Energy

The scene at Occupy Cal last night (VIDEO)

Sasha Cuttler And Mary Magee
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The scene at Occupy Cal last night (VIDEO)

Students at the University of California at Berkeley voted overwhelmingly to reestablish an Occupy encampment at the university’s Sproul Plaza yesterday, Nov. 15, following a student strike and Day of Action packed with marches, rallies, and student protests called in response to a police crackdown on Occupy Cal’s first attempt to set up tents Nov. 9.

A general assembly drew thousands to Sproul Plaza, the historic site where Berkeley’s free speech movement began. The 15th annual ceremony honoring recipients of the Mario Savio Young Activist Award was held on the steps outside Sproul Hall following the general assembly, and Robert Reich, Chancellor’s Professor of Public Policy at the University of California at Berkeley and former secretary of labor under President Bill Clinton, delivered a speech on “Class Warfare in America.”

By 11:30 p.m., roughly 20 tents had been pitched, and more were cropping up. The atmosphere felt like a festival as hundreds of students assembled their mini tent city, threw a dance party on the steps, waved signs, and vowed to stay their ground. Police presence was minimal, with several officers surveying the scene from a balcony above the plaza and a handful of Alameda County Sheriff deputies in regular uniform clustered near Bancroft Street at the campus edge.

The Guardian will have a full report on the events of the day and night later on, but for now, here’s a video that captures the vote to re-occupy and the high-energy scene that followed.

Video by Shawn Gaynor and Rebecca Bowe

Stage Listings

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

THEATER

OPENING

A Tale of Two Genres SF Playhouse, 533 Sutter, SF; (415) 869-5384, www.un-scripted.com. $10-20. Previews Thurs/17, 8pm. Opens Fri/18, 8pm. Runs Thurs-Sat and Dec 20-21, 8pm (no show Sat/19 or Nov 24; additional shows Sat, 3pm). Through Dec 21. Un-Scripted Theater Company presents an improvised musical inspired by Charles Dickens.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; (415) 992-8168, www.thealcovetheater.com. $32-50. Schedule varies, through Dec 29. Not Quite Opera Productions presents Anne Nygren Doherty’s musical about San Francisco, with five characters all portrayed by Mary Gibboney.

Almost Nothing, Day of Absence Lorraine Hansberry Theatre, 450 Post, SF; (415) 474-8800, www.lhtsf.org. $43-53. Wed/16-Sat/19, 8pm (also Sat/19, 2pm); Sun/20, 2pm. The Lorraine Hansberry Theatre christens its grand new home near Union Square with two well-acted one-act plays under sharp direction by artistic director Steven Anthony Jones. Almost Nothing by Brazilian playwright Marcos Barbosa marks the North American premiere of an intriguing and shrewdly crafted Pinteresque drama, wherein a middle-class couple (Rhonnie Washington and Kathryn Tkel) returns home from an unexpected encounter at a stop light that leaves them jittery and distracted. As an eerie wind blows outside (in David Molina’s atmospheric sound design), their conversation circles around the event as if fearing to name it outright. When a poor woman (Wilma Bonet) arrives claiming to have seen everything, the couple abandons rationalization for a practical emergency and a moral morass dictated by poverty and class advantage — negotiated on their behalf by a black market professional (Rudy Guerrero). Next comes a spirited revival of Douglas Turner Ward’s Civil Rights–era Day of Absence (1965), a broad satire of Southern race relations that posits a day when all the “Neegras” mysteriously disappear, leaving white society helpless and desperate. The cast (in white face) excel at the high-energy comedy, and in staging the text director Jones makes a convincing parallel with today’s anti-immigrant laws and rhetoric. But if the play remains topical in one way, its too-blunt agitprop mode makes the message plain immediately and interest accordingly pales rapidly. (Avila)

Annapurna Magic Theatre, Bldg D, Fort Mason Center, Marina at Laguna, SF; (415) 441-8822, www.magictheatre.org. $20-60. Showtimes vary, through Dec 4. Magic Theatre performs Sharr White’s world premiere drama about love’s longevity.

Fela! Curran Theatre, 445 Geary, SF; www.shnsf.com. $31-200. Wed-Sat, 8pm (also Wed and Sat, 2pm; no show Nov 24); Sun, 2pm (also Nov 27, 7:30pm). Through Dec 11. The life and music of Nigerian superstar Fela Kuti is captured in this show with choreography by Bill T. Jones.

Forgetting the Details Bindlestiff Studio, 185 Sixth St, SF; www.nicolemaxali.com. $20. Thurs/17-Sat/19, 8pm. In one memorable scene of performer Nicole Maxali’s solo show Forgetting the Details, her artist father, Max Villanueva, takes her to see a Precita Eyes mural he’s been helping to paint. After pointing out the tree he painted, and describing the minute detail he imbued it with, he has her stand away from the mural to observe how quickly the details vanish, but not the integrity of the piece. It’s an instructive life lesson, and also the perfect approach to appreciating Maxali’s show. Ostensibly about her relationship with her grandmother, who has been diagnosed with Alzheimer’s, Forgetting the Details winds up delving deeply into Maxali’s complicated relationship with her freewheeling, artistic dad, whose unexpected death in the summer of 2011 gives her show an unexpected trajectory as her grandmother’s slow decline gradually takes a backseat to the more immediate trauma of her father’s untimely passing. Maxali’s efforts to draw parallels between her grandmother’s in-the-moment mentality with her father’s artistic sensibilities and her own artistic journey are not always seamless, but the emotional content rings with a sincerity and depth often lacking from similarly-constructed solo performances. Just like a mural viewed from a distance, the play’s integrity lies not in the details, but rather in the vitality of the whole. (Gluckstern) How to Love Garage, 975 Howard, SF; www.pustheatre.com. $15. Fri/18-Sat/19, 8pm; Sun/20, 2pm. Three demigod-like personalities at the center of the earth are charged with answering life’s mysteries, big and small, but find themselves stymied by their latest task, namely, explaining “how to love.” They have only a week to do it, for some reason, or humanity will be consigned to everlasting consternation, or something like that — coherence is not a priority here — anyway: stakes are high. Their boss, the Magistrate (Geo Epsilanty), has them present their findings each day, but each of them — the Very Sexy One (Jessica Schroeder in sassy lingerie), the Stern One (Gloria MacDonald in girl-school uniform), and the Young One (Brian Martin in caped crusader outfit) — comes up with bupkus. Finally, the Young One gets the inspiration to kidnap a surface-dwelling earthling (Valerie Fachman) to help them figure it all out. Local playwright Megan Cohen’s mumbling comedy, directed with robust attention to blocking and movement by Scott Baker for Performers Under Stress, is far too skit-like a conceit to merit its two plodding acts. More to the point, its humor is very silly but generally dim. Despite being set at the center of the earth, this is too shallow and glancing an investigation of love to intrigue or tickle the genuinely curious. (Avila)

The Importance of Being Earnest Notre Dame Senior Plaza, Community Room, 347 Dolores, SF; (650) 952-3021. Free. Fri/18, 7:30pm; Sat/19-Sun/20, 3pm. 16th Street Players perform the Oscar Wilde classic.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Extended through Dec 18. 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)

Language Rooms Thick House, 1695 18th St, SF; www.brownpapertickets.com. $20-28. Thurs-Sat, 8pm (no show Nov 24); Sun, 7pm. Through Dec 4. Golden Thread Productions and Asian American Theater Company present the West Coast premiere of Yussef El Guindi’s dark comedy.

Making Porn Box Car Theatre Studios, 125A Hyde, SF; www.brownpapertickets.com. $25-50. Thurs, 8pm; Thurs, 8pm; Fri-Sat, 9pm; Sun, 7pm. Extended through Nov 27. Ronnie Larsen brings back his crowd-pleasing comedy about the gay porn industry.

*”Master Harold” … and the Boys Phoenix Theater, 414 Mason, Ste 601, SF; 1-800-838-3006, www.offbroadwaywest.org. $18-40. Thurs/17-Sat/19, 8pm. Based loosely on personal history, Athol Fugard’s drama explores institutionalized racism in South Africa’s apartheid era ensconced in the seemingly innocuous world of a Port Elizabeth tea room. The play opens during a rainy afternoon with no customers, leaving the Black African help, Willie (Anthony Rollins-Mullens) and Sam (LaMont Ridgell), with little to do but rehearse ballroom dance steps for a big competition coming up in a couple of weeks. When Hally (Adam Simpson), the owner’s son, arrives from school, the atmosphere remains convivial at first then increasingly strained, as events happening outside the tea room conspire to tear apart their fragile camaraderie. The greatest burdens of the play are carried by Sam, who fills a range of roles for the increasingly pessimistic and emotionally-stunted Hally — teacher, student, surrogate father, confidante, and servant — all the while completely aware that their mutual love is almost certainly doomed to not survive past Hally’s adolescence, and possibly not past the afternoon. Ridgell rises greatly to the challenges of his character, ably flanked by Rollins-Mullens, and Simpson; he embodies the depth of Sam’s humanity, from his wisdom of experience, to his admiration for beauty, to his capacity to bear and finally to forgive Hally’s need to lash out at him. It is a moving and memorable rendering. (Gluckstern)

More Human Than Human Dark Room Theater, 2263 Mission, SF; (415) 401-7987, www.brownpapertickets.com. $25. Thurs/17-Sat/19, 8pm. B. Duke’s dystopian drama is inspired by Philip K. Dick.

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm; Sun, 3pm. Extended through Dec 17. 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. (Avila)

*The Odyssey Aboard Alma, Hyde Street Pier, San Francisco Maritime National Historic Park, SF; www.weplayers.org. $160. Fri/18, 12:30pm. Heralding their hugely ambitious Spring 2012 production of The Odyssey, which will take place all over Angel Island, the WE Players are tackling the work on a slightly smaller scale by staging it on the historic scow schooner Alma, which is part of the Maritime National Historical Park fleet docked at the end of Hyde Street Pier. Using both boat and Bay as setting, the essential chapters of the ten-year voyage — encounters with the Cyclops, Circe, the Underworld, the Sirens, Aeolus, the Laestrygonians, and Calypso — are enacted through an intriguing mash-up of narration, choreography, sea chanteys, salty dog stories (like shaggy dog stories, but more water-logged), breathtaking views, and a few death-defying stunts the likes of which you won’t see on many conventional stages. High points include the casual swapping of roles (every actor gets to play Odysseus, however briefly), Ross Travis’ masked and flatulent Prometheus and sure-footed Hermes, Ava Roy’s hot pants-clad Circe, Charlie Gurke’s steady musical direction and multi-instrumental abilities, and the sail itself, an experiential bonus. Landlubbers beware, so much time facing the back of the boat where much of the action takes place can result in mild quease, even on a calm day. Take advantage of the downtime between scenes to walk around and face forward now and again. You’ll want to anyway. (Gluckstern)

Oh, Kay! Eureka Theatre, 215 Jackson, SF; (415) 255-8207, www.42ndstmoon.org. $20-50. Wed/16, 7pm; Thurs/17-Fri/18, 8pm; Sat/19, 6pm; Sun/20, 3pm. 42nd Street Moon performs George and Ira Gershwin’s Prohibition-set comedy.

*On the Air Pier 29 on the Embarcadero (at Battery), SF; (415) 438-2668, love.zinzanni.org. $117 and up (includes dinner). Wed-Sat, 6pm; Sun, 5pm. Through Dec 31. Teatro ZinZanni’s final production at its longtime nest on Pier 29 is a nostalgia-infused banquet of bits structured around an old-time radio variety show, featuring headliners Geoff Hoyle (Geezer) and blues singer Duffy Bishop. If you haven’t seen juggling on the radio, for instance, it’s pretty awesome, especially with a performer like Bernard Hazens, whose footing atop a precarious tower of tubes and cubes is already cringingly extraordinary. But all the performers are dependably first-rate, including Andrea Conway’s comic chandelier lunacy, aerialist and enchanting space alien Elena Gatilova’s gorgeous “circeaux” act, graceful hand-balancer Christopher Phi, class-act tapper Wayne Doba, and radio MC Mat Plendl’s raucously tweeny hula-hooping. Add some sultry blues numbers by raunchy belter Bishop, Hoyle’s masterful characterizations (including some wonderful shtick-within-a-shtick as one-liner maestro “Red Bottoms”), a few classic commercials, and a healthy dose of audience participation and you start to feel nicely satiated and ready for a good cigar. Smoothly helmed by ZinZanni creative director Norm Langill, On the Air signals off-the-air for the popular dinner circus — until it can secure a new patch of local real estate for its antique spiegeltent — so tune in while you may. (Avila)

*Pellas and Melisande Cutting Ball Theater, Exit on Taylor, 277 Taylor, SF; 1-800-838-3006, www.cuttingball.com. $10-50. Thurs, 7:30; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 27. The Frog Prince, Rapunzel, the Swan Maiden: shimmering strands of each timeless tale twist through the melancholy tapestry of the Maurice Maeterlinck play Pelleas and Melisande, which opens Cutting Ball Theater’s 12th season. Receiving a lushly atmospheric treatment by director and translator Rob Melrose, this ill-fated Symbolist drama stars Joshua Schell and Caitlyn Louchard as the doomed lovers. Trapped in the claustrophobic environs of an isolated castle at the edge of a forbidding forest and equally trapped in an inadvertent love triangle with the hale and hearty elder prince Golaud (Derek Fischer), Pelleas’ brother and Melisande’s husband, the desperate, unconsummated passion that builds between the two youngsters rivals that of Romeo and Juliet’s, and leads to an ending even more tragic — lacking the bittersweet reconciliation of rival families that subverts the pure melodrama of the Shakespearean classic. Presented on a spare, wooden traverse stage (designed by Michael Locher), and accompanied by a smoothly-flowing score by Cliff Caruthers, the action is enhanced by Laura Arrington’s haunting choreography, a silent contortionism which grips each character as they try desperately to convey the conflicting emotions which grip them without benefit of dialogue. Though described by Melrose as a “fairy tale world for adults,” the dreamy gauze of Pelleas and Melisande peels away quickly enough to reveal a flinty and unsentimental heart. (Gluckstern)

Savage in Limbo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Dec 3. Actors Theatre of San Francisco performs John Patrick Shanley’s edgy comedy.

SexRev: The José Sarria Experience CounterPULSE, 1310 Mission, SF; (415) 552-4100, www.therhino.org. $10-25. Previews Thurs/17-Fri/18, 8pm. Opens Sat/19, 8pm. Runs Thurs-Sat, 8pm (also Sat, 10:30pm; no show Nov 24); Sun, 3pm. Through Nov 27. Theatre Rhinoceros performs John Fisher’s musical celebration of America’s first queer activist — a hit for the company in 2010.

“Shocktoberfest 12: Fear Over Frisco” Hypnodrome Theatre, 575 10th St, SF; (415) 377-4202, www.thrillpeddlers.com. $25-35. Thurs/17-Sat/19, 8pm. In its annual season-scented horror bid, Thrillpeddlers joins forces with SF’s Czar of Noir, writer-director Eddie Muller, for a sharply penned triplet of plays that resurrect lurid San Francisco lore as flesh-and-blood action. In the slightly sluggish but intriguing Grand Inquisitor, a solitary young woman modeling herself on Louise Brooks in Lulu (an alluringly Lulu-like Bonni Suval) believes she has located the Zodiac killer’s widow (a sweet but cagey Mary Gibboney) — a scenario that just can’t end well for somebody, yet manages to defy expectations. An Obvious Explanation turns on an amnesiac (Daniel Bakken) whose brother (Flynn de Marco) explains the female corpse in the rollaway (Zelda Koznofski) before asking bro where he hid a certain pile of money. Enter a brash doctor (Suval) with a new drug and ambitions of her own vis-à-vis the hapless head case. Russell Blackwood directs The Drug, which adapts a Grand Guignol classic to the hoity-toity milieu of the Van Nesses and seedy Chinatown opium dens, where a rough-playing attorney (an ever persuasive Eric Tyson Wertz) determines to turn a gruesome case involving the duplicitous Mrs. Van Ness (an equally sure, sultry Kära Emry) to his own advantage. The evening also offers a blackout spook show and some smoothly atmospheric musical numbers, including Muller’s rousing “Fear Over Frisco” (music composed by Scrumbly Koldewyn; accompaniment by Steve Bolinger and Birdie-Bob Watt) and an aptly low-down Irving Berlin number — both winningly performed by the entire company. (Avila)

Shoot O’Malley Twice StageWerx, 446 Valencia, SF; www.viragotheatre.org. Thurs-Sat, 8pm (no show Nov 24). Through Nov 26. Virago Theater Company performs Jon Brooks’ world-premiere existential comedy.

