redmond) are only slightly exaggerated representatives of Generation Next whose penchant for making lackluster life choices has sentenced them to an indefinite prison term of couch-surfing and Teen Mom marathons in their childhood home. Naturally, they desire change, but it’s not until their mother (Laura Jane Bailey) starts having a hot fling with a younger man that things do. In an egregious breach of the TMI line, it appears that Mom’s orgasms open a “crevice” into an alternate reality that Rob and Liz subsequently fall into. Thus removed from the entropy of their former reality they begin testing the parameters of their new one, quickly coming to the realization that sometimes the alternatives to what you already have are even worse. Getting home again is a convoluted, not fully mapped-out process, but in the interim, their navigation of their erstwhile wonderland offers most of the play’s best lines as well as the uncomfortably effective transformation of Reggie D. White from Liz’s nerdish best buddy to multi-lingual Mafia killer and casual sadist. (Gluckstern)

God of Carnage Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $34-55. Tue and Thu-Sat, 8pm (also Sat/2 and June 16, 2pm; Tue/7, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through June 17. Marin Theatre Company performs Yasmina Reza’s Tony-winning comedy about two sets of parents who meet after their children get into a schoolyard fight.

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

The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through June 10. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

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

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

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

PERFORMANCE/DANCE

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

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

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

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

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

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

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

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

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

“Voca People” Marines’ Memorial Theatre, 609 Sutter, Second Flr, SF; www.marinesmemorialtheatre.com. Tue-Fri, 8pm; Sat, 6:30 and 9:30pm; Sun, 3 and 6pm. Through June 17. $49-75. A capella from outer space.

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

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

BAY AREA

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

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

 

Stage Listings May 23-29, 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

Othello Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. $15-18. Opens Thu/26, 8pm. Runs Thu-Sat, 8pm. Through June 9. Ninjaz of Drama performs Shakespeare’s classic in a contemporary setting.

Slipping New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Wed/23-Fri/25, 8pm. Opens Sat/26, 8pm. Runs 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.

BAY AREA

God of Carnage Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $34-55. Previews Thu/24-Sat/26, 8pm; Sun/27, 7pm. Opens Tue/29, 8pm. Runs Tue and Thu-Sat, 8pm (also June 2 and 16, 2pm; June 7, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through June 17. Marin Theatre Company performs Yasmina Reza’s Tony-winning comedy about two sets of parents who meet after their children get into a schoolyard fight.

ONGOING

“Best of PlayGround 16: A Festival of New Writers and New Plays” Thick House, 1695 18th St, SF; www.playground-sf.org. $10-40. Thu/24-Sat/26, 8pm; Sun/27, 7pm. Seven short plays and musicals by Bay Area authors, plus a staged-readings series.

“DIVAfest” Exit Theatreplex, 156 Eddy, SF; (415) 673-3847, www.theexit.org. $15-25. Through Sun/27. Entering its second decade, the estrogen-centric DIVAfest at the Exit is so jam-packed with activities — workshops, burlesque, symposiums, readings, singer-songwriter nights — you’d be forgiven for not realizing that plays are also on the menu. But in fact, they are the main course. This year’s smorgasbord features three very different solo shows, each encapsulating a wholly unique female voice. Genevieve Jessee’s Girl in, but not of, the ‘Hood, which won a “Best of the Fringe Festival” award in 2011, has since been reworked with a new director, Exit Theatre stalwart Michelle Talgarow, rendering it sharper and more comic without minimizing the inner turmoil experienced by the main character, Jessee herself. Catherine Debon’s Alma Colarada, which also won a “Best of the Fringe” in 2011, is an emotionally-charged, experimental roller-coaster ride that appropriately begins and ends on a train. Detailing a family history fraught with World War II resistance fighting, concentration camps, communist sympathies, and endless trains, Debon nimbly vacillates between the neuroses of the present day and the deep despair of the past, while still finding a way to end to piece on a triumphal note. Last but by no means least, the laugh-out-loud romantic farce Pussy, by Maura Halloran, details the tricky intricacies of a lesbian-feline-nosy neighbor ménage à “cat-re”. Yes, it’s about a cat … hmmm, or is it? You should really take the opportunity to find out. (Gluckstern)

