Oakland

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

Any Given Day Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Previews Thurs/29-Sat/31 and April 4-7, 8pm (also April 7, 2:30pm); Sun/1 and April 8, 2:30pm; Tues/3 and April 10, 7pm. Opens April 11, 8pm. Runs Wed-Sat, 8pm (also April 21, 2:30pm); Sun, 2:30pm; Tues, 7pm. Through April 22. Magic Theatre performs Linda McLean’s Glasgow-set play about modern, urban life.

Maple and Vine American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-95. Previews Thurs/29-Sat/31 and Tues/3, 8pm (also Sat/31, 2pm). Opens April 4, 8pm. Runs Tues-Sat, 8pm (April 10, show at 7pm); Wed and Sat-Sun, 2pm (no matinees Sun/1 or April 4); April 15, show at 7pm). Through April 22. ACT performs the West Coast premiere of Jordan Harrison’s play about a 21st century couple drawn into a community of people who live as if it’s the 1950s.

ONGOING

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Tues-Thurs, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through May 5. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. The Aliens unfolds in the days just around July 4, at slacker pace, in the backyard of a Vermont café (lovingly realized to palpable perfection by scenic designer Bill English), daily haunt of scruffy, post-Beat dropouts and sometime band mates Jasper (a secretly brooding but determined Peter O’Connor) and KJ (a charmingly ingenuous yet mischievous Haynes Thigpen). New employee and high school student Evan (a winningly eager and reticent Brian Miskell) is at first desperate to get the interlopers out of the “staff only” backyard but is just lonely enough to be seduced into friendship and wary idolatry by the older males. What unfolds is a small, sweet and unexpected tale of connection and influence, amid today’s alienated dream-sucking American landscape — same as it ever was, if you ask Charles Bukowski or Henry Miller, both points of reference to Jasper and KJ, who borrow Bukowski’s poem The Aliens for one of their many band names. An appropriate name for the alienated, sure, but part of the charm of these characters is just how easy they are to recognize, or how much we can recognize ourselves in them. Delusions of grandeur reside in every coffee house across this wistful, restless land. It’s not just Jasper and KJ who may be going nowhere. A final gesture to the young and awkward but clearly capable Evan suggests, a little ambiguously to be sure, that there’s promise out there yet for some. But more than that: the transaction makes clear by then that there are no fuck-ups, really; not among people with generous and open hearts — never mind how fucked up the country at large. (Avila)

A Bright Room Called Day Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $25-32. Thurs-Sat, 8pm; Sun, 7pm. Through April 8. Custom Made Theatre performs Tony Kushner’s drama set in Berlin just before the Nazi takeover.

“Celebration of Women’s History Month:” The Right Thing Thick House, 1695 18th St, SF; www.3girlstheatre.org. $30. Fri/30-Sat/31, 8pm; Sun/1, 4pm. Over one long day of legal mediation, aggrieved former CEO Zell Gardner (a brash but vulnerable Catherine Castellanos) and attorney Manny Diamond (a sharp, loquacious Louis Parnell) square off against Zell’s former Big Pharma pals headed up by vindictive interim CEO David Heller (a coolly cutting Lol Levy) flanked by Zell’s longtime colleague Chris McKnight (a nicely down-to-earth John Flanagan). Zell’s lawyer becomes increasingly ambivalent, however, as Manny discovers his tough, brassy mess of a pill-popping client has been less than forthcoming about the charge of sexual harassment the other side is using to justify her dismissal and the company’s pocketing of the three million Zell expected as compensation — a charge involving Zell’s 19-year-old goddaughter, Sam (Karina Wolfe). Attempting to reconcile the parties and broker a deal is retired judge Leigh Mansfield (Helen Shumaker), but she has her work cut out for her with this crowd. AJ Baker’s new drama — the inaugural production of newcomers 3Girls Theatre — take issues of sexual politics and power in its high-powered setting and cracks them against the everyday familial and social dynamics that are perhaps a casualty of the corporate ethos, but without opening them up to a satisfactory degree. Director Suze M. Allen assembles a generally strong cast (Castellanos is riveting throughout), and some scenes smolder with just the right teeth-baring tension, but pacing is inconsistent and the script’s own wayward drift — together with an odd, unnecessary video backdrop—distract from the concentrated treatment the story demands. (Avila)

Certitude and Joy Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $25-35. Thurs/29-Sun/1, 8pm. In his latest chamber opera, composer Erling Wold (Queer, Mordake) uses his own memories of growing up in an evangelical household, and the harrowing incident in 2005 in which an Oakland mother (played by Talya Patrick) murdered her three children and threw them into the Bay on orders from God, to explore the dark attraction of religious certainty. Surprisingly, while this seems to be among Wold’s most personal works (he even participates intermittently as a character), it is one of his less inspired musically. The score for voices and two pianos (delivered with clarity and finesse by soprano Laura Bohn, baritone Jo Vincent Parks, and pianists Keisuke Nakagoshi and Eva-Marie Zimmerman) is often lovely, but it rarely achieves either the transcendence or dissonance seemingly called for by the libretto. And while the performers (directed by Jim Cave and including actor Robert Ernst and dancers Kerry Mehling and Travis Rowland) deliver the story charmingly, something is lost in the move away from a single narrator. The multiplying of voices may make thematic sense — schizophrenia, religious inspiration, a doubling of stories, and a kind of communal complicity all being operative — but the text is finally divvied up between too many performers and styles of delivery to feel cohesive or even, at times, coherent. Perhaps equally problematic is the overture, which gives away so much that there is little tension or suspense in the story that follows, let alone revelation. (Avila)

*Fool For Love Boxcar Studios, 125A Hyde, SF; www.boxcartheatre.org. $25. Showtimes vary. Through April 14. Another installment of Boxcar Theatre’s epic Sam Shepard repertory project, Fool for Love inaugurates their newest performance space within their Hyde Street Studios location. A depressingly realistic reproduction of a claustrophobic motel room, the tiny jewel-box theatre provides no refuge for the actors, and certainly not for the audience, each trapped beneath the pitiless gaze of the other. And if that too-close-for-comfort intimacy doesn’t get to you, the intentionally difficult subject matter — a “typical” Shepardian foray into alcohol-fueled ranting, violence, incest, and casual cruelty — probably will. Shepard’s strength in monologue shows itself off to meaty effect from May’s (Lauren Doucette) melancholy description of her mother’s love affair with the Old Man (Jeff Garrett) to Eddie’s (Brian Trybom) candid admittance to May’s timid suitor Martin (Geoffrey Nolan) that he and May are not cousins at all but half-siblings who have “fooled around” with each other. In addition to the reliably strong performances from each of the actors, Fool features a notably clever bit of staging involving the Old Man who appears not as a specter wandering the periphery of the stage, but as a recurring figure on the black-and-white television, interrupting the flow of cheesy Westerns with his garrulous trailer park wisdom and an omnipresent Styrofoam cup filled, one suspects, with something stronger than just coffee. (Gluckstern)

*Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Wed-Sat, 8pm. Extended through April 28. Actors Theatre of San Francisco and director Keith Phillips offer a sharp, spirited production of the 1984 play by David Mamet in which four real estate agents (Mark Bird, Sean Hallinan, John Krause, and Christian Phillips) jockey and scheme for advantage in their Chicago office in a landscape of insecurity and fierce competition symbolized by the selective doling out of the best leads by manager and company man John (Frank Willey). Clients (like the gullible young husband played by Randy Blair), meanwhile, are just witless marks for the machinations of the predatory salesman, no more meaningfully human than the “muppets” targeted by Greg Smith’s Goldman Sachs. If the scenic design is a little shabby, the strong cast makes that hardly an impediment to a story that feels especially timely in its sharply etched, not to say angry portrait of the ruthless and corrosive business mentality to which egos, livelihoods, and lives — not to mention the culture at large — are enthralled. (Avila)

Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-69. Opens Thurs/29, 8pm. Runs Thurs-Sat, 8pm. Through May 5. Thrillpeddlers launch a new version (new cast, songs, costumes, etc.) of the Cockettes classic by Scrumbly Koldewyn and Martin Worman.