Sticky Time Brava Theater, 2781 24th St, SF; www.vanguardianproductions.com. $15-40. Wed/16-Fri/18, 8pm. Crowded Fire and Vanguardian Productions present playwright-director Marilee Talkington’s multimedia science fiction about a woman running out of time in the worst way. The prolix and histrionic story is the real sticking point, however, in this otherwise imaginatively staged piece, which places its audience on swivel chairs in the center of Brava’s upstairs studio theater, transformed by designer Andrew Lu’s raised stage and white video screens running the length of the walls into an enveloping aural (moody minimalistic score by Chao-Jan Chang) and visual landscape. Thea (Rami Margron) heads a three-person crew of celestial plumbers managing a sea of time “threads,” an undulating web of crisscrossing lines (in the impressive video animation by Rebecca Longworth). The structure is plagued by a mysterious wave of “time quakes” that Tim (Lawrence Radecker) thinks he may have figured out. Coworker Emit (Michele Leavy), meanwhile, goofing around like a hyperactive child, spots some sort of beast at work in the ether. When Thea gets stuck by a loose thread, she becomes something of a time junky, desperate to relive the color-suffused world of love and family lost somewhere in space-time as reality starts to unravel (with a dramatic assist from cinematographer Lloyd Vance) and the crew seeks help from a wise figure in a tattered gown (Mollena Williams). A little like a frenetic, stagy version of Andrey Tarkovsky’s Solaris (1972), the story gets credit for dramatizing some confounding facts about time and space at the particle level but might have benefited from less dialogue and more mystery — just as the audio-visual experience works best when the house lights are low. (Avila)

The Temperamentals New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Dec 18. New Conservatory Theatre Center performs Jon Marans’ drama about gay rights during the McCarthy era.

Totem Grand Chapiteau, AT&T Park, Parking Lot A, 74 Mission Rock, SF; cirquedusoleil.com/totem. $58-248.50. Tues-Sun, schedule varies. Extended through Dec 18. Cirque Du Soleil returns with its latest big-top production.

Two Dead Clowns Box Car Theatre Studios, 125A Hyde, SF; www.brownpapertickets.com. $20. Fri-Sat, 7pm. Through Nov 26. Ronnie Larsen’s new play explores the lives of Divine and John Wayne Gacy.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-35. Fri, 8pm; Sat, 5pm. Through Nov 26. Brian Copeland (Not a Genuine Black Man) presents a workshop production of his new solo show.

*Working for the Mouse Exit Theatre, 156 Eddy, SF; www.brownpapertickets.com. $22. Thurs-Sat, 8pm (no performances Nov 24-26). Through Dec 17. It might not come as a surprise to hear that even “the happiest place on earth” has a dark side, but hearing Trevor Allen describe it during this reprise of 2002’s Working for the Mouse will put a smile on your face as big as Mickey’s. With a burst of youthful energy, Allen bounds onto the tiny stage of Impact Theatre to confess his one-time aspiration to never grow up — a desire which made auditioning for the role of Peter Pan at Disneyland a sensible career move. But in order to break into the big time of “charactering,” one must pay some heavy, plush-covered dues. As Allen creeps up the costumed hierarchy one iconic cartoon figure at a time, he finds himself unwittingly enmeshed in a world full of backroom politics, union-busting, drug addled surfer dudes with peaches-and-cream complexions, sexual tension, showboating, job suspension, Make-A-Wish Foundation heartbreak, hash brownies, rabbit vomit, and accidental decapitation. Smoothly paced and astutely crafted, Mouse will either shatter your blissful ignorance or confirm your worst suspicions about the corporate Disney machine, but either way, it will probably make you treat any “Casual Seasonal Pageant Helpers” you see running around in their sweaty character suits with a whole lot more empathy. (Note: review from the show’s recent run at La Val’s Subterranean in Berkeley.) (Gluckstern)

BAY AREA

Annie Berkeley Playhouse, Julia Morgan Center for the Arts, 2640 College, Berk; (510) 845-8542, www.berkeleyplayhouse.org. $17-35. Thurs-Sat, 7pm; Sun, noon and 5pm. Through Dec 4. Berkeley Playhouse performs the classic musical.

Doubt: A Parable Live Oak Theatre, 1301 Shattuck, Berk; www.aeofberkeley.org. $12-15. Fri/18-Sat/19, 8pm. Actors Ensemble of Berkeley performs John Patrick Shanley’s Pulitzer-winning drama.

How to Write a New Book for the Bible Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Wed/16 and Sun/20, 7pm (also Sun/20, 2pm); Thurs/17 and Sat/19, 2 and 8pm. An aspiring writer who later becomes a priest, Bill (Tyler Pierce) is the caregiver for his aging mother (Linda Gehringer) during her long bout with cancer. His father (Leo Marks), though already dead, still inhabits his mother’s flickering concept of reality, made all the more dreamlike by her necessary dependence on pain medication. His brother (Aaron Blakely), meanwhile, has returned from Vietnam with survivor guilt but lands a meaningful career as a schoolteacher in the South. The latest from playwright Bill Cain (Equivocation, 9 Circles) is a humor-filled but sentimental and long-winded autobiographical reflection on family from the vantage of his mother’s long illness. It gets a strong production from Berkeley Rep, with a slick cast under agile direction by Kent Nicholson, but it plays as if narrator Bill mistakenly believes he’s stepped out of an Arthur Miller play, when in fact there’s little here of dramatic interest and far too much jerking of tears. (Avila)

*The Internationalist Ashby Stage, 1901 Ashby, Berk; www.justtheater.org. $15-30. Thurs/17-Sat/19, 8pm; Sun/20, 5pm. Lowell (Nick Sholley, as rumpled everyman) is the American fish out of water at the center of playwright Anne Wasburn’s smartly written and very funny comedy, now receiving a terrific West Coast premiere courtesy of Just Theater and director Jonathan Spector. Arriving for a business trip in some unnamed but vaguely Eastern European country with a funny-sounding language he hasn’t had time to study, Lowell is met at the airport by Sara (a persuasive Alexandra Creighton), a beautiful colleague who takes him to dinner, then takes him home. Next day in the office, the increasingly exhausted American meets his friendly counterparts, and discovers Sara is at the bottom of the office totem pole, where the filing happens. All the characters speak English with varying levels of proficiency when making with the usual small talk — “I’m always curious about what Americans know and what they don’t know,” says one po-faced innocent (Kalli Jonsson) with reference to the American Indian genocide — but revert to rapid-flowing gibberish whenever they tire of catering to the foreigner. Things get slowly weirder over the next couple of days, however, as the dynamics of this catty office (filled out wonderfully by Michael Barrett Austin, Lauren Bloom, and Harold Pierce) lead to a bewildering implosion that leaves Lowell sightseeing, and maybe seeing things, with a case of jet lag as big as the zeitgeist. (Avila)

Rambo: The Missing Years Cabaret at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Thurs-Fri, 7pm; Sat, 8:30pm. Through Dec 10. Howard “Hanoi Howie” Petrick presents his solo show about being an anti-war demonstrator — while also serving in the Army.

Sam’s Enchanted Evening TheaterStage at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm. Through Nov 26. The Residents wrote the script and did the musical arrangements for this musical, featuring singer Randy Rose and pianist Joshua Raoul Brody.

The Soldier’s Tale Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Previews Wed/16, 8pm. Opens Thurs/17, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Dec 18. Aurora Theatre presents a re-imagined version of Igor Stravinsky’s 1918 musical by Tom Ross and Muriel Maffre.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Sun and Nov 25-26 and Dec 26-30, 11am (no show Dec 25). Through Dec 31. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“Bare Bones Butoh Presents: Showcase #23!” Studio 210, 3435 Cesar Chavez, SF; bobwebb20@hotmail.com. Fri-Sat, 8pm. $5-20. Butoh performance featuring new and in-progress works by local, national, and international artists.

“BrokeBACH Mountain” Mission Cultural Center, 2868 Mission, SF; www.lgcsf.org. Fri-Sat, 8pm. $15-30. The Lesbian/Gay Chorus of San Francisco opens its 32nd season with a mix of modern and classical hits, inspired in part by Brokeback Mountain.

“Club Chuckles” Verdi Club, 2424 Mariposa, SF; www.brownpapertickets.com. Fri, 8pm. $20. Comedy with Neil Hamburger, Natasha Leggero, Tim Heidecker, Duncan Trussell, and “The Kenny ‘K-Strass’ Strasser Yo-Yo Extravaganza.”

“Fox and Jewel” Dance Mission, 3316 24th St, SF; www.genryuarts.org. Fri-Sat, 8pm; Sun, 2pm. $20-25. Gen Ryu arts presents Melody Takata’s interdisciplinary work that uses a Japanese myth to address current concerns about arts and culture in Japantown as the neighborhood redevelops.

“From Wallflower Order to Dance Brigade: A 35-Year Retrospective Celebration” Novellus Theater, Yerba Buena Center for the Arts, 700 Howard, SF; (415) 273-4633, www.dancebrigade.org. Fri-Sat, 8pm; Sun, 2pm. Free. Krissy Keefer marks 35 years of Dance Brigade with The Great Liberation Upon Hearing and other works.

“I’d Eat Them Both” Purple Onion, 140 Columbus, SF; kellymccarron.eventbrite.com. Fri, 7 and 9pm. Comedian Kelly McCarron performs for a recording of her first comedy album.

LEVYdance Z Space, 450 Florida, SF; 1-800-838-3006; www.levydance.org. Thurs-Sat, 8pm; Sun, 2pm. $18-23. The company presents its Fall 2011 Home Season, featuring the world premiere of ROMP.

Liss Fain Dance Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787, www.lissfaindance.org. Thurs-Sat, 8pm (also Sat, 9:30pm); Sun, 5pm. $12.50-25. The company presents performance installation The False and True Are One.

San Francisco Hip Hop DanceFest Palace of Fine Arts Theatre, 3301 Lyon, SF; (415) 392-4400, www.cityboxoffice.com. Program A: Fri, 8pm; Sat, 9:30pm. Program B: Sat-Sun, 6pm. $40 (two shows, $75). The 13th annual festival, produced by Micaya, welcomes 19 companies from places as diverse as Oakland, San Francisco, Paris, Brooklyn, and London.

“10 Women Campaign: Who Is Tending the City?” ODC Theater, 3153 17th St, SF; (415) 863-9834, www.flyawayproductions.com. Thurs, 7:30pm. $25 ($50 to include reception at 6:30pm). Flyaway Productions honors ten community leaders with a performance and ceremony.

Her way

Jesse Hawthorne Ficks
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Her way

arts@sfbg.com

DANCE Early in the 20th century, Ezra Pound declared “the artist is the antenna of the race.” True or false? Do artists have the ability to predict the future, or are they stuck in the present?

Krissy Keefer, artistic director of Dance Brigade and Dance Mission Theater, tends to side with Pound. While she wouldn’t go as far as writer-performer Guillermo Gómez-Peña, who considers the artist a shaman, she does think that “there is something about the artistic process that opens your brain to see into the future, to see things happening before they actually happen.”

This weekend Keefer and her troupe are celebrating the 35th anniversary of Dance Brigade and its antecedents the Wallflower Order. The performances, all with free admission, include a retrospective of works spanning the last three decades, plus the 2009 Great Liberation Upon Hearing, based on the Tibetan Book of the Dead; Keefer created the work after losing two close friends within the same year.

Women taking charge of their own fate may not be news today, but in 1975, Wallflower’s five female warriors were pioneers. The turmoil of the post-Vietnam era and the rise of feminism had created a climate in which audiences hungered for dance that spoke to their lives. Many of them were women. The company was made up of contentious women, strong dancers, committed activists. They were not about to be stopped, much like their “grandmothers” Isadora Duncan and Martha Graham or, in terms of politics, the characters in 1964 Chinese ballet The Red Detachment of Women.

Most remarkably, Keefer’s commitment to make art addressing issues that matter has not waned — she’s as ready as ever to mount the barricades and make her voice heard through art. In retrospect, it is surprising how much of her past work was highly prescient.

She recently called my attention to my reservations about her having drenched one section of the 2002 Cave Women in images of extreme destruction and war. (At the time, the bloodiness seemed over the top). Almost immediately, all hell broke loose in Afghanistan and the Middle East. Revolutionary Nutcracker Sweetie, a huge success from 1987-1997, features one-percenters the McGreed family, an abused undocumented servant in Clara, and a homeless Sugar Plum Fairy. Issues that were under the radar at the time have become headlines.

Appearing in Nutcracker — with an excellent, Tchaikovsky-based score by jazz composer Mary Watson — were then-little-known artists like Axis Dance Company and aerial dance pioneer Terry Sendgraff; Keith Hennessy played the McGreed’s renegade son.

For all her predilection for “making art that includes themes of social responsibility and dealing with real situations with real people,” Keefer is also very much a creature of the theater. The work has to stand on its artistic feet, perhaps not surprising for a woman who trained as dancer at age six — long before she knew what she wanted to dance about.

The 2005 Dry/Ice, a look at the effects of global warming, for instance, was a commission from the San Francisco International Arts Festival. Now who else, except someone who besotted by the stage, would lug a cast-iron bathtub, weighing over 300 pounds, into Theater Artaud for two performances? “I just wanted to do something about the environment,” she recalls. (Al Gore’s An Inconvenient Truth came out the next year.)

In the 2004 Spell, a collaboration with Hennessy, Keefer became a raging goddess-witch figure doing an exorcism for peace and economic justice. It was a power performance that, given the lives many people have today, probably would play well in the suburbs.

Keefer also takes her social activism outside the theater. In 2000, when she felt that the criteria for acceptance to the San Francisco Ballet School were unjustifiable — based on the experiences of her daughter, eight years old at the time — she complained loud and clear. It started discussions about the female dancer’s body at the time when academics had barely touched the subject. In 2006, she was so furious about the country’s priorities that she ran for Congress. Of course, she knew that she wouldn’t win — but she wanted to take a stand. Even her parents encouraged her to do so. “I can’t believe that I ran against Nancy Pelosi when she was poised to become Speaker of the House,” she laughs today.

Meditation has helped Keefer step away from anger, what she called her “habitual response” to injustice. The resolve was shaken, however, this past summer, when — coming back from a successful East Coast and Caribbean tour with Liberation — all the costumes (transported via Greyhound, the only shipping the company could afford) were stolen. “What can you do?” she shrugs. This Mother Courage of dance will just put her shoulder to the wheel a little harder. 

 

“FROM WALLFLOWER ORDER TO DANCE BRIGADE: A 35-YEAR RETROSPECTIVE CELEBRATION”

Fri/18-Sat/19, 8 p.m.; Sun/20, 2 p.m., free

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF www.dancebrigade.org

“MORE THAN THE SUM OF ITS PARTS:” LOCAL ARTS LUMINARIES TOAST DANCE BRIGADE

 

DANCE From Brady Street to Dance Mission and beyond, Krissy [Keefer] has been one of the true champions of our dance community, in no small part due to her own artistry. The spirit of her work is visually and musically rich, fundamentally diverse, and deeply committed to social relevance — attributes she’s manifested on so many levels in a long and vital career. Rob Bailis, Former Artistic Director, ODC Theater

In the dance ecology of the Bay Area, Dance Brigade, and especially Krissy Keefer, play such vital role. I can’t think of anyone else as fierce about what she believes in, what she cares about, and how she creates work to reflect those beliefs. In many ways she is our conscience when we might waver in the face of budget cuts and the endless struggle to get money to do work. Because she is so strong about this herself, I really count on her to keep us honest around our vision and our integrity of purpose. Kenneth J. Foster, Executive Director, Yerba Buena Center for the Arts

Krissy Keefer’s life energy is totally invested in professional, community-based, inclusive, and affordable feminist art. She has consistently supported women artists for over 30 years. It is no easy task to maintain an artistic vision and a financially secure organization, and to be able to deal with the high volume of traffic that is required to run a studio anywhere, much less in the most expensive city in the U.S. That piece of real estate at 24th and Mission has always been a port in the storm for the dance community. Mary Alice Fry, Artistic Director, Footloose Dance Company and Shotwell Studios

What makes Dance Brigade’s work special and important is how they take on the big issues facing the world and then find a way to make us laugh. Krissy Keefer is the Jon Stewart of the dance world! Krissy’s perspective, passion and tenacity are testament to the company’s longevity; that a Dance Brigade show dealing with war, greed, or even addressing violence towards women, can be entertaining is powerful. Krissy, in her wonderfully brash and focused manner, has the ability to remind us that we are citizen-dancers, that we need to participate, and that big messages, abstract dance and the hope for social change can happily co-exist on stage. Wayne Hazzard, Executive Director, Dancers’ Group

Dance Brigade’s legacy in the Bay Area is huge. By not allowing their company to become mainstream, they paved the way for alternate companies to see that there is a place at the table for work that is not shiny, slick and influenced by institutional homogenization. Dance Brigade has demonstrated by example that contemporary dance can be messy, political, and uncomfortable. By blurring the lines between politics and art, a whole new generation of politicized artists have been given permission to emerge and that has infused Bay Area dance with a lot of new ideas and energy. Joe Landini, Director, The Garage

Krissy and the Dance Brigade have been at the forefront of bringing political concerns into the theater. They have paved the way, both artistically and practically, for dozens of politically engaged artists who may or may not identify with their work. To me, Dance Mission is a physical embodiment of the importance of the Dance Brigade’s values of democracy. It’s not easy to separate the artistic and the community legacy of Dance Brigade’s work; it’s the combination that makes them so powerful. Jessica Robinson Love, Executive and Artistic Director, CounterPULSE

When Dance Brigade emerged in San Francisco in the mid-’80s as an outgrowth of the nearly-mythical Wallflower Order, they brought together a number of tendencies that were already percolating in the dance community: using dancers of widely varying body types, introducing world music (sometimes performed by the dancers), spoken word, and text narrative, circus and vaudeville tricks and, always, no-holds-barred political content. Dance Brigade inspired other companies to be braver through their example of what might be called gonzo feminist dance. Krissy and her dancers and collaborators took these disparate influences and turned them into powerhouse performances where the whole was more than the sum of its parts. Kary Schulman, Director, Grants for the Arts. (Compiled by Rita Felciano)

Lessons from 2011 for 2012

Zelda Bronstein
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Lessons from 2011 for 2012

With the release of precinct results for the 2011 election, we are able to actually see, for the first time, what San Francisco voters did, as opposed to hearing what various nabobs said they did.  There are a couple of key conclusions about the vote that should guide any left-liberal thinking of the key 2012 Supervisor races.