Down to This Exit Stage Left, 156 Eddy, SF; www.sleepwalkerstheatre.com. $12-20. Thu/24-Sat/26, 8pm. Thirty-something Charlie (Derek Fischer) plays this little game with himself where he tosses a rotten egg at the kitchen trash as if he were making a free-throw in sudden-death overtime. This little moment, innocent and ordinary on the surface, puzzles one-night stand Donna (Tonya Narvaez) after she happens on the scene. That she would be baffled, even momentarily disturbed by so common a flight of sports-dude imagination is our first taste of the strained mechanics of Adam Chanzit’s slight pulp revenge tale: sure enough, this game of chance turns out to be a (pretty ridiculous) psychopathology ruling Charlie’s world. When a moment later his equally imbalanced and estranged wife (Kendra Lee Oberhauser), fresh from prison and packing heat, bursts in on the two lovebirds, Charlie’s fate-game will become the tortured trope in a table-turning showdown between all three — plus Charlie’s hapless roommate (Jomar Tagatac) and his crew-cut–sporting sidekick (Shane Rhoades). Chanzit offers some mild surprises and amusing banter along the way in Sleepwalkers’ world premiere — helmed by artistic director Tore Ingersoll-Thorp — but the plot and characters are stretched thin, and the tension often grows slack despite the able and likable cast. By the time the story climaxes in a coin-toss of an ending (designed to work out one of two ways, depending), it’s too big a muddle to generate more than a momentary quiver of anticipation over anybody’s fate. (Avila)

Endgame and Play American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-95. Tue-Sat, 8pm (also Wed, Sat-Sun, 2pm; no matinee Wed/23). Through June 3. ACT presents two absurd dark comedies by Samuel Beckett.

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

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu/24, 8pm; Sat/26, 8:30pm, Sun/27, 7pm. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor — including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships it has left in its wake) or in ominous memories of her too complacent mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. Note: review from the show’s 2009 run at the Marsh San Francisco. (Avila)

My Tia Loca’s Life of Crime Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $20. Thu-Sat, 8pm. Through June 2. Guerrilla Rep performs a new play by Roy Conboy, chair of SF State’s Playwriting Department.

A Raisin in the Sun Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; 1-800-838-2006, www.african-americanshakes.org. $10-35. Sat/26, 8pm; Sun/27, 3pm. African-American Shakespeare Company performs Lorraine Hansberry’s classic drama.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Thu/24, 7:30pm; Fri/25-Sat/26, 8pm (also Sat/26, 2pm); Sun/27, 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.

To Be Young, Gifted and Black: Honoring Lorraine Hansberry In Her Own Words Gough Street Playhouse, Trinity Episcopal Church, 1620 Gough, SF; www.custommade.org. $22-28. Thu/24-Sat/26, 8pm; Sun/27, 7pm. Custom Made Theater and Multi Ethnic Theater collaborate on this tribute to the groundbreaking playwright.

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)

The Wrong Dick Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Thu/24-Sat/26, 8pm. Ham Pants Productions presents a noir-inspired comedy set in San Francisco.

BAY AREA

Crevice La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm. Through June 9. Just in case you were feeling panicked about the persistently recessed state of the economy and what might be your own less than ideal place in it, the Impact Theatre and Playground co-presentation of Lauren Yee’s Crevice might help to put your woes into perspective. That’s because slacker sibs Liz (Marissa Keltie) and Rob (Timothy Redmond) are only slightly exaggerated representatives of Generation Next whose penchant for making lackluster life choices has sentenced them to an indefinite prison term of couch-surfing and Teen Mom marathons in their childhood home. Naturally, they desire change, but it’s not until their mother (Laura Jane Bailey) starts having a hot fling with a younger man that things do. In an egregious breach of the TMI line, it appears that Mom’s orgasms open a “crevice” into an alternate reality that Rob and Liz subsequently fall into. Thus removed from the entropy of their former reality they begin testing the parameters of their new one, quickly coming to the realization that sometimes the alternatives to what you already have are even worse. Getting home again is a convoluted, not fully mapped-out process, but in the interim, their navigation of their erstwhile wonderland offers most of the play’s best lines as well as the uncomfortably effective transformation of Reggie D. White from Liz’s nerdish best buddy to multi-lingual Mafia killer and casual sadist. (Gluckstern)

The Great Divide Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Previews Wed/23-Thu/24, 7pm. Opens Fri/25, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through June 24. Shotgun Players performs Adamn Chanzit’s drama about the hot topic of fracking, inspired by Ibsen’s An Enemy of the People.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through June 10. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

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

The Odyssey Angel Island; (415) 547-0189, www.weplayers.org. $40-76 (some tickets include ferry passage). Sat-Sun, Fri/25, and June 1, 10:30am-4pm (does not include travel time to island). Through July 1. We Players present Ava Roy’s adaptation of Homer’s epic poem: an all-day adventure set throughout the nature and buildings of Angel Island State Park.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Sun/27, June 3, 10, 16, 24, and 30, 11am. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; www.improv.org. Fri/25, 8pm: “Director’s Cut!,” $20. Sat/26, 8pm: “Improvised Murder Mystery,” $20.