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

Julius Caesar Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; 1-800-838-3006, www.african-americanshakes.org. $10-30. Sat/31, 8pm; Sun/1, 4pm. Ever since there have been politicians there have been political intrigues, making it completely possible to take a play written around 1599 about Roman politicians in 44 BC, and present it as a thoroughly modern coup d’état with very little alteration. In the African-American Shakespeare Company’s compact adaptation of Julius Caesar, ancient Rome becomes a modern African nation, evoked sparingly by crumbling cement, untamed foliage, camouflage uniforms, and crudely menacing machetes. The overblown syntax of Shakespearean English lends itself particularly well to the heavy West African accents utilized by the actors — most successfully by B. Chico Purdiman, as surprisingly sympathetic assassination mastermind Cassius — and the constant upheavals of public opinion and political influence could be ripped right from the headlines of certain restless regions. The small ensemble cast makes the best of their streamlined numbers to create as big a ruckus as possible during crowd scenes, but having them running around the aisles of the Buriel Clay Theater unfortunately dilutes the power of their limited mass. But excellent performances are rendered unto Caesar by Purdiman and David Moore, who plays co-conspirator Brutus, while Frederick Pitts’ Mark Anthony skillfully delivers a eulogy full of slyly self-serving political double-speak worthy of any modern tyrant-in-waiting. (Gluckstern)

*A Lie of the Mind Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Showtimes vary. Through April 14. Sam Shepard’s three-act drama is streaked with humor, horror and heartbreak, all of it arising from the most mundane but also extraordinary of things, love and family. That’s Shepard territory, of course, as surely as is the rowdy backwater of the American West where much of the play unfolds. But seeing the exceptionally sharp and powerful production currently up at Boxcar Theatre under direction of Susannah Martin — in the midst of Boxcar’s mostly terrific four-play Shepard fest that includes his better known Pulitzer-winner, Buried Child (1979) — suggests 1985’s Lie may cut deeper than most. It begins in the immediate aftermath of a vicious episode of domestic abuse, from which the married couple of Beth (Megan Trout) and Jake (Joe Estlack) flies apart and back into the ambivalent arms of their mutually dysfunctional families (played wonderfully by Carolyn Doyle, Marissa Keltie, Tim Redmond, Katja Rivera, Josh Schell, and Don Wood). Trout’s brain-damaged Beth is a wrenching figure, not merely for her confusion and vulnerability but more so for the certainty and determination that make their way from her heart through the prison bars of her hampered mind. As Jake, Estlack is doing some of his finest work, convincingly incarnating a veritable beast whose roaring, roiling emotions sound the loneliest and most desolate of souls within. Martin’s intelligent staging — aided by Steve Decker’s beautifully spare wood-plank set, Lucas Krech’s moody lighting, and a choice, eerie sound design by Teddy Hulsker — adds tangible weight and texture to the play’s radiant dialogue and engrossing characters, realized by one of the finest ensemble casts all year. (Avila)

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $25-50. Fri, 8pm; Sat, 5pm. Extended through April 14. Dan Hoyle revives his hit solo show about small-town America.

The Rita Hayworth of this Generation Shotwell Studios, 3252-A 19th St, SF; www.brownpapertickets.com. $10-15. Fri-Sat, 8pm. Through April 7. Writer and performer Tina D’Elia performs her solo, multi-character play about a queer Latina performer inspired by the legendary Hollywood goddess.

Sam Marlowe and the Mean Streets of San Francisco Stage Werx, 446 Valencia, SF; (415) 412-3989, www.catchynametheatre.org. $20. Thurs-Sat, 8pm. Through April 7. Catchy Name Theatre presents a world premiere noir play by Jim Strope.

Suicide in B Flat Stagewerx, 446 Valencia, SF; suicideinbflat.blogspot.com. $15. Fri-Sat, 11pm. Through April 7. Sam Shepard is all over SF at the moment. Contributing to the four-play repertory program Boxcar Theatre has underway comes this lively if uneven production of a little seen Shepard work, a darkly comical jazz noir, by capable newcomers Do It Live, under direction of Will Hand. Suicide in B Flat (which features live musical underscoring by Grayson Converse) offers parallel stories overlapping on one stage, as two inept homicide detectives (Anthony Agresti and Hand) investigate the death of jazzman Niles, who may have been murdered or may have offed himself — or may be alive and well, since we soon meet Niles (a suitably charismatic and tentative Michael Saarela) heading out of town in a fitful, indecisive attempt at reinventing himself anew. As Niles’s band mates begin showing up for a jam session, the detectives progressively lose their own sense of identity. There’s a grim streak running through this existential who-dunnit, which sometimes comes across more like an existential what-the-fuck? But that too is a legit question in this in-between realm. (Avila)

*True West Boxcar Studios, 125A Hyde, SF; (415) 967-2227, www.boxcartheatre.org. $25. Thurs-Sat, 8pm. Through April 7. The first installment of Boxcar Theatre’s four-play Sam Shepard repertory project, True West ushers in the ambitious run with a bang. This tale of two brothers who gradually assume the role of the other is one of Shepard’s most enduring plays, rich with humorous interludes, veering sharply into dangerous terrain at the drop of a toaster. In time-honored, True West tradition, the lead roles of Austin, the unassuming younger brother, and Lee, his violent older sibling, are being alternated between Nick A. Olivero and Brian Trybom, and in a new twist, the role of the mother is being played by two different actresses as well (Adrienne Krug and Katya Rivera). The evening I saw it, Olivero was playing Austin, a writer banging away at his first screenplay, and Trybom was Lee, a troubled, alcoholic drifter who usurps his brother’s Hollywood shot, and trashes their mother’s home while trying to honor his as yet unwritten “contract”. The chemistry between the two actors was a perfect blend of menace and fraternity, and the extreme wreckage they make of both the set (designed by both actors), and their ever-tenuous relationship, was truly inspired. (Gluckstern)

Waiting for Godot New venue: SF Playhouse Stage Two, 533 Sutter, SF; (415) 336-3522, www.tidestheatre.org. $20-32. Thurs, 7pm; Fri-Sat, 8pm. Extended through April 14. The fuchsia papier-mâché tree and swirling grey-on-white floor pattern (courtesy of scenic designer Richard Colman) lend a psychedelic accent to the famously barren landscape inhabited by Vladimir (Keith Burkland) and Estragon (Jack Halton) in this production of the Samuel Beckett play by newcomers Tides Theatre. The best moments here broadcast the brooding beauty of the avant-garde classic, with its purposely vague but readily familiar world of viciousness, servility, trauma, want, fear, grudging compassion, and the daring, fragile humor that can look it all squarely in the eye. (Avila)

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through April 27. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Cabaret Larkspur Café Theater (American Legion Hall Post 313), 500 Magnolia, Larkspur; www.brownpapertickets.com. $25-45. Fri-Sat, 8pm; Sun, 7pm (no show April 8). Through April 15. Independent Cabaret Productions and Shakespeare at Stinson move their production of the Kander and Ebb classic from Fort Mason to the North Bay.