The first thing San Francisco voters did- about 40,000 of them-  was stay home.  Turnout – about 40% – was the lowest for a mayor’s race in 40 years. Moreover, counter to several “expert” narratives, turnout in neighborhoods with large numbers of Chinese voters — Chinatown, the Richmond, the Sunset, and Vis Valley — was lower (average 33%) than in neighborhoods with few Chinese voters — Diamond Heights, Noe Valley, the Castro and West of Twin Peaks — where turnout averaged 40%.

There seems to be four reasons for this curious outcome. A couple of them have lessons for us for the 2012 election that we ignore at our peril.
First, in a City that is clearly center-left, voters were presented with nine center-right candidates, seven of whom were declared by the Chronicle at one time or another to be “serious.” Only John Avalos was a clear center-left choice. This was shown in the huge number undecideds that appeared in poll after poll. Undecided voters are often unhappy at the lack of choice being offered by the field and simply don’t vote.

Second, professional campaign management of the supposedly serious candidates was terrible and actually counter-productive to their candidates’ best interests. The pros actually seemed to have suppressed turnout in key neighborhoods. Ace Smith and Bill Barnes, working for for Ed Lee, spent most of their time trying to distance their candidate from his base and key supporters, made rookie fund-raising mistakes time and again and gave their counterparts in the Yee and Herrera campaigns ample ammunition for a  series of negative ads and mailers.  John Whitehurst and Mark Mosher, working for Herrera, and Jim Sterns, working for Yee, took the opportunity and went negative on the least threatening figure in San Francisco politics in recent memory. 

As we all know negative campaigns generally suppress turnout — and that seems to be the case in this election. Avalos, who after September had no professional management, stayed positive and gained votes by doing so.

Third, organized labor, for the first time in living memory, did not endorse the winning candidate for mayor. Indeed, its official candidate, Yee, came in FIFTH. It’s as if labor decided to concentrate only on its issue — pension reform — and devote no energy, people or money to the myors race. Without labor’ support,effective GOTV in left-liberal neighborhoods is all the more difficult and was clearly beyond the ability of the Avalos campaign to carry by itself.

Labor knew who it wanted to vote on pension reform and narrowly focused only on those voters. That it still has the ability to do electoral politics can be seen in the fact that more total votes were cast on  Proposition C (186,336) — labor’s pension- reform measure –than were cast for all candidates in the mayors race (179,888).

Finally, there were 160 fewer polling places this election than last year, and to make matters worse the Department of  Elections mailed 115,000 voter handbooks with the wrong polling place address causing them to send postcards with the corrections. While this in no way was responsible for the 40,000 fewer votes cast, it was probably worth several hundreds of missed votes.

The lessons for next year? We need good candidates who actually align with political sensibility of the voters. This will be especially true in District Five after Mayor Lee appoints some center-right clone in the most left-liberal district in the city, and equally true in District Three with David Chiu, who has certainly turned to the right since his election. 

Supervisor David Campos in District 9 will be fine in this regard as will Supervisor Eric Mar in District 1 — where he will face a real fight.
Avalos’ showing in the mayors race should do him well in District 11 and offers a real chance for him to be board president in 2013.
Community-based left-liberals and labor must come together closer than in this election and perhaps closer than at any time since the Great depression. Labor’s support for the Occupy movement is a good indication that fruitful common ground can be found. We need each other more than ever in 2012.

We need to work to get good lines for the new districts and have a grand meeting of the minds on how we address the absentee voter issue.  Both labor and the Mirkarimi campaign did absentees well enough to win.  We need to apply their lessons to the Supervisors races.

Dare to struggle, dare to win.

Calvin Welch is a housing activist who has been watching San Francisco elections for more than 40 years.

 

Live Shots: Shonen Knife at Bottom of the Hill

Tony Robles
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Japanese pop and the Ramones; it’s a combination you might not hear anywhere else besides a Shonen Knife show (or on the band’s tribute album Osaka Ramones). On Friday night at Bottom of the Hill, the Osaka-bred trio of pop punk rockers wound up an already-worked over crowd with a full encore set of Ramones songs.

But long before that rowdy ode,  they received cheers as they were collectively spotted through the window behind the stage, making their way down the stairs outside and into the venue. They stood with a pre-recorded theme song and held up banners with Japanese words (anyone know what they said?  which said “Shonen Knife”) then launched into endless stage theatrics that included Kiss-style twin head-banging by vocalist-guitarist Naoko Yamano (the only original member since 1981) and cheery bassist-guitarist Ritsuko Taneda. From start to finish, there was a lot of rock star posing: devil horns, guitar swinging, head-banging, arms thrown in the air.

The trio played high-energy tracks off a back catalogue that stretches 30 years; standouts included “Rock Society” off 2006’s Genki Shock and  “Perfect Freedom”  off 2010’s Free Time. They played “Redd Kross,” a tribute to the Red Kross, which is Yamano’s favorite band (not the Ramones?). They also highly recommended the burgers at Bottom of the Hill — Shannon Shaw, during the Shannon and the Clams set did mention that on their joint seven-day tour, they’d learned that Shonen Knife “really likes burgers, especially from Wendy’s.”

After the trio returned from a hyper-brief trip offstage, it was time for the all-Ramones encore. “Beat on the Brat,” “The KKK Took My Baby Away,” “Sheena is a Punk Rocker,” “Rock’n’Roll High School” — the works. It was then, and only then, that the crowd began crowd surfing. The first surfer failed to give enough warning of his intent, and was dropped unceremoniously. With the crowd worked up into a oafish frenzy, the momentum picked up and secondary jumpers were successfully surfed. Like a proper punk show.

Weird Al Yankovic never misses a beat at the Fox

Tony Robles
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For someone who got his start in the music business by recording his first single in the men’s room, “Weird Al” Yankovic has certainly come a long way. Forging a wildly successful career that has lasted three decades and counting, the master of musical parodies hit the stage at the Fox Theater in Oakland on Sunday night, proving that while his act is hilarious, his talents for showmanship and performance are no joke.

Throughout the nearly two-hour show, Yankovic was a tornado of comic energy, leading his band through selections from his entire catalog, starting with “Polka Face,” a medley of contemporary pop parodies from his latest record, Alpocolypse, which includes spoofs of current radio stars such as Lady Gaga, Katy Perry and Justin Bieber, among others. Fan favorites like “Eat It,” “Amish Paradise,” “My Balogna,” and “White and Nerdy” drew wild applause from the audience, while lesser known, but equally gleeful tracks including “I Want A New Duck” and “Lasagna” were welcome additions to the set list.

When he first appeared on stage, Yankovic was dressed in his trademark Hawaiian shirt, but he and the band quickly began a series of fast-paced costume changes, running backstage between various songs while a series of videos were shown on giant screens above the stage. Entertaining clips of various pop culture references to Yankovic and from the likes of Johnny Carson and The Simpsons, mixed with segments cleverly edited to look like zany interviews between Yankovic and pop culture heads such as Eminem, Madonna, and Jessica Simpson.

Al and company wore a vast and dizzying array of costumes and grabbed props to match his iconic music videos, wardrobe included spot-on wigs and sweaters for “Smells Like Nirvana,” and headbands and a keytar for the Dire Straits take off “Beverly Hillbillies.” Yankovic even managed to pull off the look in the original clip of Michael Jackson spoof “Fat,” charging out in an over-the-top fat suit, and still somehow jumped around stage, singing and dancing without missing one uproarious beat.

While he is mainly known for direct parodies of specific songs, Yankovic has also comically mastered the art of synthesizing a band’s general sound and parlaying it into a
witty and humorous send up. Two of his best and more recent examples were “CNR,” his ode to actor Charles Nelson Reilly, done in the vein of the White Stripes, and “Craigslist,” a Doors-esque tune where he channeled his inner Jim Morrison, complete with leather pants and dark baritone intonations.

For the encore, Yankovic and band came back dressed as Jedi, and were flanked by a line of Stormtroopers and Darth Vader for a rendition of “The Saga Begins,” which tells a tongue in cheek tale of the life story of Anakin Skywalker set to the tune of Don McLean’s “American Pie.” When the song started, the Imperial troops and Sith lord stood at fast attention, but as the song picked up tempo, they broke character and started dancing about to hilarious effect.

Continuing with the Star Wars theme for his last song, Yankovic ended the entertaining show with “Yoda,” his tribute to everybody’s favorite Jedi master,
encouraging the crowd to chant along during the chorus.

Cold snappy

Jesse Hawthorne Ficks
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Cold snappy

SUPER EGO Good thing my decorative Honey Badger-skin leg warmers double as a fierce muff-scarf combo, because Saturday I was stumbling back from a bomb underground warehouse launch — peel your ears for “The New Black” — and it was colder than the all-pleather interior of a second-hand Kardashian. Of-a-sudden! I’m about to wear jeggings over thermies over two pairs of liquor store pantyhose and rap about it just to stay warm. She’ll be serving you Sheer Energy undercover, burning up sidewalks at dawn with her layers of L’Eggs.

I’m still drunk, apparently. Let’s just keep warm the old-fashioned way, OK? Dancing with abandon sure seems melty enough.

 

BITCH HEEL

Nineteen drag queens! That’s how many licks it takes to get to the center of a Tootsie Pop — and to provide overwhelming entertainment at this benefit for Rocket Dog Rescue. Sister Roma and Phatima Rude host. Everybody barks.

Wed/9, 8 p.m. $25. Public Works, 161 Erie, SF. www.publicsf.com

 

BOOTY CALL

Juanita More and Joshua J.’s weekly party draws a lovely queer crowd that certainly knows how to find its light (photos are taken continuously in the backroom). The music’s usually flash-forward , too — for its four-year anniversary, the party pops with NYC’s deliciously hard-driving house DJ W. Jeremy of House of Stank.

Wed/9, 9 p.m., $4. Q Bar, 456 Castro, SF. www.bootycallwednesdays.com

 

SIDESHOW

OK folks it’s definitely benefit season — and this Burner-circus-burlesque party for KSea Flux, cherished SF underground mainstay who fell gravely ill last year, looks the business. Vau de Vire Society, Jill Tracy, Squidling Bros. Sideshow, Bad Unkl Sista, and seemingly zillions more will work their nightlife magic.

Thu/10, 8 p.m., $10. 375 DNA Lounge, 11th St., SF. www.dnalounge.com

 

FALTY DL

Equal parts head-tripper and bass-ripper, the wonderfully complex New Yorker scored big props playing the Radiohead tour, and isn’t afraid to drop Frank Zappa, Mobb Deep, and Aphex Twin into sets that cohere somehow into glistening workouts.

Fri/11, 9:30 p.m.-3 a.m., $10 advance. SOM, 2925 16th St., SF. www.som-bar.com

 

TIAGO

I have been dying to go to Lisbon’s Lux club for years, because hello sweaty Portuguesas getting down to quality music. Sparkling leftfield disco and dubby techno Lux resident Tiago (average set length there: seven hours) represents at the No Way Back monthly party.

Fri/11, 10 p.m., $5–$10. 222 Hyde, SF. www.222hyde.com

 

RAREBITS

Or you could just grab a strong drink at relaunched queer bar Truck and listen to some mighty eclectic tunes at this new monthly party, with cute DJs Josh Cheon, Chicken, and more. No pressure!

Fri/11, 6 p.m.-10 p.m., free. Truck, 1900 Folsom, SF. www.trucksf.com

 

HI-TEK SOUL

Two of the Belleville Three inventors of techno, Derrick May and Kevin Saunderson, have re-teamed up to show the kids how it’s done, Detroit-style. The mere idea of these two actual legends vibing live on four turntables and a drum machine makes me kinda weak.

Sat/12, 10 p.m.-4 a.m., $20. Public Works, 161 Erie, SF. wwwpublicsf.com

 

KOZE

SF’s As You Like It party crew continues its amazing run of special guests with this Hamburg master of harder-end post-minimal techno effects, playing a special four-hour set. The last time I saw him it felt like my chest was thumping a brilliant melody, so get ready for some upfront bass.

Sat/12, 9 p.m.-4 a.m., $25–$30. Beatbox, 314 11th St., SF. www.ayli-sf.com

 

YELLE

Edgy neon pop-dance princess of France puts on one hell of a show, full of catchy tunes, banging drums, and occasional crowd-surfing. Can we have her take over our Top Ten here please?

Sat/12, 9 p.m., $27.50 advance. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

CHEB I SABBAH BENEFIT

This festive benefit for the beloved, cancer-stricken godfather of global dance sounds will feature Cheb himself on the decks joined by guitarist Vir MCoy for live jams, plus DJs Freq Nasty, Janaka Selekta, and Dub Gabriel.

Sun/13, 8 p.m., $15. 1015 Folsom, SF. www.1015.com

 

PROSUMER

The kick-ass cutting-edge tech-house resident of Berlin’s fabled Panoramabar returns to the Honey Soundsystem Sunday weekly party to bring one of the best SF crowds to its knees. ($20 says he’ll be wearing shorts.)

Sun/13, 8 p.m., $5. Holy Cow, 1535 Folsom, SF. www.honeysoundsystem.com

Avalos campaign revives the progressive movement

Sasha Cuttler
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As I walked into the John Avalos campaign party in Roccapulco around 11 pm, Sup. David Campos told me, “It’s the best party in town!” And he was right. The speeches were just getting underway on the stage and there was a palpable energy in the large crowd even though many of them had been out campaigning since early in the morning.
Avalos’ wife, veteran progressive organizer Karen Zapata, set the tone. First, she recognized Eric Quezada, the longtime housing rights activist who died in August, and the rest of the progressive leaders, such as Tom Ammiano and Chris Daly, who laid the foundation for a campaign that finished the night strongly in second place, less than 13 percentage points behind with voters’ second and third choices still to be tallied.
If Ed Lee hangs on to win, she said, “We could be screwed unless we work together and organize.” It was a theme and a feeling that would permeate the event, this sense that Avalos and the progressives are enjoying a resurgence in the last month thanks to what’s happening in the streets, both with this campaign and the OccupySF movement that Avalos has taken a lead role at City Hall in supporting.
“We have to stick together and we have to push from outside the system. We have to push John and we have to push everyone in the system,” Zapata said, firing up the young crowd as she introduced her husband.
Avalos praised the campaign for having so much heart and with filling his. “This has been a campaign of the people,” Avalos said, seeming genuinely touched by the energy in the room.
The progressive movement has been fighting for the soul of this city for a long time, he said, citing the anti-displacement movement that became a political force in 2000-01, a struggle that continues today with the latest tech boom. “In a way, we’re embracing change that is accelerating our displacement here in San Francisco,” Avalos said.
But he said people are waking up to the idea that the people need to stand up to the super rich and their political enablers. “The Occupy Wall Street movement is changing the consciousness of this country,” Avalos said, noting how it is echoing themes that progressive San Franciscans have been sounding for years. “Everyone is talking the same language we’ve been talking, because we’ve been talking about the 99 percent for a long time.”
But between that movement and this campaign, he said the battle was just beginning, praising the “new generation of leadership, that’s what this campaign is about. We’re going to take back this city one way or another!”
And he closed with a chant from the streets: “Whose city?” Avalos shouted, and the crowd roared back, “Our city!”

GOLDIES 2011: Dirty Cupcakes

Jesse Hawthorne Ficks
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GOLDIES 2011: Dirty Cupcakes

GOLDIES It was the summery music video that launched a thousand bubblegum crushes. Guitarist-vocalist Lauren Matsui, drummer Laura Gravander, and bassist Sola Morrissey, a.k.a the Dirty Cupcakes, adorably lust after unrequited love. The cute boy of their dreams prefers other boys, and he sexily smooches another man, while the girls swoon from different spots around San Francisco, including a Sandy-in-Grease bedroom scene. “I feel like it’s a San Francisco thing to be in love with a gay man, or somebody that you can’t have,” says Matsui.

The addictive video, created by their pals Jen Dorn, Kevin Jardin, and Aya Carpio for the band’s garage pop jam “I Want It (Your Love),” was an insta-hit this summer, gaining the relatively unknown trio more than 15,000 page views to date.

It was a rough cut of the video that convinced Matthew Melton of Bare Wires to put out the trio’s record as the first release on his new label, Fuzz City. Just released last month, the I Want It seven-inch was recorded in Melton’s bedroom in Oakland and a studio in the Tenderloin beginning late 2009. The Cupcakes were born just a year prior.

It almost began on a lark. On a sunny day in Dolores Park in 2008, some strippers were holding a bake sale, and a friend of Matsui and Morrissey’s brought back a treat. Hence the name, Dirty Cupcakes. “We didn’t even have a band, but we had the name,” Matsui laughs. Matsui, who had been playing guitar since she was 13 (thanks to A Hard Day’s Night), taught Morrissey to play the bass and they picked up Gravander shortly there after.

Gravander was playing with Nobunny at the now-shuttered Eagle Tavern when Matsui gathered some “liquid courage” and asked Gravander to join her band: “She was so awesome and totally had the energy we needed.”