“Bitter Melon” Dewey Monument, Union Square, Stockton at Geary, SF; www.pushdance.org. Fri/27-Mon/28, 8pm (or sundown). Free. Push Dance Company and Union Square Live present a world premiere by Raissa Simpson.

“Des Voix … Found in Translation” Z Space, 450 Florida, SF; www.desvoixfestival.com. Fri/25-Sun/27, times vary. $20-75. Playwrights Foundation and Cultural Services of the Consulate General of France/SF present this first-ever festival of newly translated plays by vanguard French authors.

“Dionysian Festival” Mary Sano Studio of Duncan Dancing, 245 Fifth St, Ste 314, SF; (415) 357-1817, www.duncandance.org. Sat/26, 8pm; Sun/27, 6pm. $18. Mary Sano and her Duncan Dancers present the 15th annual festival honoring the birthday of modern dance pioneer Isadora Duncan. Program includes Duncan repertoire as well as new works by Sano.

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

“Litquake’s Epicenter: A Night of Edith Piaf” Tosca Café, 242 Columbus, SF; www.litquake.org. Tue/29, 7pm. Free. Litquake and City Lights Books celebrate the French chanteuse with author Carolyn Burke (No Regrets: The Life of Edith Piaf) and singer Betty Roi.

“Parkour Deux” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/25-Sun/27 and June 1-3, 8pm (also June 3, 2pm). $15-22. Scott Wells and Dancers perform new work. *

 

To Yelp at City Hall

1

By Anne Stuhldreher

OPINION If you attended any of the oodles of mayoral debates during last fall’s election, you surely heard every candidate say two things: One, that they’d make city government more accountable to San Franciscans — and two, that they’d harness technology to make city services better.

Now that Mayor Ed Lee is settled into office, there’s an easy and affordable way he can make good on this promise. It would give a megaphone to San Franciscans fed up (or delighted) with city services, letting them tell City Hall — and each other — what is and isn’t working with their tax dollars. It would amplify consumer power, increasing the responsiveness the public sector the way it has the private one.

San Francisco should be the first city to list all municipal services on one of the existing user-review websites that thousands of San Franciscans already rely on to critique restaurants, drycleaners, and auto repair shops. City Hall leaders would encourage all San Franciscans to get online and post reviews, to tell them what happens when they apply for a business license or send their kids to a city camp. Yelp and Citysearch are two user review sites that San Franciscans use right now.

This wouldn’t have a big price tag. Lee would simply mandate that every city service include a prominent icon on its web site asking users to “rate them” on the site. At every window and desk where public servants serve San Franciscans, there’d be a sign encouraging the public to share their experience on the site. Reviews on user review sites aren’t a feedback form sent to nowhere. People’s comments are seen by everyone.

Such open feedback has spurred thousands of businesses—from restaurants and retailers to doctors and dentists — to be more customer-focused and make better decisions with scarce resources.

Public servants and elected politicians are extremely keyed into public sentiment. They just often lack ways to gauge it. Feedback from public reviews would give them a clear picture of what successes they can tout and what problems they need to fix so they can benefit the most people and voters.

Imagine if you could look at online reviews before you went to apply for this permit or pay that fee. People would have written about good and bad times of day to go. They would have written about how much time it takes. They also would have written about which staff were friendly and which were rude.

I know I’d use it. I’d want to see what parks people think are good for toddlers and which ones are better for bigger kids. And what other parents think of different schools, camps, and pools. I’d also use it let the City know when I’ve called 311 three times to get an obscenity painted over in Dolores Park (that my kids walk by every day) but nothing has happened.

For inspiration, city leaders could look to the Family Independence Initiative, a coalition of working-class families in the Bay Area who grew frustrated after bad experiences with local programs. Nothing changed when the parents approached program leaders. So they set up an online rating system so parents could compare notes on services like childcare, job training, or after school-programs.

As decisions are made to dice up the shrinking budget pie to best serve San Franciscans, City Hall needs to hear from San Franciscans. Most city residents don’t have a lobbyist at city hall, but they have a lot to say.

Anne Stuhldreher is a Senior Policy Fellow at the New America Foundation