The Coast of Utopia: Voyage Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through April 29. Shotgun Players present Tom Stoppard’s riff on pre-revolutionary Russia.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through May 6. 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)

Now Circa Then Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-69. Wed/28, 7:30pm; Thurs/29-Sat/31, 8pm (also Sat/31, 2pm); Sun/1, 2 and 7pm. TheatreWorks performs Carly Mensch’s comedy about a romance that blooms between two historical re-enactors.

The Pirates of Penzance Julia Morgan Center for the Arts, 2640 College, Berk; (510) 845-8542, www.juliamorgan.org. $17-35. Fri/30-Sat/31, 7pm (also Sat/31, 2pm); Sun/1, noon and 5pm. Berkeley Playhouse performs the Gilbert and Sullivan classic, with the setting shifted to a futuristic city.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Tues and Thurs-Fri, 8pm (also Thurs/29 and April 26, 2pm; no show April 27); Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; Sun, 7pm; no matinee Sat/31). Through April 29. Berkeley Rep performs John Logan’s Tony Award-winning play about artist Mark Rothko.

Titus Andronicus La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs/29-Sat/31, 8pm. Impact Theatre takes on the Bard’s bloodiest tragedy.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: Sun/1, 11am. Also May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“April Fools With Miss Coco Peru: There Comes a Time” Victoria Theater, 2961 16th St, SF; www.ticketfly.com. Sun/1, 7 and 9:30pm. $29.95. (Screening of Girls Will Be Girls, Sun/1, noon, $10). Acclaimed storyteller-monologist Clinton Leupp, a.k.a. Miss Coco Peru, performs his latest solo show, which he describes as “a night of pure fun with Coco.”

“Club Chuckles” Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Sun/1, 7:30pm. $6. April Fool’s Day comedy with Alex Koll, the exotic magic of Stallion!, and the Ultra Mega Virgins comedy tour.

“The Collection” Exit Stage Left, 156 Eddy, SF; www.brownpapertickets.com. Sun/1 and April 8, 7pm; April 2-7 and 9-13, 8pm. $20-50. Theatrical magician Christian Cagigal debuts his brand-new, top-secret show.

“Computer Face” Garage, 975 Howard, SF; www.brownpapertickets.com. Fri/30-Sat/31, 8pm. $10-20. Kirk Read (How I Learned to Snap) performs his latest solo show.

“Dance Anywhere” Various locations; www.danceanywhere.org. Fri/30, noon. Free. Join the global movement of folks who participate in this annual, public performance piece.

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

Jess Curtis/Gravity CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thurs/29-Sun/1, 8pm. $15-20. Gravity’s performance series, Intercontinental Collaborations, presents Jess Meets Angus, a co-production with Silke Z./resistance created and performed by Jess Curtis and Angus Balbernie.

“Octopus’s Garden” Alcove Theater, 414 Mason, Fifth Flr, SF; www.thealcovetheater.com. Sat, 8pm. Through April 7. $25-35. PianoFight performs Scott Herman’s modern-family drama.

“Pilot 60” ODC Dance Commons, Studio B, 351 Shotwell, SF; www.brownpapertickets.com. Sat/31, 8pm; Sun/1, 7pm. $12. ODC’s 60th (!) Pilot production showcases innovative contemporary work by emerging dance artists.

“The Return of the MF David Deery Show” Jon Good Annex, 401 Alabama, SF; artschoolvets.com/motherfuckindaviddeery. Sat/31, 9pm. $5. David Deery performs music and stand-up.

“The Romaine Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.pacoromane.com. Wed/28, 7:30pm. $10. Paco Romane’s seventh-anniversary show features headliner Joe Klocek plus other Bay Area comedians, including Joe Tobin, Kaseem Bentley, and more.

“The Secret History of Love” Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Thurs/29-Sun/1, 8pm (also Sat/31-Sun/1, 4pm). $10-25. Sean Dorsey Dance performs a world premiere performance based on Dorsey’s archival research and interviews with LGBT elders.

“Talks of the Vagina” Women’s Building, 3543 18th St, SF; www.brownpapertickets.com. Fri/30, 7. $20. Proceeds from Yoni Ki Baat’s Vagina Monologues-inspired performance benefit the Women’s Building mural restoration project.

On the Cheap Listings

Andrew Lam
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0

On the Cheap listings are compiled by Soojin Chang. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 28

"Chaos and Catastrophe: Worst Days of Our Lives" humor reading series Intersection for the Arts, 925 Mission, SF. (415) 626-2787, www.litupwriters.com. 7:30 p.m., $5. As terrible and awful as life may get sometimes, it’s better to laugh about things than spiral into never-ending pits of misery. The performers at humor storytelling series LitUp Writers celebrate the fact that self-deprecation is so much entertaining than self-pity.

"Sex, Race, and Class: The Perspectives of Winning" Selma James activism tour CounterPULSE, 1310 Mission, SF. (415) 626-4114, www.counterpulse.org. 7:30 p.m., free. In the early 1980s, Selma James was one of the leading activists who fought to make the world recognize the value of unwaged women workers. Her efforts encouraged helped convince the government start tracking unwaged work in national statistics. Her newest book includes a selection of writings that track social struggles from 1952 to 2011.

"The Attack on Women" discussion North Berkeley Senior Center, 1901 Hearst, Berk. (510) 548-9696, www.berkeleygraypanthers.mysite.com. 1:30 p.m., free. Dr. Carole Joffe of UC San Francisco’s Bixby Center for Reproductive Health has notes from the field regarding the battle being waged on reproductive rights.

THURSDAY 29

Emerging Writer’s Festival University of San Francisco, Marasachi Room in Fromm Hall, 2130 Fulton, SF. (415) 422-4298, www.usfca.edu. Panel discussion noon-2 p.m.; author readings 7:30 p.m., free. Being a writer often means not having a concrete career plan and pursuing the art relentlessly nonetheless, even with the high chance that you may end up living in a box. This is all kinds of scary, so look to the festival’s five emerging writers who are currently establishing themselves in the literary world for inspiration and pointers.

FRIDAY 30

"Where in the world is Jeju Island?" symposium Redwood Gardens, 2951 Derby, Berk. (510) 549-2210. 6:30 p.m., bring a dish to share. Jeju-do is South Korea’s largest island. The province has a rough political history that is almost never heard of, and because of its geographic isolation, retains a colorful and distinctive culture. Recent visitor to the island Ann Wright will share her experiences and examine the island’s transnational concerns during this potluck dinner presentation.