The band, influenced by stripped-down bubblegum punk like Nikki and the Corvettes and early Go-Go’s, has since played throughout the Bay, most often at the Knockout (“we’re basically the resident band,” Matsui jokes) and house shows in the East Bay — Nov. 9, they’ll play Oakland’s New Parish for the first time.

Live, they play fast and loud, wearing matching costumes — colorful ’60s-esque stripey shifts, Girl Scout uniforms, dinosaur heads. At one Oakland house show, Gravander recalls things getting particularly hectic. “During the last half of our last song, the drums collapsed and I was like, ‘No! I won’t end like this!’ So I pulled the snare and held it on my lap and kept playing.”

It’s the band’s cheerful take on punk that has endeared them to locals and other bands like Shannon and the Clams. They make fun songs (including one about robot love) and videos, wear creative frocks, and say they feel the freedom to do whatever they want as band — I guess, save for making out with gay boys.

Sharmin Bock gets jazzed up

Jesse Hawthorne Ficks
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Sharmin Bock gets jazzed up

The first DA numbers have just come in: Gason 48%, Bock 21%, Onek 15%. But so far a smoking little jazz trio downstairs is about the only real excitement at DA candidate Sharmin Bock’s campaign party at Yoshi’s on Fillmore. No big reaction yet, and the candidate isn’t expected to arrive until 9:30.

Yet campaign coordinator Kimberly Walz Abando tells me there’s been a lot of energy in the Bock campaign. It even reminds her a little of Chicago, where she worked on Mayor Rahm Emmanuel’s last campaign before moving to San Francisco.

Rough-and-tumble Chicago is a very different place, she said, “but what’s the same is you get a lot of passionate volunteers who believe in the candidate and will work 15 hour days.”
She also has a policy background and liked how Bock raised big issues: “She was able to bring forward the issue of unsolved murders and rapes.”

GOLDIES 2011: Ana Teresa Fernandez

Jesse Hawthorne Ficks
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GOLDIES 2011: Ana Teresa Fernandez

GOLDIES When I meet Ana Teresa Fernandez at her studio at the furthest edge of Hunters Point, she tells me she has just come from surfing. Water, it seems, is very much Fernandez’s element, frequently appearing in her dream-like video installations and her gorgeous, large-scale, photorealistic oil paintings as both setting and metaphor — and sometimes even as medium.

“My work is about an energy that is placed in an object that creates a kind of strangeness,” she explains. More often than not that object is a body of water: a swimming pool, a bathtub, the polluted shallows of the Pacific at the San Diego-Tijuana border (Fernandez was born in Tampico, Mexico), and the San Francisco Bay itself. The strangeness emerges out of the choreographies of resistance and restraint — ritually washing herself; performing household chores; walking, or more often than not, swimming in heels — that Fernandez executes at these symbolically-charged sites, documented in the larger-than-life scale of her videos and paintings.

For its many beautiful surfaces, Fernandez’s art doesn’t let you forget that the actions depicted are rarely neutral, even if the ways in which they’ve been gendered, raced, and classed have been naturalized. The glossy realism of Fernandez’s aesthetic also foregrounds the physicality and sensuality of what she’s doing or enduring. For example, in the video of her performance Ice Queen, Fernandez wears high heels made of ice while standing on an Oakland storm drain until her footwear has entirely melted back into the Bay some 45 minutes later. In one of the paintings from the “Pressing Matters” series, Fernandez is shown mopping the beach at US-Mexico border while in pumps that sink into the sand, an image that is the very definition of Sisyphean.

Fernandez wears that uniform of a black cocktail dress and matching heels in many of her performances. It simultaneously draws attention to her body through its very incongruity with her setting or actions while also rendering her archetypical feminine. When I ask her about this tension, Fernandez, who swam competitively for 14 years, informs me that to wear clothing while racing is called drag, leading to a half-joking assessment of her performance getup as “wearing the weight of femininity.”

But for Fernandez, who cites modern artist Marilyn Minter and Neoclassical painter Jean-Auguste-Dominique Ingres as inspirations in the same breath, the point is not accusatory per se, but to explore how that weight can or can’t be shifted through a willful blending of the metaphoric and the physical. Water can drag you down, but it also provides buoyancy. “There are these moments of seduction that occur because of the element itself, whether its the beauty of the sea or the allure and sensuality of dance. I throw a wrench into all that,” Fernandez explains. “Actually, I throw the whole toolbox.”

GOLDIES 2011: Religious Girls

Jesse Hawthorne Ficks
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GOLDIES 2011: Religious Girls

GOLDIES If they suddenly became stupidly rich, the trio behind Oakland’s Religious Girls would purchase a warehouse to turn into an all-ages venue/home-recording studio, with maybe some laser tag. Or they’d buy a food cart. If that isn’t the epitome of the modern Bay Area band, I don’t what is.

Gutted, then formed from the meat of other local acts, Religious Girls — Nicholas Cowman, Guy Culver, and Christopher Danko — became a unit in the summer of 2008. When asked if Oakland influenced their sound, Danko says, “It really did. We came together in Oakland, and grew together, our music as well.” The arty noise act’s music is that of the futurist multitasker: overflowing synth and samplers, beeping keyboard, near-tribal drumming, and three wordless chanting vocalists. Conspicuously absent are the given instruments of traditional rock ‘n’ roll.

The band is electrifying live, all loose limbs, hard-hitting drums solos, and musty, foggy chants, formed in a claustrophobic circle (more like a triangle, to be mathematically accurate), each musician clearly feeding off the energy of the others. This past summer, the rest of the country got to catch the live act — the Religious Girls (time to note: no actual females play in the band) spent 45 days on the road on their own Shred Til We Ded tour. They toured the East Coast in a giant school bus (dubbed “The Rad Bus”) with Blastoids and the Prophet Nathan, both of Tennessee, and from that trip fondly recall “jumping off a bridge and riding a waterfall in Washington, making a whirlpool with Japanther in Montana, and [getting] the stomach flu!”

The cross-country journey was in support of the recently released 12-inch EP Midnight Realms, which came out on two labels, Everybodies Stomached (in L.A.) and Echolalic Records (Seattle). To be released yet again next year, this time on German label Alien Transistor, the record is fraught with mind-expanding moments of ecstasy. The thrill of the twinkling keyboard build-up in “OG” (named for BART cop shooting victim Oscar Grant) plateaus with guttural screams and fuzzy daggers of laser synth, breaking down into near chiptune digi-video game bleeps and clacking drums. It’s pieces like this that explain the band’s magnetism, having been described as “feral and bubbly,” “fucking MONSTERS” (in a YouTube comment), and “like a more ambient Battles “(okay, that last one was me).

And in truth, it’s just really getting started, the momentum building thanks in no small part to the EP. The band is in the final stages of mixing its full-length record, set to be released next year, and has more tour plans in 2012: the trio will hit the West Coast in January, and take its first European jaunt in April after SXSW — where they’ll undoubtedly pick up a few additional fans, further spreading the good word on Oakland sound.

The growing 99 percent

Jesse Hawthorne Ficks
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The growing 99 percent

steve@sfbg.com

In recent weeks, the Bay Area has been roiled by anger and frustration with how the rich have grown richer while the rest of us endure underemployment, foreclosures, and deep cuts to public education and services, peaking with the Nov. 2 Oakland General Strike that drew more than 10,000 people into the streets to demand economic justice.

The Occupy Wall Street movement — and its many local manifestations, including OccupySF and Occupy Oakland — has been the main vehicle for those populist passions for the last two months, with the support of the labor movement. But now, student and faculty groups from California’s three public university systems are about to get involved in the fight in a big way.

Student and labor groups allied with the ReFund California coalition are planning a week of action for Nov. 9-16, culminating that final day in demonstrations outside the California State University Board of Trustees meeting in Fullerton and University of California Board of Trustees meeting at the UCSF campus in San Francisco’s Mission Bay.

Those protests aim to connect the problem of deep cuts and tuition hikes in the public university systems with the larger issue of wealthy individuals and corporations that haven’t been paying their fair share. The coalition wants the boards to pledge support for a five-point action plan that includes taxes on the wealthy, removing commercial property from Prop. 13 caps on property taxes, restoration of cuts to higher education, a sales tax on Wall Street financial transactions, and pressuring banks to reduce mortgage debt on underwater homes.

Charlie Eaton, a ReFund California organizer from United Auto Workers Local 2865, which represents teaching assistants at UC, notes that many UC and CSU board members also sit on the boards of major banks and corporations that have contributed to the current financial crisis and which have been in the crosshairs of the Occupy Wall Street movement.

“It’s really a club of California’s corporate elites,” Eaton said. “It’s about saying to these folks: if you aren’t willing to actively support paying your fair share, or at least get out of the way, we can’t let it be business as usual at the Wall Street institutions that you help run.”

 

NO BUSINESS AS USUAL

He said there’s a direct connection between the actions of these corporate boards and lack of resources in California for public education and services, so it’s only right that these powerful board members — from Regent Richard Blum, the investment banker husband of Sen. Dianne Feinstein, to Trustee Bill Hauck, former head of the California Business Roundtable — support the needs of the 99 percent.

“We’ll be there to call on them to sign the pledge,” Eaton said of the Nov. 16 meetings. “And if they aren’t prepared to make that pledge, we’re headed to the Financial District to make sure there is no business as usual for these corporations.”

That day of action will echo the last ReFund California protest in San Francisco, the Sept. 29 “Make Banks Pay” march through the Financial District that was one of the first high-profile demonstrations involving OccupySF. The march was several hundred strong, targeting major financial institutions including a Chase Bank branch on Market Street that was occupied by protesters, resulting in six arrests.

When we asked Eaton whether the Occupy movement would lend its energy and numbers to these ReFund California protests, he said, “We’re embedded in the Occupy movement, so it’s not quite right to say it’s something the Occupy movement might help with…I think the Occupy Wall Street movement shows we can make them pay.”

Meanwhile, the next day (Nov. 17), Occupy Wall Street plans to march the 11-mile length of Manhattan in a day of action that will be supported by solidarity marches by Occupy encampments across the country. That is also the day that a two-campus strike is being threatened by the California Faculty Association.

“I think that day is going to be a busy day all around the nation,” Kim Geron, a political science professor at CSU East Bay and vice president of the CFA, told us.

On Nov. 7, the CFA Board of Directors authorized one-day strikes for Nov. 17 at the CSU East Bay and CSU Dominguez Hills campuses to protest CSU Chancellor Charles B. Reed’s decision to withhold negotiated faculty pay raises. It would be the first faculty strike in the system since 1983, although a strike was authorized in 2007 but called off after a negotiated settlement.

After the vote, according to a statement put out to members, CFA President Lillian Taiz told her board, “We hope this carefully targeted strike, which symbolizes both our anger and our commitment to fairness, will lead to changes in his priorities and his positions. If it does not, the CFA leadership—and the CSU faculty we represent—are prepared to escalate the fight.”

 

DUCKING THE TAX ISSUE

CSU spokesperson Mike Uhlenkamp said the campuses will remain open despite the strikes. “We expect it to be business as usual,” he said. As for the pledge that ReFund California is seeking, “We don’t get into advocating between taxing and not taxing,” he said, saying that’s a state decision and “we’re not going to push them to make that determination.”

Guardian calls to the UC President’s Office were not returned by press time. A spokesperson for Gov. Jerry Brown, who is the subject of a student letter-writing campaign urging him to tax the rich and stop cutting public services, continued to blame Republicans.

“We too are deeply concerned about cuts to the state’s universities and colleges, which is why the Governor pushed for a solution to our budget deficit that included extending revenues. Unfortunately, Republicans in the Legislature refused to even allow the people of California to vote on the measure, which could have helped prevent future cuts,” Brown spokesperson Evan Westrup responded via email.

When we asked whether Brown was simply giving up, how he planned to deal with the problem, and why Brown has not followed up his campaign pledge to tax the rich with any proposals to do so, he wrote simply, “There are a number of ways to pursue additional revenue moving forward and these options are being considered.”

Geron said there is a clear connection between problems in the CSU system and the hoarding of resources by the richest one percent of Americans, the main critique of Occupy Wall Street, a movement driven largely by current and recent college students.

“We are part of it. One of our slogans is we are the 99 percent and we teach the 99 percent,” Geron told us.

While the CFU is focused on decisions by the Chancellor’s Office — indeed, the strike is legally allowed only because the chancellor broke the contract by withholding negotiated pay increases — Geron said those decisions were made in a climate of deep funding cuts prompted by the state budget crisis.

“Obviously, the economic crisis is a lot of the reason why all this happened. It’s part of a larger crisis that is going on about how to fund the public good, including higher education,” Geron said. “Students are paying a lot more and getting a lot less. That’s the heart of what’s going on.”

The UC Student Association is taking part in the ReFund California week of action, but has not yet voted to participate in direct action against corporations on Nov. 16, Executive Director Matt Haney told us. But he said that many UC students will still take part in that action, just as they’ve been taking part in the Occupy movement.

“It’s the same frustrations. We have to get out there and start pushing this ourselves,” he told us. “We need to show the state that things can’t just keep moving along as they have. We have to put a stop to business as usual. The economic collapse is what destroyed the UC system.”

Haney sees the student, labor, and Occupy movements starting to come together in a very natural way. “It has really put the wind in the sails of student activists to see the energy of the Occupy movement,” Haney said. “There is a coming together of students and labor, and it’s overlapping with the Occupy movement in a powerful way.” *

Find details about the ReFund California Week of Action at www.makebankspaycalifornia.com.

Stage Listings

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

THEATER

OPENING

Fela! Curran Theatre, 445 Geary, SF; www.shnsf.com. $31-200. Opens Tues/15, 8pm. Runs Wed-Sat, 8pm (also Wed and Sat, 2pm; no show Nov 24); Sun, 2pm (also Nov 27, 7:30pm). Through Dec 11. The life and music of Nigerian superstar Fela Kuti is captured in this show with choreography by Bill T. Jones.

Forgetting the Details Bindlestiff Studio, 185 Sixth St, SF; www.nicolemaxali.com. $20. Opens Thurs/10, 8pm. Runs Thurs-Sat, 8pm; Sun/13, 3pm. Through Nov 19. Nicole Maxali performs her solo work about the effects of Alzheimer’s.

The Importance of Being Earnest Notre Dame Senior Plaza, Community Room, 347 Dolores, SF; (650) 952-3021. Free. Opens Fri/11, 7:30pm. Runs Fri, 7:30pm; Sat-Sun, 3pm. Through Nov 20. 16th Street Players perform the Oscar Wilde classic.

Language Rooms Thick House, 1695 18th St, SF; www.brownpapertickets.com. $20-28. Previews Thurs/10-Fri/11, 8pm. Opens Sat/12, 8pm. Runs Thurs-Sat, 8pm (no show Nov 24); Sun, 7pm (no show Sun/13). Through Dec 4. Golden Thread Productions and Asian American Theater Company present the West Coast premiere of Yussef El Guindi’s dark comedy.

SexRev: The José Sarria Experience CounterPULSE, 1310 Mission, SF; (415) 552-4100, www.therhino.org. $10-25. Previews Thurs/10-Sat/12 and Nov 17-18, 8pm (also Sat/12, 10:30pm); Sun/13, 3pm. Opens Nov 19, 8pm. Runs Thurs-Sat, 8pm (also Sat, 10:30pm; no show Nov 24); Sun, 3pm. Through Nov 27. Theatre Rhinoceros performs John Fisher’s musical celebration of America’s first queer activist — a hit for the company in 2010.

BAY AREA

The Soldier’s Tale Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Previews Fri/11-Sat/12 and Nov 16, 8pm; Sun/12, 2pm; Tues/15, 7pm. Opens Nov 17, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Dec 18. Aurora Theatre presents a re-imagined version of Igor Stravinsky’s 1918 musical by Tom Ross and Muriel Maffre.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; (415) 992-8168, www.thealcovetheater.com. $32-50. Sun, 6pm; starting Nov 19, Thurs and Sat, 8pm. Through Dec 29. Not Quite Opera Productions presents Anne Nygren Doherty’s musical about San Francisco, with five characters all portrayed by Mary Gibboney.

Almost Nothing, Day of Absence Lorraine Hansberry Theatre, 450 Post, SF; (415) 474-8800, www.lhtsf.org. $43-53. Wed-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Nov 20. The Lorraine Hansberry Theatre christens its grand new home near Union Square with two well-acted one-act plays under sharp direction by artistic director Steven Anthony Jones. Almost Nothing by Brazilian playwright Marcos Barbosa marks the North American premiere of an intriguing and shrewdly crafted Pinteresque drama, wherein a middle-class couple (Rhonnie Washington and Kathryn Tkel) returns home from an unexpected encounter at a stop light that leaves them jittery and distracted. As an eerie wind blows outside (in David Molina’s atmospheric sound design), their conversation circles around the event as if fearing to name it outright. When a poor woman (Wilma Bonet) arrives claiming to have seen everything, the couple abandons rationalization for a practical emergency and a moral morass dictated by poverty and class advantage — negotiated on their behalf by a black market professional (Rudy Guerrero). Next comes a spirited revival of Douglas Turner Ward’s Civil Rights–era Day of Absence (1965), a broad satire of Southern race relations that posits a day when all the “Neegras” mysteriously disappear, leaving white society helpless and desperate. The cast (in white face) excel at the high-energy comedy, and in staging the text director Jones makes a convincing parallel with today’s anti-immigrant laws and rhetoric. But if the play remains topical in one way, its too-blunt agitprop mode makes the message plain immediately and interest accordingly pales rapidly. (Avila)

Annapurna Magic Theatre, Bldg D, Fort Mason Center, Marina at Laguna, SF; (415) 441-8822, www.magictheatre.org. $20-60. Opens Wed/9, 8pm. Showtimes vary, through Dec 4. Magic Theatre performs Sharr White’s world premiere drama about love’s longevity.

How to Love Garage, 975 Howard, SF; www.pustheatre.com. $15. Fri-Sat, 8pm; Sun, 2pm. Through Nov 20. Three demigod-like personalities at the center of the earth are charged with answering life’s mysteries, big and small, but find themselves stymied by their latest task, namely, explaining “how to love.” They have only a week to do it, for some reason, or humanity will be consigned to everlasting consternation, or something like that — coherence is not a priority here — anyway: stakes are high. Their boss, the Magistrate (Geo Epsilanty), has them present their findings each day, but each of them — the Very Sexy One (Jessica Schroeder in sassy lingerie), the Stern One (Gloria MacDonald in girl-school uniform), and the Young One (Brian Martin in caped crusader outfit) — comes up with bupkus. Finally, the Young One gets the inspiration to kidnap a surface-dwelling earthling (Valerie Fachman) to help them figure it all out. Local playwright Megan Cohen’s mumbling comedy, directed with robust attention to blocking and movement by Scott Baker for Performers Under Stress, is far too skit-like a conceit to merit its two plodding acts. More to the point, its humor is very silly but generally dim. Despite being set at the center of the earth, this is too shallow and glancing an investigation of love to intrigue or tickle the genuinely curious. (Avila)

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat/12, 8:30pm; Sun/13, 7pm. 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)

Making Porn Box Car Theatre Studios, 125A Hyde, SF; www.brownpapertickets.com. $25-50. Thurs, 8pm; Thurs, 8pm; Fri-Sat, 9pm; Sun, 7pm. Extended through Nov 27. Ronnie Larsen brings back his crowd-pleasing comedy about the gay porn industry.

*”Master Harold” … and the Boys Phoenix Theater, 414 Mason, Ste 601, SF; 1-800-838-3006, www.offbroadwaywest.org. $18-40. Thurs-Sat, 8pm. Through Nov 19. Based loosely on personal history, Athol Fugard’s drama explores institutionalized racism in South Africa’s apartheid era ensconced in the seemingly innocuous world of a Port Elizabeth tea room. The play opens during a rainy afternoon with no customers, leaving the Black African help, Willie (Anthony Rollins-Mullens) and Sam (LaMont Ridgell), with little to do but rehearse ballroom dance steps for a big competition coming up in a couple of weeks. When Hally (Adam Simpson), the owner’s son, arrives from school, the atmosphere remains convivial at first then increasingly strained, as events happening outside the tea room conspire to tear apart their fragile camaraderie. The greatest burdens of the play are carried by Sam, who fills a range of roles for the increasingly pessimistic and emotionally-stunted Hally — teacher, student, surrogate father, confidante, and servant — all the while completely aware that their mutual love is almost certainly doomed to not survive past Hally’s adolescence, and possibly not past the afternoon. Ridgell rises greatly to the challenges of his character, ably flanked by Rollins-Mullens, and Simpson; he embodies the depth of Sam’s humanity, from his wisdom of experience, to his admiration for beauty, to his capacity to bear and finally to forgive Hally’s need to lash out at him. It is a moving and memorable rendering. (Gluckstern)

More Human Than Human Dark Room Theater, 2263 Mission, SF; (415) 401-7987, www.brownpapertickets.com. $25. Thurs-Sat, 8pm. Through Nov 19. B. Duke’s dystopian drama is inspired by Philip K. Dick.

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm; Sun, 3pm. Extended through Dec 17. 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. (Avila)

*The Odyssey Aboard Alma, Hyde Street Pier, San Francisco Maritime National Historic Park, SF; www.weplayers.org. $160. Fri/11-Sat/12 and Nov 18, 12:30pm. Heralding their hugely ambitious Spring 2012 production of The Odyssey, which will take place all over Angel Island, the WE Players are tackling the work on a slightly smaller scale by staging it on the historic scow schooner Alma, which is part of the Maritime National Historical Park fleet docked at the end of Hyde Street Pier. Using both boat and Bay as setting, the essential chapters of the ten-year voyage — encounters with the Cyclops, Circe, the Underworld, the Sirens, Aeolus, the Laestrygonians, and Calypso — are enacted through an intriguing mash-up of narration, choreography, sea chanteys, salty dog stories (like shaggy dog stories, but more water-logged), breathtaking views, and a few death-defying stunts the likes of which you won’t see on many conventional stages. High points include the casual swapping of roles (every actor gets to play Odysseus, however briefly), Ross Travis’ masked and flatulent Prometheus and sure-footed Hermes, Ava Roy’s hot pants-clad Circe, Charlie Gurke’s steady musical direction and multi-instrumental abilities, and the sail itself, an experiential bonus. Landlubbers beware, so much time facing the back of the boat where much of the action takes place can result in mild quease, even on a calm day. Take advantage of the downtime between scenes to walk around and face forward now and again. You’ll want to anyway. (Gluckstern)

Oh, Kay! Eureka Theatre, 215 Jackson, SF; (415) 255-8207, www.42ndstmoon.org. $20-50. Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through Nov 20. 42nd Street Moon performs George and Ira Gershwin’s Prohibition-set comedy.

*On the Air Pier 29 on the Embarcadero (at Battery), SF; (415) 438-2668, love.zinzanni.org. $117 and up (includes dinner). Wed-Sat, 6pm; Sun, 5pm. Through Dec 31. Teatro ZinZanni’s final production at its longtime nest on Pier 29 is a nostalgia-infused banquet of bits structured around an old-time radio variety show, featuring headliners Geoff Hoyle (Geezer) and blues singer Duffy Bishop. If you haven’t seen juggling on the radio, for instance, it’s pretty awesome, especially with a performer like Bernard Hazens, whose footing atop a precarious tower of tubes and cubes is already cringingly extraordinary. But all the performers are dependably first-rate, including Andrea Conway’s comic chandelier lunacy, aerialist and enchanting space alien Elena Gatilova’s gorgeous “circeaux” act, graceful hand-balancer Christopher Phi, class-act tapper Wayne Doba, and radio MC Mat Plendl’s raucously tweeny hula-hooping. Add some sultry blues numbers by raunchy belter Bishop, Hoyle’s masterful characterizations (including some wonderful shtick-within-a-shtick as one-liner maestro “Red Bottoms”), a few classic commercials, and a healthy dose of audience participation and you start to feel nicely satiated and ready for a good cigar. Smoothly helmed by ZinZanni creative director Norm Langill, On the Air signals off-the-air for the popular dinner circus — until it can secure a new patch of local real estate for its antique spiegeltent — so tune in while you may. (Avila)

*Pellas and Melisande Cutting Ball Theater, Exit on Taylor, 277 Taylor, SF; 1-800-838-3006, www.cuttingball.com. $10-50. Thurs, 7:30; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 27. The Frog Prince, Rapunzel, the Swan Maiden: shimmering strands of each timeless tale twist through the melancholy tapestry of the Maurice Maeterlinck play Pelleas and Melisande, which opens Cutting Ball Theater’s 12th season. Receiving a lushly atmospheric treatment by director and translator Rob Melrose, this ill-fated Symbolist drama stars Joshua Schell and Caitlyn Louchard as the doomed lovers. Trapped in the claustrophobic environs of an isolated castle at the edge of a forbidding forest and equally trapped in an inadvertent love triangle with the hale and hearty elder prince Golaud (Derek Fischer), Pelleas’ brother and Melisande’s husband, the desperate, unconsummated passion that builds between the two youngsters rivals that of Romeo and Juliet’s, and leads to an ending even more tragic — lacking the bittersweet reconciliation of rival families that subverts the pure melodrama of the Shakespearean classic. Presented on a spare, wooden traverse stage (designed by Michael Locher), and accompanied by a smoothly-flowing score by Cliff Caruthers, the action is enhanced by Laura Arrington’s haunting choreography, a silent contortionism which grips each character as they try desperately to convey the conflicting emotions which grip them without benefit of dialogue. Though described by Melrose as a “fairy tale world for adults,” the dreamy gauze of Pelleas and Melisande peels away quickly enough to reveal a flinty and unsentimental heart. (Gluckstern)

*Race American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-85. Opens Wed/26, 8pm. Wed/9-Sat/12, 8pm (also Wed/9 and Sat/12, 2pm); Sun/13, 2pm. A very rich older white guy (Kevin O’Rourke) accused of sexually assaulting a poor woman of color looks for representation from the racially diverse firm headed by Jack (Anthony Fusco) and Henry (Chris Butler) with assistance from Jack’s African American protégé, Susan (Susan Heyward). With shades of Oleanna and Speed the Plow, David Mamet’s fleet new play mixes race and gender in the so-called justice system (in fact solely adversarial in the playwright’s unsurprising view, with winning being the only point). The result is an ultimately vindictive struggle both volatile and familiar. Some of that familiarity naturally stems from the world beyond the playwright’s immediate control — especially with the odor of the Dominique Strauss-Kahn affair still in the air — but the play’s action feels managed throughout by a political worldview too, um, black-and-white to register as up-to-the-moment. That said, muscular writing and the strong and appealing cast under intelligent direction by Irene Lewis guarantee an enjoyable, crackerjack production from American Conservatory Theater. (Avila)

Savage in Limbo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Dec 3. Actors Theatre of San Francisco performs John Patrick Shanley’s edgy comedy.

“Shocktoberfest 12: Fear Over Frisco” Hypnodrome Theatre, 575 10th St, SF; (415) 377-4202, www.thrillpeddlers.com. $25-35. Thurs-Sat, 8pm. Through Nov 19. In its annual season-scented horror bid, Thrillpeddlers joins forces with SF’s Czar of Noir, writer-director Eddie Muller, for a sharply penned triplet of plays that resurrect lurid San Francisco lore as flesh-and-blood action. In the slightly sluggish but intriguing Grand Inquisitor, a solitary young woman modeling herself on Louise Brooks in Lulu (an alluringly Lulu-like Bonni Suval) believes she has located the Zodiac killer’s widow (a sweet but cagey Mary Gibboney) — a scenario that just can’t end well for somebody, yet manages to defy expectations. An Obvious Explanation turns on an amnesiac (Daniel Bakken) whose brother (Flynn de Marco) explains the female corpse in the rollaway (Zelda Koznofski) before asking bro where he hid a certain pile of money. Enter a brash doctor (Suval) with a new drug and ambitions of her own vis-à-vis the hapless head case. Russell Blackwood directs The Drug, which adapts a Grand Guignol classic to the hoity-toity milieu of the Van Nesses and seedy Chinatown opium dens, where a rough-playing attorney (an ever persuasive Eric Tyson Wertz) determines to turn a gruesome case involving the duplicitous Mrs. Van Ness (an equally sure, sultry Kära Emry) to his own advantage. The evening also offers a blackout spook show and some smoothly atmospheric musical numbers, including Muller’s rousing “Fear Over Frisco” (music composed by Scrumbly Koldewyn; accompaniment by Steve Bolinger and Birdie-Bob Watt) and an aptly low-down Irving Berlin number — both winningly performed by the entire company. (Avila)

Shoot O’Malley Twice StageWerx, 446 Valencia, SF; www.viragotheatre.org. Thurs-Sat, 8pm (no show Nov 24). Through Nov 26. Virago Theater Company performs Jon Brooks’ world-premiere existential comedy.

Sitting in a Circle Intersection for the Arts, 925 Mission, Ste 109, SF; www.brownpapertickets.com. $15-25. Fri/11-Sat/12, 8pm. We are here to question the ways we present ourselves, communicate, and commune, but the masks never really come off and — unlike, say, a general assembly meeting down at Occupy SF — a circle of equals never really forms in this new work by the Erika Chong Shuch Performance Project, debuting at Intersection for the Arts’ new downtown space. The audience sits in or around a large circle of chairs, initially bathed in the harsh glow of office-space fluorescence. This much is as expected. But as the room transforms (amid production designer Allen Willner’s protean, mood-shifting lighting scheme) into some in-between world of personal-transformation workshop, talk show confessional, art therapy session, and psychic retreat, the accompanying conceit of spontaneous open-ended “coming together” gives way to a highly choreographed, largely jocular entertainment managed by a group of seven performers planted among the assembled. The results are varied, sometimes amusing, sometimes pushy, and usually too stylized or arch to be very moving or discerning. But a dance solo by adroit 13-year-old Rio Mezey Anderson comes as an unexpected, mesmerizing moment that — in its channeling of pure, unguarded expression — is also the evening’s most authentic. (Avila)

Sticky Time Brava Theater, 2781 24th St, SF; www.vanguardianproductions.com. $15-40. Wed-Sat and Mon/14, 8pm. Through Nov 18. Crowded Fire and Vanguardian Productions present playwright-director Marilee Talkington’s multimedia science fiction about a woman running out of time in the worst way. The prolix and histrionic story is the real sticking point, however, in this otherwise imaginatively staged piece, which places its audience on swivel chairs in the center of Brava’s upstairs studio theater, transformed by designer Andrew Lu’s raised stage and white video screens running the length of the walls into an enveloping aural (moody minimalistic score by Chao-Jan Chang) and visual landscape. Thea (Rami Margron) heads a three-person crew of celestial plumbers managing a sea of time “threads,” an undulating web of crisscrossing lines (in the impressive video animation by Rebecca Longworth). The structure is plagued by a mysterious wave of “time quakes” that Tim (Lawrence Radecker) thinks he may have figured out. Coworker Emit (Michele Leavy), meanwhile, goofing around like a hyperactive child, spots some sort of beast at work in the ether. When Thea gets stuck by a loose thread, she becomes something of a time junky, desperate to relive the color-suffused world of love and family lost somewhere in space-time as reality starts to unravel (with a dramatic assist from cinematographer Lloyd Vance) and the crew seeks help from a wise figure in a tattered gown (Mollena Williams). A little like a frenetic, stagy version of Andrey Tarkovsky’s Solaris (1972), the story gets credit for dramatizing some confounding facts about time and space at the particle level but might have benefited from less dialogue and more mystery — just as the audio-visual experience works best when the house lights are low. (Avila)

The Temperamentals New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $25-45. Previews Wed/9-Fri/11, 8pm. Opens Sat/12, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Dec 18. New Conservatory Theatre Center performs Jon Marans’ drama about gay rights during the McCarthy era.

Totem Grand Chapiteau, AT&T Park, Parking Lot A, 74 Mission Rock, SF; cirquedusoleil.com/totem. $58-248.50. Tues-Sun, schedule varies. Extended through Dec 18. Cirque Du Soleil returns with its latest big-top production.

Two Dead Clowns Box Car Theatre Studios, 125A Hyde, SF; www.brownpapertickets.com. $20. Fri-Sat, 7pm. Through Nov 26. Ronnie Larsen’s new play explores the lives of Divine and John Wayne Gacy.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-35. Fri, 8pm; Sat, 5pm. Through Nov 26. Brian Copeland (Not a Genuine Black Man) presents a workshop production of his new solo show.

*Working for the Mouse Exit Theatre, 156 Eddy, SF; www.brownpapertickets.com. $22. Thurs-Sat, 8pm (no performances Nov 24-26). Through Dec 17. It might not come as a surprise to hear that even “the happiest place on earth” has a dark side, but hearing Trevor Allen describe it during this reprise of 2002’s Working for the Mouse will put a smile on your face as big as Mickey’s. With a burst of youthful energy, Allen bounds onto the tiny stage of Impact Theatre to confess his one-time aspiration to never grow up — a desire which made auditioning for the role of Peter Pan at Disneyland a sensible career move. But in order to break into the big time of “charactering,” one must pay some heavy, plush-covered dues. As Allen creeps up the costumed hierarchy one iconic cartoon figure at a time, he finds himself unwittingly enmeshed in a world full of backroom politics, union-busting, drug addled surfer dudes with peaches-and-cream complexions, sexual tension, showboating, job suspension, Make-A-Wish Foundation heartbreak, hash brownies, rabbit vomit, and accidental decapitation. Smoothly paced and astutely crafted, Mouse will either shatter your blissful ignorance or confirm your worst suspicions about the corporate Disney machine, but either way, it will probably make you treat any “Casual Seasonal Pageant Helpers” you see running around in their sweaty character suits with a whole lot more empathy. (Note: review from the show’s recent run at La Val’s Subterranean in Berkeley.) (Gluckstern)

BAY AREA

Annie Berkeley Playhouse, Julia Morgan Center for the Arts, 2640 College, Berk; (510) 845-8542, www.berkeleyplayhouse.org. $17-35. Thurs-Sat, 7pm; Sun, noon and 5pm. Through Dec 4. Berkeley Playhouse performs the classic musical.

Doubt: A Parable Live Oak Theatre, 1301 Shattuck, Berk; www.aeofberkeley.org. $12-15. Fri-Sat, 8pm; Sun/13, 2pm. Through Nov 19. Actors Ensemble of Berkeley performs John Patrick Shanley’s Pulitzer-winning drama.