SATURDAY 31

Bay Area Anarchist Book Fair San Francisco County Fair Building, 1199 Ninth Ave., SF. (415) 431-8355, www.sfbookfair.wordpress.com. Through Sun/1. Fair hours Sat. 10 a.m.- 6 p.m.; Sun. 11 a.m.- 5 p.m., free. This book fair is not just a normal book fair, more a mix of a theoretical summit and a big, happy, radical family reunion. By no means must you be an anarchist to enjoy the impressive lineup of publishers and distributors, plus panel discussions with activists, philosophers, and authors.

"The Clubman’s All-British Weekend" motorcycle show Santa Clara County Fairgrounds, 344 Tully, San Jose. (408) 494-3247, www.classic-british-motorcycles.com. 8 a.m.-4 p.m., $5. This all-volunteer motorcycle show is proud to present 150 pre-war and post-war classics, customized choppers, military machines, and contemporary British racers, all in pristine condition.

Wag Hotels Easter egg hunt Wag Hotels, 25 14th St., SF. (415) 876-0700, www.waghotels.com. 11 a.m.- 1 p.m., $20 per family. If children had a dog’s sense of smell, egg hunts would end so much quicker. To test Fido’s keen olfactory skills, Wag Hotels is hiding 1000 eggs filled with yummy treats, and five eggs with especially awesome prizes. Easter attire is encouraged for pets (and you too).

"Reflections 2012" charity art exhibition The Cannery, Suite 111, 2801 Leavenworth, SF. (415) 772-0918, www.northbeachcitizens.org. Through April 26. 10 a.m.-5 p.m., free. Artists utilize a mirror (maximum size three by four feet) in their creative expression of the meaning of self-reflection and transformation. All works of art sold in this exhibition will benefit North Beach Citizens, a community program that assists San Francisco’s homeless in attaining a mailing address, library card, clothing, and food resources.

April Fool’s Day at Playland-Not-At-The-Beach Playland-Not-at-the-Beach, 10979 San Pablo, El Cerrito. (510) 592-3002, www.playland-not-at-the-beach.org. Through April 1. 10 a.m.-5 p.m., $15 for general admission; $10 for children and seniors. There is no better place to celebrate the day of tricks than an amusement park full of magic shows, haunted houses, and clowns. Playland is built entirely by volunteers and houses over 20 interactive exhibits of fun.

"In the Aftermath of Prospect.1 and Hurricane Katrina" artist conversation Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2787, free with gallery admission; $7 regular; $5 students, seniors, teachers. "Mithra" is an ark that was originally created as a contemporary art exhibition for Prospect New Orleans, that Katrina-ravaged city’s town-wide art festival. Join artist Mark Bradford as he reflects on the status of cultural regeneration in the post-disaster city.

SUNDAY 1

"Careers in Animation" panel discussion San Francisco State University, August Coppola Theatre, Fine Arts Building Room 101, 1600 Holloway, SF. (415) 338-1629, www.sfsu.edu. 1 p.m., free. Professional writers, animators, and directors working in stop-motion, 2D, and 3D animation are coming to share their Technicolor knowledge on how to cue up your career.

MONDAY 2

"The Comatose, the Cadaver, and the Chimera" lecture Banatao Auditorium, 310 Sutardja Dai Hall, UC Berkeley. (510) 495-3505, bcnm.berkeley.edu. 7:30 p.m.-9 p.m., free. Stelarc is an Australian performance artist who blends experimental theatre, new music, and dance with medical instruments, prosthetics, robotics, and virtual reality systems. Come hear him speak of the cadavers of the future, and other esoteric artistic matters.

National Poetry Month poem sharing The Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30 p.m., free. Your favorite poem is your favorite poem because of the meaning that you have attached to the words. Share a poem that plucks at your heartstrings in your own style and hear others as they bring a whole new light to their favorite works.

TUESDAY 3

Jay Rubin and J. Philip Gabriel discuss the art of translation and collaboration 111 Minna Gallery, 111 Minna, SF. (415) 974-1719, www.111minnagallery.com. 12:30 p.m.- 1:30 p.m., free. So much of world literature could have never have reached their audience without the efforts of highly talented translators. Join Jay Rubin and J. Philip Gabriel for lunch as they discuss the decades-long translation collaboration they’ve enjoyed with Haruki Murakami.

Open sketchbook workshop Actual Cafe, 6334 San Pablo, Oakl. (510) 653-8386, www.actualcafe.com. 5 p.m.-8 p.m., free. Bring your sketchbook and come draw alongside local working artists in a bohemian atmosphere of artistic creation and expression.

"Kasher in the Rye" author discussion Jewish Community Center of San Francisco, 3200 California, SF. (415) 292-1233, www.jccsf.org/arts. 7 p.m., $10-15. Moshe Kasher was raised by deaf parents in Oakland and was one of the only Jewish kids at his school. He started obsessing over hip-hop, then drugs and gangs, and luckily for us, now directs his energy in finding brilliant humor in those unique beginnings.

Marathon of sound

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Marathon of sound

emilysavage@sfbg.com

MUSIC There is just no easy way to define longtime Oakland band, Faun Fables. But here goes: send a classically-trained dark folk duo into the brush and bramble of a snow-tipped forest as part of a nefarious fairy tale, then ask them to sing for their supper. See? It’s difficult.

That’s precisely why the band (Dawn McCarthy and Sleepytime Gorilla Museum’s Nils Frykdahl) was chosen as one of the headliners for the fifth annual Switchboard Music Festival — the eight-hour-long marathon of fearless composers and bands making music that doesn’t fit neatly anywhere elsewhere in the Bay. “The idea with the programming is that a lot of this music doesn’t really have a home because it doesn’t fall easily into one genre or another, so Switchboard is trying to be that home for these groups,” explains co-organizer Ryan Brown.

The day will include 13 dizzying sets: some at just 15 minutes, most at 30 minutes, and two headliners at 45 minutes. Along with Faun Fables, the other headliner is Volti, an a capella chamber choir. “They do this incredible modern music for choir with all these extended vocal techniques and different sounds from around the world,” says Brown. “We’ll have them together on stage [with Faun Fables] for a song or two as well — that’s what I’m really looking forward to.”

Other acts this year include Dominique Leon, Cornelius Boots, Ramon and Jessica, Mercury Falls, Jeff Anderle, Beep, the Hurd Ensemble, and Grains. The SF Conservatory Guitar Ensemble will play a piece composed by Brown on six classical guitars, electric guitar, electric bass, and percussion.

“The sets are short enough that… you hear things back to back and you can sort of start to make these connections between different genres and styles that you might not otherwise make if you were exploring on your own,” says Brown.

Now completing their PhDs in music composition at Princeton, Brown and pal Jonathan Russell first came up with the Switchboard concept shortly after receiving their masters from the San Francisco Conservatory of Music. The two hung around the school after graduating — teaching and working in the box office — and routinely ate lunch together, which is where they discussed a desire to showcase the musicians they’d met. Jeff Anderle, a clarinetist at the school, came in to the discussion and the three came up with Switchboard.

“We wanted to do something that brought together all the amazing musicians, different scenes, and genre-blending zeitgeist that that seemed to be happening in the city,” says Brown. “Genre lines were being deliberately broken down, things were being mixed in strange ways.”