How to Write a New Book for the Bible Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Tues, Thurs-Sat, 8pm (also Sat, 2pm; no show Nov 18); Wed and Sun, 7pm (also Sun, 7pm). Through Nov 20. An aspiring writer who later becomes a priest, Bill (Tyler Pierce) is the caregiver for his aging mother (Linda Gehringer) during her long bout with cancer. His father (Leo Marks), though already dead, still inhabits his mother’s flickering concept of reality, made all the more dreamlike by her necessary dependence on pain medication. His brother (Aaron Blakely), meanwhile, has returned from Vietnam with survivor guilt but lands a meaningful career as a schoolteacher in the South. The latest from playwright Bill Cain (Equivocation, 9 Circles) is a humor-filled but sentimental and long-winded autobiographical reflection on family from the vantage of his mother’s long illness. It gets a strong production from Berkeley Rep, with a slick cast under agile direction by Kent Nicholson, but it plays as if narrator Bill mistakenly believes he’s stepped out of an Arthur Miller play, when in fact there’s little here of dramatic interest and far too much jerking of tears. (Avila)

Rambo: The Missing Years Cabaret at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Thurs-Fri, 7pm; Sat, 8:30pm. Through Dec 10. Howard “Hanoi Howie” Petrick presents his solo show about being an anti-war demonstrator — while also serving in the Army.

*Rita Moreno: Life Without Makeup Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Wed/9, 7pm; Thurs/10 and Sat/12-Sun/13, 2pm; Fri/11, 8pm. The life of stage and screen legend Rita Moreno is a subject that has no trouble filling two swift and varied acts, especially as related in anecdote, song, comedy, and dance by the serene multiple–award-winning performer and Berkeley resident herself. Indeed, that so much material gets covered so succinctly but rarely abruptly is a real achievement of this attractively adorned autobiographical solo show crafted with playwright and Berkeley Rep artistic director Tony Taccone. (Avila)

Sam’s Enchanted Evening TheaterStage at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm. Through Nov 26. The Residents wrote the script and did the musical arrangements for this musical, featuring singer Randy Rose and pianist Joshua Raoul Brody.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Sun, 11am. Through Nov 20. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

Dam-Funk brings modern funk and futuristic shoulder synth to Mezzanine

Tony Robles
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The Mezzanine wasn’t packed to capacity Saturday night, but there was a point about a quarter into Dam-Funk’s set when things started to get electric on the dance floor. I was in a sort of self-imposed paralysis, but looking around, it seemed as if I was surrounded by about half a dozen people, each just completely going for it. Woman in a sundress, shaking it back and forth without spilling the second half of her drink; A couple of businessmen out for a night during a layover; Short brunette busting out some fly girl moves not seen since In Living Color; Some jaw-some kid with ass length blonde hair and a complete tie-died outfit (with matching head-band), popping, locking, sliding, swerving, and whatever, all in a way that screamed drugs; A skinny guy with a flat-top and glasses, dancing with two girls and doing the robot. The fucking robot.

Everyone was getting down to the best of their ability; they were getting down to the combined forced of Master Blazter: L.A. musicians Dam-Funk, Computer Jay, and J-1. I had told my friends that we were going to a funk show, which was true in one sense, but totally misleading. Sure, the show was part of the SF Funk Fest, but for a lot of people, the term funk conjures up images of a bygone era of music, now performed by revivalists. Early in, Dam-Funk (his music’s greatest defender) got on the mic to clear this up, saying that what they were playing wasn’t “retro funk” – pronouncing retro like his wanted to spit – it was “modern funk.”

Whatever it is (some call it boogie funk), it’s got a heavy electronic sound, built on Dam-Funk’s Roland keyboards and shoulder synth (he also doesn’t like to hear people call that a keytar), Computer Jay’s beat work, and J-1’s breaks on the drum kit. A little bit of George Clinton/Sun Ra styled spaciness, mixed with some West Coast G rap cool, with some Prince style stage presence, there’s a lot of references to pick up, but the end product seems slightly futuristic. Not the reincarnation of Stevie Wonder in the year 2077, but like 14 months into the future, when all known musical genres have completed melded.

As a group, Master Blazter can jam out on a track, building it up beyond what the audience thinks it can take and holding it there, but knows when to shift and refocus attention, leading to some fairly memorable solos: Dam-Funk taking over on the drums for a super-syncopated session. Or, Computer Jay letting go of his giant console and coaxing a big, bouncy beat out of a little tiny controller with the playfulness of a child with a Gameboy. And, of course, Dam-Funk bringing his keyt – shoulder synth down into the crowd, letting the mob join in and smack the keys. The fact that the last one didn’t devolve into noise is a testament to how well the rest of the group grounded the beat.

The only lull in the evening came right before the encore moment. I don’t know if somebody actually said anything to him to occasion it, or if it was just a standard part of the show (I’m leaning this way,) but Dam-Funk went into a fairly long interlude mid-track about being called “nigga.” The beat seemed to hang on endless symbol crashes as Dam Funk asked “What makes me different from (insert black figure)?” MLK Jr., Malcolm X, Colin Powell, Bill Cosby. (I started to nervously laugh when he got to Cosby, the intensity ratcheting up out of nowhere, along with the many possible absurd answers to that rhetorical question.) This was mixed with declarations that this wasn’t just a “coon show.”* Maybe part of getting people to take his music as more than just dance music involves provocation, but in an interesting twist, and showing that he wasn’t just covering Sly Stone’s “Don’t Call Me Nigger, Whitey,” Dam-Funk said at one point he was speaking to the black guys in the audience “I’m not your nigga, I’m your brother.” If he wanted to challenge people, he did, as the atmosphere definitely changed, and a few tired couples seemed to take it as a cue to leave.

The energy down, it wasn’t enough to totally derail the night. Mainly because even when the DJ (possibly just picking up clues from the crowd) started playing records, J-1 came to the front of the stage and – with some throat slicing motions – signaled both “cut that shit off” and “this shows not over.” Dam-Funk returned to the stage (and smaller crowd) for an encore, which included the single “Hood Pass Intact.” Among Dam-Funk’s catchiest, straightforward songs, it’s a celebration of keeping it real, and a good option for introducing people to his music. Typically one of the easiest songs to get into, on Saturday night it was also the hardest to get to.

*Google “Dam Funk Antoine Dodson” for more on this topic.

The Hangover: Nov. 3-5

Andrew Lam
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Jounce with us, if you will, through the Guardian staff’s frenzied weekend. Here’s our live reviews, hot raging, random sightings.

**I’m a firm believer in the idea that whenever Atlanta’s Mastodon comes to town, you must go. The last three times I saw the band, however, resulted in nearly identical experiences (with setlists culled largely from 2009 release Crack the Skye; the tour had a special visual component in the form of a trippy video synced to each song). Granted, Mastodon is one of the best live acts today, or in any era, I dare say — no fucking around, no stage banter, just solid rocking from opening notes to “Thank you, good night!” — but the same show three times did get a little tiresome. (That’s what you get for being obsessed.) Fortunately, the band’s set Thurs/3 at the Warfield was an outstanding mix of new songs (from brand-new disc The Hunter, an album stuffed with meaty rockers well-suited for live performance), plus songs from, yes, Skye, but also Remission, Blood Mountain, and personal favorite Leviathan (“Blood and Thunder” was the encore). Portland, Ore. openers Red Fang have their own cult following, very well-deserved. Come back soon and headline, Red Fang! (Cheryl Eddy)

**It’s not every day that you recieve a commendation from the State Senate for hosting a happy hour, but then you don’t work for an alt weekly that’s turning 45 years old all that often either. The Guardian’s 45th anniversary happy hour went off at the Buck Tavern last Thursday, to the tune of $1 Bud Lights (blame Executive Editor Tim Redmond’s atrocious taste in beverages), copious political cameos (including aforementioned appearance by State Senator Mark Leno and a big plaque), and tons of giveaway vibrators courtesy of Good Vibes. The end of the night was a little fuzzy, but I do recall a lot of female Baby Boomers stoked on their new sex toys and some delinquent reporters smoking weed in the beaded curtain room towards the back. Uncalled for. (Caitlin Donohue)

**I had to be pretty stoked on Das Racist to brave the armpit of San Francisco known as Ruby Skye – where the drinks are as overpriced as the staff is hostile – on Friday night. Despite the poor choice of venue, I had a pretty awesome time. In his signature skinny jeans, opener Danny Brown made groupies swoon with some debaucherous selections from his mixtape XXX. Das Racist’s set featured a ridiculous number of cameos, the best of  which was a swagger-drenched re-work of Dr. Dre’s “Xplosive” by Boots Riley of The Coup. A close second was scraggly-haired newcomer Lakutis, who dropped his absurdly catchy track, “Lakutis In The Haus,” and re-appeared for a verse on “Rapping 2 U.” Das Racist’s Himanshu Suri (a.k.a. Heems) strutted the stage playing air guitar and flashing rock star devil horns at the crowd. Though he did a stage dive early on, Victor Vazquez (a.k.a. Kool AD) seemed a little too relaxed. He messed with his phone and remained seated for the majority of the set. I don’t really blame him, though, as the sound issues at Ruby Skye were unrelenting. The sub-par sound accommodations didn’t stop fans from going bonkers over favorites like “Power” and “Michael Jackson.” Check out a full review with photos in Noise Blog later this week. (Frances Capell)

**We all know the story: Some dude records an album in a basement, garners considerable Internet attention, tries to perform live, and totally blows it. Fortunately for the audience at the Rickshaw Stop on Thursday night, Unknown Mortal Orchestra is a bold exception to this emerging parable in modern music. The hazy, cracked psych-pop tunes dreamed up by Unknown Mortal Orchestra’s progenitor Ruban Nielson blossomed and came to life with help from bandmates Jacob Portrait and Julien Ehrlich. See full review here. (Frances Capell) 

**There’s no real way of knowing how much crossover there was between the fans of Dresden Dolls singer-solo artist Amanda Palmer and fiction writer-poet Neil Gaiman before the two married last year. Now though? Well, it would have been amazingly helpful if the seating arrangement at the Palace of Fine Arts Friday night had been his and hers to properly delineate whose fans wear more Victorian-styled coats, Sherlock Holmes hats, video game references, tucked in long-sleeves t-shirts with jeans, early ’90s Jean-Claude Van Damme haircuts, and black. But since that didn’t happen, it was up to the audience to stake their own claims. “We’ve been Amanda fans for quite a while,” one man told the people sitting in front of him, arm draped over his companion. “We’ve been with her longer than he has.” (Ryan Prendiville)

**Despite the awesome spectacle (high kicks, guitar humping) and the resumes (Sleater-Kinney, Helium, the Minders) Wild Flag‘s music stands on its own. The indie rock foursome (don’t call it a supergroup) from Portland, Oreg. and Washington D.C. ripped the Great American Music Hall to shreds on Saturday night, likely Friday night too but I wasn’t there. Jumping on stage without a word and whipping through the first three songs of the set (all off the self-titled debut), the band set the bar high early; the energy between vocalist-guitarist Mary Timony and vocalist-guitarist Carrie Brownstein was instantly electric. The two snaked around one another, in classic sex-soaked rock god movements. Janet Weiss’ complex drumming remained a blissful flurry of pummeling hits. Organist Rebecca Cole added cool retro garage charm. This is a pack of insanely talented musicians, and the crowd fed off their every lick. It was a packed, attentive, ecstatic house.  See the full review here.  

**J-pop and the Ramones; a combination you might not hear anywhere else besides a Shonen Knife show. On Friday night, the Osaka-bred trio of pop punk rockers received audience cheers as we collectively spotted them through the window behind the stage at Bottom of the Hill, making their way down the stairs outside and into the venue. The band played crowd favorites off 2010’s Free Time, including first track “Perfect Freedom” and “Rock Society” off 2006’s Genki Shock. They covered “Redd Kross,” which is Yamano’s favorite band (not the Ramones?). They also highly recommended the burgers at Bottom of the Hill (which: really?) though Shannon Shaw, during the Shannon and the Clams set did mention that on their joint seven-day tour, she’d learned that Shonen Knife “really likes burgers, especially from Wendy’s.” (Emily Savage) 

**The skies opened up just like the forecast said on Saturday, just in time to soak 2011’s last few hours of Hard French at El Rio. The good news: no one was electrocuted (way to weather-protect your 45s, DJs Carnita and Brown Amy) and the party kept going straight on into Sly and the Family Stone’s 1968 hit “Everyday People”. And like, c’mon, as if anyone ever exited the dancefloor of the two-year-old queer soul party dry? (Caitlin Donohue)

New ‘Romance’: Wild Flag stole our hearts at Great American Music Hall

Tony Robles
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Despite the awesome spectacle (high kicks, guitar humping) and the resumes (Sleater-Kinney, Helium, the Minders) Wild Flag’s music stands on its own. The indie rock foursome (don’t call it a supergroup) from Portland, Oreg. and Washington D.C. ripped the Great American Music Hall to shreds on Saturday night, likely Friday night too, but I wasn’t there.

Jumping on stage without a word and whipping through the first three songs of the set (all off the self-titled debut), the band set the bar high early; the energy between vocalist-guitarist Mary Timony and vocalist-guitarist Carrie Brownstein was instantly electric. The two snaked around one another, in classic sex-soaked rock god movements. Janet Weiss’ complex drumming remained a blissful flurry of pummeling hits. Organist Rebecca Cole added cool retro garage charm. This is a pack of insanely talented musicians, and the crowd fed off their every lick. It was a packed, attentive, ecstatic house.

Ever the dry wit, Brownstein occasionally piped up with observations — “last night they said we brought the weather from Portland” and “I watched two depressing movies before the show — Girl, Interrupted and How To Die In Oregon.” A pre-game decision that she identified as a bad idea. Playing nearly every track off the album, including standout “Racehorse” and singles “Future Crimes” and “Romance” –  plus two promising new songs – the band retreated off stage after a tight hour.

When they returned for the first and only encore, Brownstein said she’d read a story online about Danzig being too cold at Fun Fun Fun Fest, which delayed his stage time, then she remarked about his need for shawl, buttering us up for a Misfits cover. “I don’t need a fucking shawl to sing a Misfits song,” she explained. Brownstein tricked us by asking if we liked the Misfits song “’Bullet” – cheers – “Yeah, I’m not going to play that, it’s fucking offensive.” Wild Flag launched into a garage version of “She.” Someone threw a shawl on stage. This was followed by a Television cover. The band closed out the impeccable set with a tingling cover of Patti Smith’s “Ask the Angels.”

While Wild Flag is essentially brand new (late 2010), the show felt nostalgic. It was the night of my 10-year high school reunion (which I chose not to attend for obvious reasons), and there were wistful pangs of youthful abandon. Having been just a tiny bit too young for the heart of riot grrrl, on the very teetering tip of the movement, I always felt like I was on the outside wishing to break in. But when the merch woman for Wild Flag at Great American Music Hall complimented my Bikini Kill tattoo, I was filled with pride. Listening to bands like Bikini Kill, Bratmobile, and Sleater-Kinney changed my young life for the better; no matter my non-traditional place in its legacy, riot grrrl brought me to feminism, to music as art, to journalism.

Yes, Wild Flag is a new –  and might I add, yet again, brilliant – project and should be judged as such, that demands a clean slate, but the members have been a part of the cultural female underground, the ongoing, endless discussion of riot grrrl, post-riot-grrrl, women in rock, and genderless musicianship for decades. It’s unavoidable and I think, a disservice to simply ignore. When do we stop talking about musicians based on sex? It’s a question I alone cannot answer but I think it starts with bands like these. I wasn’t  the only one claiming it album of the year/best show of the year –  female or not – I’ve heard that high praise elsewhere, everywhere.

Resurrection

Jesse Hawthorne Ficks
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Resurrection

MUSIC In a once-pink house, atop a hill where San Francisco and Daly City collide, freak folk four-piece Little Teeth practices its trash thrash in a small living room decked with tawdry holiday tchotchkes year round, as if suspended in a never-ending Christmas.

When I arrive, pajama-clad vocalist/multi-instrumentalist Sofia Bell is baking Christmas tree-shaped vegan cookies. As she enters the bedroom, she serves percussionist Sean Real and the band’s newest addition, Brian Rodriguez, her freshly baked confections. Her wife, vocalist/multi-instrumentalist Dannie Murrie, is in their bed, watching 16 and Pregnant. When Bell ensures everyone is eating, she gets in the bed and cozies up next to Murrie. The room’s energy shifts when the interview commences.

Weeks prior — to accompany Daly City/Andalusia, an EP of demos — Little Teeth posted a tell-all bio on Bandcamp, scrupulously detailing the dissolution of the band’s original lineup (Ammo Eisu, Andy Tisdall, Murrie — Murrie remains the only original member).

On New Year’s Eve 2008, after she was introduced to Little Teeth’s music by her boyfriend, Bell saw Tisdall perform solo. His music — simple folky melodies above clamorous creaky piano, banjos, and cellos — made for enchanting chamber folk. “It was like a religious experience. Everyone blacked out of the room. Doves were flying. [There were] huge choruses of kneeling skeletons,” she says, catching her breath. “It was a very dramatic experience for me.”

She also met Murrie that evening. “I saw her come up the stairs. And I will never not remember that ’cause it really [was] like that love at first sight thing,” she says.