That first year the three organizers just made a list of people they knew who were breaking down those barriers and programmed the event. The first three years the event was held at the Dance Mission Theater, capacity 135, and last year it jumped to Brava Theater, which can house around 350 people. “The sound there is incredible, it’s just a really cool space and size,” Brown says.

And in that space there will be nearly 100 musicians milling about, both in the proper concert room where bands will be playing, and out in the lobby, where there will be merch, food and drink, and a projection of the live music. Attendees will be given wristbands, so they may also mill about during the eight-hour stretch.

As in years past, nearly every band playing the festival is from the Bay Area. It’s been a deliberate choice, as Brown and his co-organizers feel the region doesn’t get the attention it deserves for having such an innovative music scene. And, they feel like they’re filling a niche in that scene.

“There are other festivals here that are doing what they do really well,” says Brown. “Outside Lands, showcasing a certain type of rock music, Other Minds, showcasing a certain type of contemporary music, the jazz festival — but what about the music that doesn’t fit into any of these distinctions?” 

SWITCHBOARD MUSIC FESTIVAL

Sun/1, 2-10 p.m., $15

Brava Theater

2781 24 St., SF

(415) 641-7657

www.switchboardmusic.com

 

Localized Appreesh: Bang Data

Tony Robles
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Localized Appreesh: Bang Data

Localized Appreesh is our weekly thank-you column to the musicians that make the Bay. To be considered, contact emilysavage@sfbg.com.

The duo behind Bang Data has long been moving and shaking in the Bay Area music scene: MC Deuce Eclipse has worked with Oakland hip-hop act Zion I, while musician-producer Juan Manuel Caipo is engulfed in the local Latin alternative music scene.

So then it comes as a surprise to find that newest release, La Sopa, is actually Bang Data’s debut full-length. The album – which blends a hyper, thrilling mix of samba, hip-hop, and ska with Latin beats – was released digitally March 13, and the hard copy dropped today.

Perhaps even more thrilling – and totally fitting – the single “Bang Data” (also the band’s EP, Maldito Carnaval) was featured on pulse-quickening meth drama, Breaking Bad. To celebrate all this, after years of hard work, the band will play an album release party at Elbo Room this week. Get shaking.

http://www.youtube.com/watch?v=YIuXmgesbUg

Year and location of origin: 2008 Bay Area.

Band name origin: It came from describing our sound: hard hitting music with a message.

Band motto: Think out of the box.

Description of sound in 10 words or less: Like a soup of styles – Latin, Alternative, Hip Hop, Afro Electro.

Instrumentation: Drums, Beats, Guitar, Synths, Trumpet, Bass, Vocals – it could be anything.

Most recent release: La Sopa.

Best part about life as a Bay Area band: Living in the Bay Area.

Worst part about life as a Bay Area band: Not enough spots for live music.

First album ever purchased: Deuce: Fat Boys; Caipo: Cheap Trick at Budokan.

Most recent album purchased/downloaded: Black Keys: El Camino & Canteca de Macao (Spain)

Favorite local eatery and dish: Deuce: Los Toros in the East Bay (Soup); Caipo: El Perol/Limon Rotisserrie (Lomo Saltado, Chicken).

Bang Data
With Non Stop Bhangra
Fri/30, 10pm, $10
Elbo Room
647 Valencia, SF
(415) 552-7788
www.elbo.com

Black Power, then and now

Andrew Lam
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Black Power, then and now

“We’re not ever to be caught up in the intellectual masturbation of the question of Black Power. That’s a function of people who are advertisers that call themselves reporters.”

That’s how the radical student and civil rights leader Stokely Carmichael opened a speech about Black Power — a term he helped popularize — at UC Berkeley in 1966. But the ideas and concepts behind Black Power proved to be an enduring ones that are enjoying a resurgence today.

Angela Davis epitomized the Black Power movement to many observers. The author, scholar, and professor was a Black Panther Party member who then joined the Communist Party USA and brought a class analysis to issues of race, building on the movement that began in the ’60s for decades to come.

In recent months, as the Occupy Wall Street movement began to focus the country’s attention on economic and social inequities, Davis has spoken out regularly in support of the movement and drawn connections back to her early activism. She has embraced the “99 percent” paradigm, and the connections between various issues that Occupy activists have sought to highlight.

“Our demands for justice lead us toward demands for prison abolition. And our demands for prison abolition lead us to demands for free, quality education. And our demands for free quality healthcare, and housing, and an end to racism, an end to sexism, an end to homophobia,” Davis said March 1 in Oakland at a benefit for Occupy 4 Prisoners, a coalition of Occupy protesters and prison justice advocates.

Consciousness surrounding those connections can be largely attributed to efforts from Black Power organizers.

“When I listen to the way young people so easily talk about the connectedness of race, gender, and sexual issues, and I remember how we groped our way towards an understanding of those connections, it makes me really proud,” Davis said in a January interview with Independent Lens.

And as Davis said at the March 1 event: “One of the most exciting accomplishments of the Occupy movement has been to force us to engage in conversation, explicit conversation about capitalism, for the first time since the 1930s.”

The movement’s economic message also seemed useful to Kiilu Nyasha, a San Francisco-based journalist and former member of the New Haven Black Panther Party.

“Globalization has already happened. It’s not happening, it’s happened. One percent, internationally, owns and controls 80 percent of the world’s resources. People are dying all over the world of every complexion which you can think of” Nyahsa said March 14 at a panel discussion called Reboot the Rainbow.

The original Rainbow Coalition- the topic of the March 14 panel- included the Black Panther Party, the Puerto Rican Young Lords, and the poor white Young Patriots organization, and was committed to a Black Power concept: organize your own, fight together. Building coalition is more important now than ever.

“It’s not Black Power right now,” says Terry Collins, president of KPOO radio, a black-owned station long focused on community empowerment. “It’s people power. It’s power unto the people who are in need: all the people out there who are out of their homes, students who owe so much that they’re like indentured servants.”

Occupy the Hood is a national effort to encourage participation of people of color in Occupy Wall Street. In its mission statement the group writes, “It is imperative that the voice of people of color is heard at this moment!”

The focus of San Francisco’s Occupy the Hood chapter is “three-fold,” according to organizer Mesha Irizarry: “The cop-watching in neighborhoods that are criminalized, especially poor neighborhood of color. It’s freedom fighters against foreclosures. It’s also bank transfers.”

Occupy the Hood showed up March 16, when a group known as the Foreclosure Fighters- organized and supported Alliance of Californians for Community Empowerment, Homes Not Jails, and related groups—occupied their latest foreclosed home. “We’re liberating this house. We’re taking it out of the hands of the oppressor,” said Archbishop Franzo King of the African Orthodox Church.

“Jesus Christ was an uncompromising revolutionary. He spoke truth to power. Then they killed him for it,” added King in a nod to the radical religious leaders who have influenced liberation movements throughout the years.

Black Power was concerned with self-determination, with organizing within community. That legacy is still strong as San Francisco’s African American communities experience an out-migration and continuing police harassment and violence.

“Black sailors and black army personnel built the shipyard,” said Jameel Patterson, a founder of the Bayview-Hunters Point-based community organization Black Star Liner Incorporated. “Hunters Point, West Point, Harbor Road—they’re all military names. The soldiers stayed there with their families. The area has a rich African American legacy going back to the ’40s. Now it’s fading…we want to make sure that community’s still here 20 years from now.”