To Bell, the music Tisdall and Murrie were making both together as Little Teeth and separately as solo artists was what she had been waiting for her whole life. “I just felt like nothing had ever played the sound of a person — what it felt like to be on the inside in your nervous system running and the voices in your head arguing with you,” she says. “I just felt so completely naked in front of their music.”

So enamored with Tisdall’s music, Bell began cheating on her boyfriend with him. A room opened up in the Pink House — where Murrie resided — when the band was at SXSW. Bell moved in. And upon his return, Tisdall shared a room with Bell.

During what Bell and Murrie call “the golden era,” Bell was experimenting as Stanzamaphone, her solo project, while Murrie was producing Little Teeth’s debut album, Child Bearing Man (Absolutely Kosher). In it, Murrie’s snarling, metallic gruff rises above the banging of pots and pans and wailing of mandolin, accordion, banjo, and cello. When Murrie began working on Stanzamaphone with Bell, they fell in love.

“It was the Chernobyl of the house,” Murrie says, referring to the day she and Bell decided to disclose their feelings for each other with their housemates. “It went the worst way it could have possibly gone. It went the way of hospitals and 5150s” — involuntary 72-hour hold in a psychiatric hospital.

All the while, Bell had developed a gastrointestinal disorder. After her hospitalization, she began to write down what had happened over the past six months. The pared down version of that story was posted to Bandcamp, as the band worked on repairing itself. With sagacious hindsight, in the house frozen in Christmas time, Murrie says, “Our sentence is to face the ghost and do it justice and do it service. And live with it everyday. And live it through our songs.” *

 

LITTLE TEETH

With Faun Fables

Fri/4, 9p.m., $10–<\d>$13

New Parish

579 18th St., Oak.

www.thenewparish.com

That’s amoré

Andrew Lam
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That’s amoré

caitlin@sfbg.com

HERBWISE The ever- unfolding swath of life’s problems that can be solved by cannabis has been extended the length of an aphrodisiac shot made from cannabis, cane syrup, glycerin, citric acid, and other supplements. Product name: Amoré. Don’t worry, it’s locally made.

Amoré is the brainchild of a one Ed Silva, a gregarious medical industry product developer (think defibrillators and glucose monitors) who started up his San Jose dispensary Sensi Herbal Care in November 2010. It sells topical cannabis treatments, lemonade, chocolates, and buds, but Silva says its “flagship product” is its insomnia-fighting cannabis shot called Indi.

“That product has literally helped thousands of people with their insomnia problems,” he told the Guardian in a phone interview. The dispensary also stocks an energy formula, of course Amoré, and has a pain reliever in the works.

Recent legislation posed at the city level in San Jose, where regulations that would limit the city’s number of dispensaries (now hovering around 900) to 10 businesses. Paid campaigners and volunteers say they turned in 48,598 petition signatures last week to halt the process. They only needed 29,653 to initiate a referendum on the new guidelines. The United Food and Commercial Workers union Local 5 donated $5,000 towards supporting the referendum to stop them.

The city’s new policies, an employee who answered the phone at Sansi said, could have shut down the dispensary — and community access to the Viagra of the cannabis world — down. Later, Silva sounded triumphant when he informed the Guardian reporter on the laws’ impending curtailing.

Without a medical background — besides developing defibrillators — Silva was a bit vague about his methods of creating cannabis formulas, but was confident in the way customers responded that they were doing their job. He’d submitted the product to lab quality assurance testing and informal focus groups.

The optimal way to use Amoré? Silva cautioned that the drink’s effect would vary among individuals. “It doesn’t work for everyone, that is true for every medication out there,” he said. But generally, “45 minutes before.” It was further clarified that he meant pre-sexual escapade.

Our Guardian tester, who took the “for her” variety of Amoré, found its power varied, a.k.a., got turned-on, then slightly nauseous, then turned-on. Tastes like a particularly gnarly 5-Hour Energy Drink, fades fast. A mixed bag. On a small “caution” panel, the label of Amoré prohibits the contents being taken with alcohol, other supplements, and heavy machinery.

When asked about one of the label’s more esoteric ingredients, the fo-ti root (also listed are dodder seed extract, kudzu root, and tribulus fruit), Silva semi-helpfully explains “It’s also called sho-wu. It means ‘black-haired Mr. Hee.’ It means that in Chinese, it’s a Chinese herb. That’s a name from someone in an old village in China. You can research that on Google, there’s a story behind that.”

So of course we do, and sure enough, it tends to be used to restore graying hair. So that’s fo-ti. But why is it in this cannabis aphrodisiac shot, whose silver hard plastic bottle clearly states “for her”?

Says Silva: “It’s also known as a happy herb. It has the effect of making you happy, which is always a good thing. There’s a few people who I’d like to give that regularly, like every hour.” Which left us still unconvinced regarding Amoré, but still a big fan of Silva.

Psychic Dream Astrology: November 2-8

Andrew Lam
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ARIES

March 21-April 19

You have got to move slow enough to be able to hear your inner voice. Spontaneity and impulsiveness have their place, but this week well-considered actions will yield better outcomes. Remain emotionally present for whatever your present holds, even if that stalls developments.

 

TAURUS

April 20-May 20

Hope is a powerful force, and you need all the good-vibes horsepower you can get! Invest in your desires by reinforcing your positive beliefs, Taurus. Every day this week write a list of all the things you are grateful for and all that you believe you can have. Put more energy into your dreams.

 

GEMINI

May 21-June 21

 

You are being challenged to uphold fortitude in the face of your own uncertainty, Gemini. You may not be able to see what’s around the bend, or even to understand exactly what’s happening now, but you can take greater responsibility for how you participate. Don’t react, initiate this week.

CANCER

June 22-July 22

 

You can run around worried sick that the sky is falling, but it won’t help keep help it stay up, pal. Fear is a plague upon your gentle soul and it can only be fought with optimism. Follow your heart’s desires by sinking more conscious energy into them than you put into your fears.

LEO

July 23-Aug. 22

 

Honesty is by far and away the best policy, Leo. Your relationships are in a major state of flux and you can’t control them; get current with your connections so you can see more clearly the very real changes that have developed in the people around you. When in doubt, deal directly this week.

 

VIRGO

Aug. 23-Sept. 22

 

Once you feel overburdened it’s hecka hard to find enough energy to replenish yourself with to feel better. Get yourself to neutral ground before you make improvements. Take a solid step back from your entanglements and reinforce your insides before you do anything else.

LIBRA

Sept. 23-Oct. 22

 

There is no place you wanna go that doesn’t require vulnerability, Libra. The thing that sucks about that is that you have got to stay open anyways, and what’s so awesome about it is the possible pay off; a personal life that is way richer than what you have now.

SCORPIO

Oct. 23-Nov. 21

 

You don’t have to jockey for power, silly Scorpio! Healthy boundaries clearly stated will do just fine. If you don’t quit playing games and waiting behind the bushes to see the other guy’s move before you make yours, you’ll only waste precious time and energy. Play it straight or go home.

 

SAGITTARIUS

Nov. 22-Dec. 21

Growth sounds good, but often hurts. There is a meaningful expansion happening in your neck of the woods, and you needn’t be scared off by growing pains. Adopt an introspective attitude towards the hard stuff so you can get the most out of your transitions.

 

CAPRICORN

Dec. 22-Jan. 19

The worst thing you can do this week is to let your anxieties inhibit you from reaching out to people you want to be close to. The pursuit of happiness is meant to be your Priority One, and having loving and stable relationships is a big part of that. Put yourself out there, Cap. AQUARIUS Jan. 20-Feb. 18 Your obligations and fears are giving birth to some frustrations that suck rocks. You have got to change how you participate, ’cause what you’re doing clearly isn’t working. Focus on being the change you wish to see in your situations instead of waiting for things to change on their own.

 

PISCES

Feb. 19-March 20

Don’t let blocks on your path stop you from believing in yourself, Pisces. Treat your problems as inspiration to fix what’s broken, and your fears as an opportunity to work with your blind spots. Build a tomorrow that’s more authentically you and sustainable than your yesterday was.

 

Jessica Lanyadoo has been a Psychic Dreamer for 17 years. Check out her website at www.lovelanyadoo.com or contact her for an astrology or intuitive reading at (415) 336-8354 or dreamyastrology@gmail.com

Stage Listings

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

THEATER

OPENING

Annapurna Magic Theatre, Bldg D, Fort Mason Center, Marina at Laguna, SF; (415) 441-8822, www.magictheatre.org. $20-60. Previews Wed/2-Sat/5, 8pm; Sun/6, 2:30pm; Tues/8, 7pm. Opens Nov 9, 8pm. Through Dec 4, showtimes vary. Magic Theatre performs Sharr White’s world premiere drama about love’s longevity.

More Human Than Human Dark Room Theater, 2263 Mission, SF; (415) 401-7987, www.brownpapertickets.com. $25. Opens Fri/4, 8pm. Runs Thurs-Sat, 8pm. Through Nov 19. B. Duke’s dystopian drama is inspired by Philip K. Dick.

Oh, Kay! Eureka Theatre, 215 Jackson, SF; (415) 255-8207, www.42ndstmoon.org. $20-50. Previews Wed/2, 7pm; Thurs/3-Fri/4, 8pm. Opens Sat/5, 6pm. Runs Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through Nov 20. 42nd Street Moon performs George and Ira Gershwin’s Prohibition-set comedy.

The Temperamentals New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $25-45. Previews Fri/4-Sat/5 and Nov 9-11, 8pm; Sun/6, 2pm. Opens Nov 12, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Dec 18. New Conservatory Theatre Center performs Jon Marans’ drama about gay rights during the McCarthy era.

Two Dead Clowns Box Car Theatre Studios, 125A Hyde, SF; www.brownpapertickets.com. $20. Previews Thurs/3, 8pm (free preview). Opens Fri/4, 7pm. Runs Fri-Sat, 7pm. Through Nov 26. Ronnie Larsen’s new play explores the lives of Divine and John Wayne Gacy.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-35. Opens Fri/4, 8pm. Runs Fri, 8pm; Sat, 5pm. Through Nov 26. Brian Copeland (Not a Genuine Black Man) presents a workshop production of his new solo show.

*Working for the Mouse Exit Theatre, 156 Eddy, SF; www.brownpapertickets.com. $22. Opens Thurs/3, 8pm. Runs Thurs-Sat, 8pm (no performances Nov 24-26). Through Dec 17. It might not come as a surprise to hear that even “the happiest place on earth” has a dark side, but hearing Trevor Allen describe it during this reprise of 2002’s Working for the Mouse will put a smile on your face as big as Mickey’s. With a burst of youthful energy, Allen bounds onto the tiny stage of Impact Theatre to confess his one-time aspiration to never grow up — a desire which made auditioning for the role of Peter Pan at Disneyland a sensible career move. But in order to break into the big time of “charactering,” one must pay some heavy, plush-covered dues. As Allen creeps up the costumed hierarchy one iconic cartoon figure at a time, he finds himself unwittingly enmeshed in a world full of backroom politics, union-busting, drug addled surfer dudes with peaches-and-cream complexions, sexual tension, showboating, job suspension, Make-A-Wish Foundation heartbreak, hash brownies, rabbit vomit, and accidental decapitation. Smoothly paced and astutely crafted, Mouse will either shatter your blissful ignorance or confirm your worst suspicions about the corporate Disney machine, but either way, it will probably make you treat any “Casual Seasonal Pageant Helpers” you see running around in their sweaty character suits with a whole lot more empathy. (Note: review from the show’s recent run at La Val’s Subterranean in Berkeley.) (Gluckstern)

ONGOING

Almost Nothing, Day of Absence Lorraine Hansberry Theatre, 450 Post, SF; (415) 474-8800, www.lhtsf.org. $43-53. Wed-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Nov 20. The Lorraine Hansberry Theatre christens its grand new home near Union Square with two well-acted one-act plays under sharp direction by artistic director Steven Anthony Jones. Almost Nothing by Brazilian playwright Marcos Barbosa marks the North American premiere of an intriguing and shrewdly crafted Pinteresque drama, wherein a middle-class couple (Rhonnie Washington and Kathryn Tkel) returns home from an unexpected encounter at a stop light that leaves them jittery and distracted. As an eerie wind blows outside (in David Molina’s atmospheric sound design), their conversation circles around the event as if fearing to name it outright. When a poor woman (Wilma Bonet) arrives claiming to have seen everything, the couple abandons rationalization for a practical emergency and a moral morass dictated by poverty and class advantage — negotiated on their behalf by a black market professional (Rudy Guerrero). Next comes a spirited revival of Douglas Turner Ward’s Civil Rights–era Day of Absence (1965), a broad satire of Southern race relations that posits a day when all the “Neegras” mysteriously disappear, leaving white society helpless and desperate. The cast (in white face) excel at the high-energy comedy, and in staging the text director Jones makes a convincing parallel with today’s anti-immigrant laws and rhetoric. But if the play remains topical in one way, its too-blunt agitprop mode makes the message plain immediately and interest accordingly pales rapidly. (Avila)

Desdemona: A Play About a Handkerchief Boxcar Theatre Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $15-35. Wed/2-Sat/5, 8pm. Written in 1979 by a 28-year-old Paula Vogel, Desdemona retells a familiar Shakespearean tragedy, Othello, through the eyes of its more marginalized characters, much as Tom Stoppard’s Rosencrantz and Guildenstern are Dead did with Hamlet in 1966. In Vogel’s play, it is the women of Othello — Desdemona the wife, Emilia her attendant (demoted down to washer-woman in Vogel’s piece), and Bianca, Cassio’s lover, and the bawdy town pump — who are the focus, and are the play’s only onstage characters. Whiling away an endless afternoon cooped up in the back room of the governor’s mansion, the flighty, spoiled, and frankly promiscuous Desdemona (Karina Wolfe) frets over the loss of her “crappy little snot-rag,” while her subservient, pious, but quietly calculating washer-woman Emilia (Adrienne Krug) scrubs the sheets and mends the gubernatorial underpants with an attitude perfectly balanced between aggrieved, disapproving, and cautiously optimistic. Though the relationship between the two women often veers into uncomfortable condescension from both sides, their repartee generally feels natural and uncontrived. Less successfully portrayed is Theresa Miller’s Bianca, whose Cockney accent is wont to slip, and whose character’s boisterous nature feels all too frequently subdued. Jenn Scheller’s billowing, laundry-line set softens the harsh edges of the stage, just as Emilia’s final act of service for her doomed mistress softens, though not mitigates, her unwitting role in their mutual downfall. (Gluckstern)

Honey Brown Eyes SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-50. Wed/2-Thurs/3, 7pm; Fri/4-Sat/5, 8pm (also Sat/5, 3pm). Bosnia in 1992 is divided in a horrifying civil war, some characteristics of which play out in parallel circumstances for two members of a single rock band in SF Playhouse’s west coast premiere of Stefanie Zadravec’s new play. In the first act, set in Visegrad, a young Bosnian Muslim woman (Jennifer Stuckert) is held at gunpoint in her kitchen by a jumpy soldier (Nic Grelli) engaged in a mission of murder and dispossession known as ethnic cleansing. The second act moves to Sarajevo and the apartment of an elderly woman (Wanda McCaddon) who gives shelter and a rare meal to an army fugitive (Chad Deverman). He in turn keeps the bereaved if indomitable woman company. Director Susi Damilano and cast are clearly committed to Zadravec’s ambitious if hobbled play, but the action can be too contrived and unrealistic (especially in act one) to be credible while the tone — zigzagging between the horror of atrocity and the offbeat gestures of romantic comedy — comes over as confused indecision rather than a deliberate concoction. (Avila)

How to Love Garage, 975 Howard, SF; www.pustheatre.com. $15. Fri-Sat, 8pm; Sun, 2pm. Through Nov 20. Performers Under Stress Theatre presents Megan Cohen’s Plato-inspired world premiere.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through Nov 13. 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)

Making Porn Box Car Theatre Studios, 125A Hyde, SF; www.brownpapertickets.com. $25-50. Thurs, 8pm; Thurs, 8pm; Fri-Sat, 9pm; Sun, 7pm. Extended through Nov 27. Ronnie Larsen brings back his crowd-pleasing comedy about the gay porn industry.