Patterson remembers being a child in the ’70s when, on the tail of an era brimming with black liberation efforts. “There were more community events,” he said, but now, “People don’t have connections with each other. That’s what we’re building.”

The group does regular events where they serve free home-cooked meals to residents, reminiscent of the Black Panther Party’s free breakfast program. “With every plate, you get information,” often Know Your Rights reminders for encounters with police, said Tracey Bell-Borden of Black Star Liner.

They have also spent countless hours in City Hall meetings advocating for their community and reporting back on city policies that affect it. “We occupy the Police Commission meeting,” said Bell-Borden.

Police are a central and tricky question for the Black Power movement of the ’60s, as well as organizing efforts today. Black Panther Party members spent years serving free breakfast to children, writing and selling newspapers, and even running election campaigns, but they are often remembered for carrying guns and efforts to “police the police.” So many leaders were arrested that energy that could have gone into feeding or education was often channeled into freeing prisoners.

“I was in the second chapter of the Black Panther Party,” Nyasha said at the March 14 event, “which basically existed to get the first chapter out of jail.”

Recent police crackdowns have fed indignation not just about policing protesters, but about the role police play in poor communities of color. “One thing Occupy has done is address the issue of policing in communities of color, to the extent that some aftermath of what we’re seeing at Occupy is shedding light on how police can sometimes treat people,” said Kimberley Thomas Rapp, executive director of the Lawyers’ Committee for Civil Rights of the Bay Area.

“In black neighborhoods, police should be community partners, not come in and exert more force than necessary. And at protests, they should be there to ensure safety, not just to arrest people unnecessarily or use excessive force,” Rapp said.

Police crackdowns on Occupy are the first exposure many white protesters of the younger generation have had to excessive police force, an issue that was central to the story of the Black Power. Sadly, for many black and other protesters of color, excessive police force is nothing new.

“It’s absolutely the case that police brutality shown towards many Occupy protesters has brought to the forefront the issue of police violence and led to an awakening among many white folks of the day to day reality of police violence that many people of color have lived with now for many years,” Michelle Alexander, author of The New Jim Crow, told the Guardian.

Enraged at police beatings (see “OPD spies on and beats protesters,” Feb. 14) both Occupy Oakland and Occupy San Francisco have held “fuck the police” marches. March 18, after a six-month commemoration celebration brought 3,000 to Zuccotti Park in New York City, followed by 200 arrests and rampant police violence, Occupy Wall Street protesters followed suit, holding their first anti-police brutality march.

Occupy Wall Street has reanimated concepts that burned through the ’60s, such as violence vs. nonviolence, the systemic causes of personal economic woes, and the peoples’ relationship to police. With the consciousness created by Black Power activists, today’s organizers have a foundation on which to build their own answers to these questions, across issues and generations.

National Occupy the Hood has called for action concerning Trayvon Martin, the unarmed black 17-year-old who was shot Feb. 26 and whose confessed killer has yet to be arrested. Taking up high-profile cases of injustice and working more closely with organizers to respond to the needs of local African American communities could bring more power and truth to the rage for justice currently galvanizing a new generation.

“It’s about black re-empowerment,” Archbishop King said. “It’s like the torch, the light of freedom and justice, has actually gone out. And we’re trying to relight that. That’s why I’m so excited about the Occupy movement; it ties into the Black Power struggle. And I think it’s waking up some of us old revolutionaries to stand up.”

Bachelorette’s computer folk lands in Oakland this weekend

Tony Robles
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Bachelorette’s computer folk lands in Oakland this weekend

Ask the initially shy New Zealander Bachelorette how she makes music, and you’ll get a fascinating mouthful.

“Some of the stuff I make, it’s almost psychedelic disco, other times I think the music is quite folky,” she begins, “in that kind of computer-based way.” Pausing she then adds, “Lately people have asked me to describe the style and I describe it as computer folk. The computer is my folk instrument. It’s just me on stage and I have a couple of computers and samples and a guitar, a lot of sampling and looping live – I construct the songs differently every time I play, so there’s an element of improvisation.”

Recorded, at least on her self-titled LP released in 2011 on Drag City, the songs are at once soothing and eerie – Bachelorette (aka Annabel Alpers) lets her voice echo over pulsating synth just long enough to create alien unknowns, light-years beyond the realms of modern folk. In songs such as “Polarity Party” she could have slipped in the Drive soundtrack undetected, yet the very next track “Sugarbug,” which begins with the tinkling of a toy piano, would never have worked with all that ’80s-cool smoothness. Her voice subtly hits emotional high notes here, and the slowed-down-to-a-crawl procession of keys and solitary drum beats build to a shimmering crescendo. Then the album takes another turn with Velvet Undergroundian “The Last Boat’s Leaving.”

http://www.youtube.com/watch?v=cU_lh7ZZKjM

This casual variety should be of no real surprise once Bachelorette’s background is examined. She grew up in NZ adoring the Beatles, then as a teenager began exploring the local underground scene, discovering bands on the Flying Nun label like Tall Dwarfs, also finding a lifelong love of atmospheric 1980s act Cocteau Twins and ’60s psychedelic music, Syd Barrett, and the Kinks. She joined a teen band called Hawaii 5-0 that was “very unambitious psychedelic surf pop.”

Then came a shift in theory. She earned a bachelor of music, majoring in composition and focused mainly on computer-based composition. “I enrolled so I could use computers because I had ideas I wanted to make using multitasking before I knew how to use them.” She then spent an honors year studying in Auckland.

“That’s where I started making music for Bachelorette,” she explains. “I got distracted when I was studying composition because we had to make this art music, I probably would’ve failed if I made pop music – I spent four years having to make pretentious academic art music.”  Though she notes, “it was good training because it broke me out of my songwriting habits from bands before university. I ended up getting waylayed for four years then started making pop music again.” Bachelorette is slightly experimental but still has that pop sensibility, she says. Agreed.

She chose the name “Bachelorette” because of its simplicity and gender indication. And she just liked the way it looked when she it written on a piece of paper. “I thought the word written down suited the minimalist aesthetic [of my music] and of course it’s fitting because I’m a woman making music on my own.”

http://www.youtube.com/watch?v=CE_2bJuSKbY

Lately, she’s been listening to a lot of folk music from China and parts of Africa. “I’ve never been any good at trying to replicate other sounds, I try to filter and turn it into my own thing. I imagine that listening to indigenous folk music would somehow influence my own music but it’s hard to say how.”

Now based out of New York when not out playing shows (though she still goes back to NZ every year), Bachelorette has been touring the U.S. since the start of 2010, with a brief touchdown in Baltimore last week to help a friend mix his own album. After that she’ll pick back up on tour with Magnetic Fields, which brings her to Oakland this Saturday.

“It’s really great playing to their audience because they’re a really great band with a great following. And it’s nice to play to new audiences.“

Bachelorette
With Magnetic Fields
Sat/24, 8 p.m., $35
Fox Theater
1807 Telegraph, Oakl.
(510) 548-3010
www.thefoxoakland.com

SXSW Music Highlights: Photographer Brittany Powell’s snaps

Charles Russo
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In addition to our other coverage of the SXSW music festival, the Guardian also had photographer Brittany Powell pounding Austin’s pavement in search of great music. Here are some of her photos and impressions from the week.

BRITTANY’S SXSW DIARY

Day One: 3/13/12

Checked out Star and Dagger and High on Fire at Emo’s East. The show was packed, free, and had a mini ramp that was going off all night. Quite the scene. Lindsey Kuhn, makes beautiful silk screened posters for Emo’s Austin that date back twenty years. The show was all ages, so even the youngsters were out!

Star and Dagger was pretty fun and rocking… their guitarist Sean Yseult used to be in White Zombie.  Lastly, High on Fire’s first show of seven at SXSW was as heavy as ever.

Day Two: 3/14/12

Everything was chaotic. I saw lines that stretched for blocks to see bands like Built to Spill and even the Bay Area’s Trash Talk. I ended up at a metal show at Dirty Dog bar and saw Oakland’s Saviours, San Francisco’s Black Cobra, and North Carolina’s legendary Corrosions of Conformity.  

Streets were crowded in Austin, reminding me of Mardi Gras… but the weather was great and it really seemed that everyone was in great spirits enjoying the music.

Day Three: 3/15/12

Thursday night I checked out SF booking agency Leafy Green’s showcase at the Bat Bar. Sleepy Sun played an excellent blend of dreamy psych rock. Singer Bret Constantino has a sexy, almost Jim Morrison-like presence. 

My favorite of the night was Long Beach based Crystal Antlers, who were previously signed with the now defunct Touch and Go records. They had a super trippy dancer join them on stage while they rocked out with incredible force. This band is not to be missed (and apparently they now need a new label)!

Day Four: 3/16/12 

I stopped by the Knitting Factory’s showcase at Rusty’s. There I heard the Atlanta, GA four piece punk band The Biters. They were awesome and let’s just say their lead singer Matt has really dirty mouth!  Worth giving a listen if you’re a Johnny Thunders or a Sex Pistols fan…

Following Rusty’s I headed over to Bar 96, where I managed to push my way into the packed Dinosaur Jr show.  This show was probably the best show I saw all week.  They were amazing, playing nostalgic songs like “Feel the Pain.”  It was a thick, heavy, stoner rock show and I have to say: Bassist Lou Barlow came pretty close to stealing the show from guitarist J Mascis. Felt pretty lucky on this one!

On the way home from the Bat Bar, we overheard the melody from “Just Like Honey…” my personal favorite tune from the Jesus and Mary Chain, who were playing a packed show at the Belmont. Slyly using my photo pass to sneak in the back door, we caught the last five songs of their set.  Such a sweet surprise!

Day Five: 3/17/12

I spent the day at the MOG showcase. What a day!  Things kicked off with Southern CA based band Silent Comedy, who put on quite a show and then it was killer blues musician Gary Walker Jr.

Other bands I loved were Portland’s Blitzen Trapper and Oakland-based Howlin Rain…and definitely headliner The Roots!

 

Black Power now

Andrew Lam
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Black Power now

More than 50 years after the Black Panthers started policing the police in Oakland, where does Black Power stand today? This week’s issue takes a look at the question through music, books, and political thought. 

>>BLACK POWER THEN AND NOW: How political struggle and concepts from the ’60s are animating a new generation. And what does Angela Davis have to say about the movement today?

>>THE LEGACY OF RACISM: Killing the Messenger explores Black Muslim ideology and the cycles of brutality

>>BLACK POWER AND OWS: The two movements have it in them to merge, but it’s going to take some work. An editorial by Davey D Cook

>>IT’S NOT WHAT YOU GET, IT’S WHAT YOU KEEP: BBC journalist gathers black voices for posterity, links them to a civil rights timeline

>>PANTHER CRY: Listen Whitey! A new Bay anthology plays the sounds of black power

Rep Clock

Andrew Lam
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Schedules are for Wed/21-Tues/27 except where noted. Director and year are given when available. Double features are marked with a •. All times p.m. unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.atasite.org. $6-10. Periwinkle Cinema presents: Dandy Dust (Scheirl, 1998), Wed, 8. Audio-visual improvisations with Bill Hsu, Tony Druer, Jacob Felix Heule, and more, Fri, 8. "Other Cinema:" International Women’s Month program hosted by Anne McGuire, featuring spoken word by Kara Herold, films by Marie Losier, and more, Sat, 8:30.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. Wilde Salome (Pacino, 2011), Wed, 7. With Al Pacino, Tony Kushner, and other special guests in person; tickets ($25) benefit the GLBT Historical Society. "Disposible Film Festival," competitive shorts program, Thurs, 8. Tickets ($14) and additional info at www.disposiblefilm.com. The Wizard of Oz (Fleming, 1939), presented sing-along style, Fri-Sun, 7:30 (also Sat-Sun, 2:30). This event, $10-15.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. Boy (Waititi, 2010), call for dates and times. Jiro Dreams of Sushi (Gelb, 2011), March 23-29, call for times.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. "Film 50: History of Cinema, Film, and the Other Arts:" To Kill a Mockingbird (Mulligan, 1962), Wed, 3:10. With lecture by Marilyn Fabe. "Documentary Voices:" Distinguished Flying Cross (Wilkerson, 2011), Wed, 7. "Dark Past: Film Noir by German Emigrés:" Where the Sidewalk Ends (Preminger, 1950), Thurs, 7; Strange Illusion (Ulmer, 1945), Sat, 8:35. "The Library Lover: The Films of Raúl Ruiz:" The Hypothesis of the Stolen Painting (1979), Fri, 6:45. "Afterimage: James Ivory, Three Films from Novels:" Le Divorce (2003), Fri, 8:30. "Howard Hawks: The Measure of Man:" Sergeant York (1941), Sat, 6.

PARAMOUNT 2025 Broadway, Oakl; www.silentfilm.org. $40-120. Napoleon (Gance, 1927), with accompaniment by the Oakland East Bay Symphony, Sat-Sun, 1:30. Through April 1.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Crazy Horse (Wiseman, 2011), Wed, 6:45. Fake It So Real (Greene, 2012), Wed-Thurs, 6:15, 8. The FP (Trost and Trost, 2012), Wed-Thurs, 10. Tim and Eric’s Billion Dollar Movie (Heidecker and Wareheim, 2012), Wed, 9:15. The Nancy Boys and Hardly Drew Mysteries (Dulay, 2012), Thurs, 8. "Cinemadness!:" "Cinefamily," mondo mix show, Fri, 7; Street Trash (Muro, 1987), Sat, 7:30 and 11; The Hidden (Sholder, 1987), Sat, 9:15; George Kuchar: Comedy of the Underground (Vazquez and Hallinger, 1982), Sun, 2; Secret Honor (Altman, 1984), Sun, 4 and 8:30; Elvis Found Alive (Gilbert, 2012), Sun, 6. Pudhupettai (Selvaraghavan, 2006), Mon, 6:30. "You Can’t Do That On Screen Anymore: Two Days With Frank Zappa:" 200 Motels (Zappa, 1971), Tues, 7:15, 9.

SF FILM SOCIETY CINEMA 1746 Post, SF. $10-11. Kill List (Wheatley, 211), Wed-Thurs, 2:30, 5, 7, 9. The Sound of Noise (Simonsson and Nilsson, 2010), March 23-29, 3, 5, 7, 9.