*”Master Harold” … and the Boys Phoenix Theater, 414 Mason, Ste 601, SF; 1-800-838-3006, www.offbroadwaywest.org. $18-40. Thurs-Sat, 8pm. Through Nov 19. Based loosely on personal history, Athol Fugard’s drama explores institutionalized racism in South Africa’s apartheid era ensconced in the seemingly innocuous world of a Port Elizabeth tea room. The play opens during a rainy afternoon with no customers, leaving the Black African help, Willie (Anthony Rollins-Mullens) and Sam (LaMont Ridgell), with little to do but rehearse ballroom dance steps for a big competition coming up in a couple of weeks. When Hally (Adam Simpson), the owner’s son, arrives from school, the atmosphere remains convivial at first then increasingly strained, as events happening outside the tea room conspire to tear apart their fragile camaraderie. The greatest burdens of the play are carried by Sam, who fills a range of roles for the increasingly pessimistic and emotionally-stunted Hally — teacher, student, surrogate father, confidante, and servant — all the while completely aware that their mutual love is almost certainly doomed to not survive past Hally’s adolescence, and possibly not past the afternoon. Ridgell rises greatly to the challenges of his character, ably flanked by Rollins-Mullens, and Simpson; he embodies the depth of Sam’s humanity, from his wisdom of experience, to his admiration for beauty, to his capacity to bear and finally to forgive Hally’s need to lash out at him. It is a moving and memorable rendering. (Gluckstern)

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm; Sun, 3pm. Extended through Dec 17. 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. (Avila)

*The Odyssey Aboard Alma, Hyde Street Pier, San Francisco Maritime National Historic Park, SF; www.weplayers.org. $160. Fri/4-Sun/6, Nov 11-12, and 18, 12:30pm. Heralding their hugely ambitious Spring 2012 production of The Odyssey, which will take place all over Angel Island, the WE Players are tackling the work on a slightly smaller scale by staging it on the historic scow schooner Alma, which is part of the Maritime National Historical Park fleet docked at the end of Hyde Street Pier. Using both boat and Bay as setting, the essential chapters of the ten-year voyage — encounters with the Cyclops, Circe, the Underworld, the Sirens, Aeolus, the Laestrygonians, and Calypso — are enacted through an intriguing mash-up of narration, choreography, sea chanteys, salty dog stories (like shaggy dog stories, but more water-logged), breathtaking views, and a few death-defying stunts the likes of which you won’t see on many conventional stages. High points include the casual swapping of roles (every actor gets to play Odysseus, however briefly), Ross Travis’ masked and flatulent Prometheus and sure-footed Hermes, Ava Roy’s hot pants-clad Circe, Charlie Gurke’s steady musical direction and multi-instrumental abilities, and the sail itself, an experiential bonus. Landlubbers beware, so much time facing the back of the boat where much of the action takes place can result in mild quease, even on a calm day. Take advantage of the downtime between scenes to walk around and face forward now and again. You’ll want to anyway. (Gluckstern)

*On the Air Pier 29 on the Embarcadero (at Battery), SF; (415) 438-2668, love.zinzanni.org. $117 and up (includes dinner). Wed-Sat, 6pm; Sun, 5pm. Through Dec 31. Teatro ZinZanni’s final production at its longtime nest on Pier 29 is a nostalgia-infused banquet of bits structured around an old-time radio variety show, featuring headliners Geoff Hoyle (Geezer) and blues singer Duffy Bishop. If you haven’t seen juggling on the radio, for instance, it’s pretty awesome, especially with a performer like Bernard Hazens, whose footing atop a precarious tower of tubes and cubes is already cringingly extraordinary. But all the performers are dependably first-rate, including Andrea Conway’s comic chandelier lunacy, aerialist and enchanting space alien Elena Gatilova’s gorgeous “circeaux” act, graceful hand-balancer Christopher Phi, class-act tapper Wayne Doba, and radio MC Mat Plendl’s raucously tweeny hula-hooping. Add some sultry blues numbers by raunchy belter Bishop, Hoyle’s masterful characterizations (including some wonderful shtick-within-a-shtick as one-liner maestro “Red Bottoms”), a few classic commercials, and a healthy dose of audience participation and you start to feel nicely satiated and ready for a good cigar. Smoothly helmed by ZinZanni creative director Norm Langill, On the Air signals off-the-air for the popular dinner circus — until it can secure a new patch of local real estate for its antique spiegeltent — so tune in while you may. (Avila)

*Pellas and Melisande Cutting Ball Theater, Exit on Taylor, 277 Taylor, SF; 1-800-838-3006, www.cuttingball.com. $10-50. Thurs, 7:30; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 27. The Frog Prince, Rapunzel, the Swan Maiden: shimmering strands of each timeless tale twist through the melancholy tapestry of the Maurice Maeterlinck play Pelleas and Melisande, which opens Cutting Ball Theater’s 12th season. Receiving a lushly atmospheric treatment by director and translator Rob Melrose, this ill-fated Symbolist drama stars Joshua Schell and Caitlyn Louchard as the doomed lovers. Trapped in the claustrophobic environs of an isolated castle at the edge of a forbidding forest and equally trapped in an inadvertent love triangle with the hale and hearty elder prince Golaud (Derek Fischer), Pelleas’ brother and Melisande’s husband, the desperate, unconsummated passion that builds between the two youngsters rivals that of Romeo and Juliet’s, and leads to an ending even more tragic — lacking the bittersweet reconciliation of rival families that subverts the pure melodrama of the Shakespearean classic. Presented on a spare, wooden traverse stage (designed by Michael Locher), and accompanied by a smoothly-flowing score by Cliff Caruthers, the action is enhanced by Laura Arrington’s haunting choreography, a silent contortionism which grips each character as they try desperately to convey the conflicting emotions which grip them without benefit of dialogue. Though described by Melrose as a “fairy tale world for adults,” the dreamy gauze of Pelleas and Melisande peels away quickly enough to reveal a flinty and unsentimental heart. (Gluckstern)

Race American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-85. Opens Wed/26, 8pm. Tues-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm (also Sun/6, 7pm). Through Nov 13. ACT performs David Mamet’s wicked courtroom comedy.

The Rover, or the Banish’d Cavaliers, The American Clock Hastings Studio Theater, 77 Geary, SF; (415) 749-2228, www.act-sf.org. $10 ($15 for both productions). Through Sat/5, performance times vary. American Conservatory Theater’s Masters of Fine Arts program presents plays in repertory by Aphra Behn and Arthur Miller.

Savage in Limbo Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Dec 3. Actors Theatre of San Francisco performs John Patrick Shanley’s edgy comedy.

“Shocktoberfest 12: Fear Over Frisco” Hypnodrome Theatre, 575 10th St, SF; (415) 377-4202, www.thrillpeddlers.com. $25-35. Thurs-Sat, 8pm. Through Nov 19. In its annual season-scented horror bid, Thrillpeddlers joins forces with SF’s Czar of Noir, writer-director Eddie Muller, for a sharply penned triplet of plays that resurrect lurid San Francisco lore as flesh-and-blood action. In the slightly sluggish but intriguing Grand Inquisitor, a solitary young woman modeling herself on Louise Brooks in Lulu (an alluringly Lulu-like Bonni Suval) believes she has located the Zodiac killer’s widow (a sweet but cagey Mary Gibboney) — a scenario that just can’t end well for somebody, yet manages to defy expectations. An Obvious Explanation turns on an amnesiac (Daniel Bakken) whose brother (Flynn de Marco) explains the female corpse in the rollaway (Zelda Koznofski) before asking bro where he hid a certain pile of money. Enter a brash doctor (Suval) with a new drug and ambitions of her own vis-à-vis the hapless head case. Russell Blackwood directs The Drug, which adapts a Grand Guignol classic to the hoity-toity milieu of the Van Nesses and seedy Chinatown opium dens, where a rough-playing attorney (an ever persuasive Eric Tyson Wertz) determines to turn a gruesome case involving the duplicitous Mrs. Van Ness (an equally sure, sultry Kära Emry) to his own advantage. The evening also offers a blackout spook show and some smoothly atmospheric musical numbers, including Muller’s rousing “Fear Over Frisco” (music composed by Scrumbly Koldewyn; accompaniment by Steve Bolinger and Birdie-Bob Watt) and an aptly low-down Irving Berlin number — both winningly performed by the entire company. (Avila)

Sticky Time Brava Theater, 2781 24th St, SF; www.vanguardianproductions.com. $15-40. Wed-Sat and Nov 14, 8pm. Through Nov 18. Crowded Fire and Vanguardian Productions present playwright-director Marilee Talkington’s multimedia science fiction about a woman running out of time in the worst way. The prolix and histrionic story is the real sticking point, however, in this otherwise imaginatively staged piece, which places its audience on swivel chairs in the center of Brava’s upstairs studio theater, transformed by designer Andrew Lu’s raised stage and white video screens running the length of the walls into an enveloping aural (moody minimalistic score by Chao-Jan Chang) and visual landscape. Thea (Rami Margron) heads a three-person crew of celestial plumbers managing a sea of time “threads,” an undulating web of crisscrossing lines (in the impressive video animation by Rebecca Longworth). The structure is plagued by a mysterious wave of “time quakes” that Tim (Lawrence Radecker) thinks he may have figured out. Coworker Emit (Michele Leavy), meanwhile, goofing around like a hyperactive child, spots some sort of beast at work in the ether. When Thea gets stuck by a loose thread, she becomes something of a time junky, desperate to relive the color-suffused world of love and family lost somewhere in space-time as reality starts to unravel (with a dramatic assist from cinematographer Lloyd Vance) and the crew seeks help from a wise figure in a tattered gown (Mollena Williams). A little like a frenetic, stagy version of Andrey Tarkovsky’s Solaris (1972), the story gets credit for dramatizing some confounding facts about time and space at the particle level but might have benefited from less dialogue and more mystery —just as the audio-visual experience works best when the house lights are low. (Avila)

Totem Grand Chapiteau, AT&T Park, Parking Lot A, 74 Mission Rock, SF; cirquedusoleil.com/totem. $58-248.50. Tues-Sun, schedule varies. Extended through Dec 18. Cirque Du Soleil returns with its latest big-top production.

BAY AREA

Annie Berkeley Playhouse, Julia Morgan Center for the Arts, 2640 College, Berk; (510) 845-8542, www.berkeleyplayhouse.org. $17-35. Thurs-Sat, 7pm; Sun, noon and 5pm. Through Dec 4. Berkeley Playhouse performs the classic musical.

Doubt: A Parable Live Oak Theatre, 1301 Shattuck, Berk; www.aeofberkeley.org. $12-15. Fri-Sat, 8pm; Nov 13, 2pm. Through Nov 19. Actors Ensemble of Berkeley performs John Patrick Shanley’s Pulitzer-winning drama.

How to Write a New Book for the Bible Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Tues, Thurs-Sat, 8pm (also Sat, 2pm; no show Nov 18); Wed and Sun, 7pm (also Sun, 7pm). Through Nov 20. An aspiring writer who later becomes a priest, Bill (Tyler Pierce) is the caregiver for his aging mother (Linda Gehringer) during her long bout with cancer. His father (Leo Marks), though already dead, still inhabits his mother’s flickering concept of reality, made all the more dreamlike by her necessary dependence on pain medication. His brother (Aaron Blakely), meanwhile, has returned from Vietnam with survivor guilt but lands a meaningful career as a schoolteacher in the South. The latest from playwright Bill Cain (Equivocation, 9 Circles) is a humor-filled but sentimental and long-winded autobiographical reflection on family from the vantage of his mother’s long illness. It gets a strong production from Berkeley Rep, with a slick cast under agile direction by Kent Nicholson, but it plays as if narrator Bill mistakenly believes he’s stepped out of an Arthur Miller play, when in fact there’s little here of dramatic interest and far too much jerking of tears. (Avila)

Rambo: The Missing Years Cabaret at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Thurs-Fri, 7pm; Sat, 8:30pm. Through Dec 10. Howard “Hanoi Howie” Petrick presents his solo show about being an anti-war demonstrator — while also serving in the Army.

*Rita Moreno: Life Without Makeup Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Wed-Sun, showtimes vary. Extended through Nov 12. The life of stage and screen legend Rita Moreno is a subject that has no trouble filling two swift and varied acts, especially as related in anecdote, song, comedy, and dance by the serene multiple–award-winning performer and Berkeley resident herself. Indeed, that so much material gets covered so succinctly but rarely abruptly is a real achievement of this attractively adorned autobiographical solo show crafted with playwright and Berkeley Rep artistic director Tony Taccone. (Avila)

Sam’s Enchanted Evening TheaterStage at Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm. Through Nov 26. The Residents wrote the script and did the musical arrangements for this musical, featuring singer Randy Rose and pianist Joshua Raoul Brody.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Sun, 11am. Through Nov 20. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

Live Shots: Soulwax at the Independent

Tony Robles
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Whether more or less true in other places, the crowds at shows in the Bay Area can be disappointingly savvy regarding encores. They know that if the band says goodnight and leaves the stage, the show is only possibly over. Or if recorded music comes over the speakers, the show is likely over. And (of course everyone knows) that when the house lights come on, the show is definitely over. It’s a convention that the bands and audience both understand, but robs everyone of some fun. Which was why it was wonderfully surprising that the majority of the people at the Independent Thursday night stuck around clapping, shouting, and making noise ’till it hurt in an attempt to get Soulwax to come back out on stage.

Didn’t happen. The staff of the club kept cranking the volume of the music louder, finally getting on the mic to announce that it was really over, everyone actually had to leave. Anyone that wants more will need to check out the Live 105 Subsonic Halloween Ball at the Regency Ballroom tonight, where the Dawaele brothers will be headlining as one of their many other aliases/projects, 2manydjs. Which may be confusing for anyone outside of Belgium, the UK, or Soulwax’s extremely dedicated fan base.

Essentially, what the folks at the show on Thursday (many of whom seemed to have traveled to be there and may have paid hefty sum to the scalpers outside) got was Soulwax, the four-part electronic rock band, which is a bit of an oddity in that its last conventional album was 2004’s Any Minute Now. Nonetheless it’s continued to tour and perform the earlier material, reworking and tightening it up. Which basically means that as a group, Soulwax has its act down: matching suits, tons of strobes to go with them, and the music, a no-nonsense succession of synthed out, percussive tracks that go from brooding to funky to electro without ever stopping. (Maybe part of the reason that people wanted an encore so bad – shortly after a screaming sing-along rendition of “NY Excuse” – was that without the breaks the ending just snuck up on them.) When I say they don’t stop, I mean it; for a band, Soulwax transitions seamlessly, with the skill of great DJs.

Which the Dawaele brothers are, primarily under that other name: 2manydjs. That’s been their focus the last couple of years, culminating in the creation of Radio Soulwax, an ongoing collection of 24-hour long theme mixes available online, accompanied by some pretty crafty visuals created from the sampled album covers. (I’ve found listening to it to be a great way to power through the work day, assuming 5 Hour Energy, coffee, or cocaine doesn’t work for you.) As Soulwax, the band put on a hell of a show–supported by Goose, a group that understands everyone can switch from keyboards to guitars as much as they want, provided that the drummer kicks hard and lays down some tommy gun fills–but 2manydjs may be able to top it. According to an avowed fan I talked to last night (the kind that has the white label vinyl and wears black glasses without lenses–hopefully as an early Halloween costume,) 2manydjs is the “real deal.” Somehow, as an encore, it might be the rare case where the DJ set is better than the band.

Live 105’s 3rd Annual Subsonic Halloween Ball
With 2manydjs, Fake Blood, Bag Raiders, Classixx, Tenderlions, Aaron Axelson, and more
Mon/31, 5:45 p.m., $25-$90
Regency Ballroom
1300 Van Ness, SF
(800) 745-3000
www.theregencyballroom.com

Gear up: Trevor Traynor’s lowrider captures cruise into the Mission

Andrew Lam
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Photographer Trevor Traynor is moved by lowriders. And he says he’s not the only one.

“Lowriders move people,” he wrote to the Guardian in an email interview. “Literally and figuratively. When you’re cruising people smile, wave, they take pictures. The cars connect people of all walks of life and the clubs enjoy it as well. It keeps people productive with a strong passion in cars.”

You can tap into his love for the low on Thu/3, when Traynor’s photo show “Low Life” opens at The Summit SF in the Mission.

Though the Mac-sprouting coffeeshop might seem like an odd venue for a show that celebrates the Mission’s Latino car clubs, the San Francisco-based shutterbug’s exhibition will be hanging just a few blocks away from where his passion for lowriders was first spawned on Cinco de Mayo in 2010. 

“As a native New Yorker, seeing 30-plus lowriders cruising low and slow, hopping on three wheels down Mission Street was something new and exciting and the energy [could] not be ignored,” Traynor recalls. The sight was enough to get him in a ride. “I remember hanging out of the back of a mint 1969 yellow [author’s note: he’s also described it as “flan-colored”] Buick Skylark Convertible while Lexxx from the Padrinos Car Club drove nice and slow for me to steady my camera.”

Traynor’s body of work has tended to specialize in hip-hop culture — he’s shot everyone from Mos Def and E-40 to Lil’ B and N.E.R.D. over the years. But since that Cinco, Traynor has ridden with a score of Bay Area clubs: The Inspirations (the only cars people are stoked to see when Sunday Streets hits the Mission), Padrinos, Pachuco, Aztecas, Excandalow, Frisco’s Finest, Bay Riders, and Fo’ Fifteen Car Club among others. The images from the show come from outside the Bay, too — places like Santa Fe and Sacramento make appearances. On opening night, they’ll be accompanied by shifting motion visuals from John Coyne, and DJs bumping lowrider anthems from the Summit sound system.  

It’s clear from looking at the shots of the cars and their riders that result that he digs the aesthetic (craziest thing he’s ever seen airbrushed on a ride: “A nude angel goddess holding two smoking guns riding a fire-breathing dragon above the pits of hell”) but he insists that these are more than just pretty machines. 

“Lowriders hold history in the Chicano community. [The cars’ purpose is] a sense of pride, passion, and respect. Car clubs are a small community, a family, a group of friends that are all car-loving aficionados.” He’s even seen car clubs that do youth outreach programs and toy drives. 

“Some people wake up on a sunny Sunday and go golfing, go to the park, go to the courts, go hiking. Car clubs cruise. Lowriding is a lifestyle.”

 

“Low Life”

Through Dec. 1

Opening reception: Thu/3 7-10 p.m., free

The Summit

780 Valencia, SF

(415) 861-5330

www.thesummit-sf.com

 

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