VORTEX ROOM 1082 Howard, SF; www.myspace.com/thevortexroom. $7 donation. "Deep Shat:" Pray for the Wildcats (Lewis, 1974), preceded by rare William Shatner TV appearances, outtakes, music videos, interviews, and more, Thurs, 9.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. "Human Rights Watch Film Festival:" The Green Wave (Ahadi, 2010), Thurs, 7:30.

Panther cry

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Panther cry

culture@sfbg.com

LIT Over a five-year period in Oakland, California, archivist Pat Thomas befriended key leaders of the Black Power movement, dug through Huey Newton’s archives at Stanford University, spent countless hours and thousands of dollars on eBay, and talked to rank and file Black Panther Party members. He uncovered dozens of obscure albums, singles, and stray tapes. Along the way, he began to piece together a time period (1967-1974) when revolutionaries were seen as pop culture icons.

The result of Thomas’ discoveries is Listen Whitey!: The Sounds of Black Power 1967-1974 (Fantagraphics, 224pp, $39.99), a 70,000-word hardcover book with 200 full-color images of obscure recordings and ephemera, and an accompanying CD that traces the vast cultural output of the black power movement.

Besides being a visually stunning collection of photographs and album covers, Thomas’ book shines as a concise, clear-sighted history of the Black Panther movement and the ascendance of black power in American life. “While I can’t claim to know what happened, much less what it felt like to participate,” he says in the introduction, “it’s my hope that readers will find the personalities and music inspiring as I did. Dig deep; blood is thicker than mud.”

Done with a reverence of the times and people, Thomas distinguishes the Panthers from black nationalist movements like Karenga’s US and Amiri Baraka’s Black Arts by focusing on the diversity of the contributors and supporters. Listen, Whitey! steps outside of the boundaries established by other books covering the culture of the movement by showing black power as an engine that generated a multi-cultural global resistance.

This Black-Powered cross-cultural revolution is Bob Dylan’s album Highway 61 Re-visited in the hands of black radical imagination. A transformative album for Jimi Hendrix, the song “Ballad of a Thin Man” was on Huey Newton’s heavy rotation list during the early drafts of the Panther doctrine. Dylan later reciprocated with an elegy to “George Jackson”, an homage to Ruben “Hurricane” Carter, and other songs in service to the movement. The most curious inclusion on the CD, in fact, is white folk singer Roy Harper’s “I Hate The White Man,” a track that — to this day — is as enigmatic as it is honest.

Known musicians like Gil-Scott Heron and John Lennon mix with under-appreciated or unknown talent like Gene McDaniels and the marvelous Marlena Shaw. From the humorous seriousness of the Watts Prophets’ “Dem Niggas Ain’t Playing” to the serious humor of Dick Gregory, and on to the sublime sounds of struggle from Elaine Brown, the music is full and beautiful. The omission of any of any New Thing jazz and Jimi Hendrix (though Thomas sees Hendrix as disengaged, if not apathetic to the riots, “Look At The Sky” from Electric Ladyland opens the dialogue even further beyond the typical), makes the CD function more as a primer to the genre than a definitive review. But when all is said and done, this honky wrote a great black book. *

PAT THOMAS AUTHOR READINGS:

April 10 7 p.m., free

The Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com

 

April 11 7 p.m., free

Pegasus Books

2349 Shattuck, Berk.

(510) 649-1320

www.pegasusbookstore.com

Our Weekly Picks: March 21-27

Andrew Lam
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WEDNESDAY 21

Al Pacino

Iconic actor Al Pacino brings his new experimental documentary Wilde Salome to the city tonight for its U.S. debut screening, with a red carpet celebration and a variety of special guests including Jean-Paul Gaultier, Dita Von Teese, and more. Pacino has described the film, a look into legendary writer Oscar Wilde’s works and influence, as his most personal project ever, and he will also be on hand tonight for the gala screening that benefits the GLBT Historical Society, and commemorates the 130th anniversary of the legendary writer’s visit to San Francisco. (Sean McCourt)

6 p.m., $25

Castro Theatre

429 Castro, SF

(415) 777-5455

Glbthistory.org/WildeSalome

 

of Montreal

A part conspiratorial, part confessional Kevin Barnes lies at the heart of Paralytic Stalks, the latest release from the of Montreal mastermind and his rotating ensemble of collaborators. Paralytic is complex and genre-bending like most of the of Montreal repertoire. In Paralytic‘s first half, Barnes croons moody lyrics transposed on psychedelic pop melodies not unlike 2007’s Hissing Fauna, Are You The Destroyer? Paralytic‘s second half challenges listeners with Barnes’ violent tones jumbled with harrowing electronic-classical interludes. (Kevin Lee)

With Deerhoof, Kishi Bashi

8 p.m., $21

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

Also Thurs/22, 8 p.m., $22

Fillmore

1805 Geary, SF

(415) 346-6000

www.thefillmore.com

 

Bonaparte

An electro rock’n’roll circus led by an inspired madman, Berlin’s Bonaparte has campaigned through Europe, Russia, and Australian, but is just now taking aim at the U.S. via SXSW. A rotating collective of musicians, designers, dancers, and freaks (performing in wildly excessive costumes), Bonaparte combines a trash punk energy with a theatricality that borders on the surreal. The ringleader, Tobias Jundt, is a sharp lyricist hiding behind dada non sequiturs and unbridled hedonism. (Witness the apt “gloryhole to the universe” line on “Computer in Love.”) Remember: when they ask “Are you ready to party with the Bonaparte?” — it’s a rhetorical question. (Ryan Prendiville)

With 2 Men Will Move You, Stay Gold DJs Rapid Fire and Pink Lightning

9 p.m., $10

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com


THURSDAY 22

indifference and MASTERWORK

Outsiders and insiders at once, Lisa Townsend and Mica Sigourney culminate their CounterPULSE winter residencies with indifference and MASTERWORK. Experimental choreographer Townsend leaps off from Camus and the idea of free will in a dance-theater piece investigating the conflict between society and the solitary action, or not, of the stranger. Sigourney offers MASTERWORK, a concept demanding the all-caps title, an experiment in hubris promising “the most important performance of our generation and time.” Maybe. But if you’ve seen any of Sigourney’s work (recently in Laura Arrington’s “Wag,” or more recently with a bottle of bourbon, two glasses, and some sheets of paper at a crowded reading in the SomARTS men’s room) —or drag persona VivvyAnne ForeverMORE! and the envelope-pushing drag queen confab-cabaret “Work MORE!” — you’ll be there just to make sure. (Robert Avila)

Thurs/22-Sun/25, 8 p.m., $20

CounterPULSE

1310 Mission, SF

(415) 626-2060 www.counterpulse.org

 

“Hope Mohr Dance: Fifth Annual Home Season”

Christy Funsch recently choreographed an intriguing evening of solos for Bay Area dancers. One of its delights was watching Hope Mohr — exquisite, focused and powerful — take to the stage. In the last few years Mohr has focused her energy on creating work for her own company, but she clearly is still a mesmerizing performer. During her Fifth Annual Home Season, she is premiering “Reluctant Light” for her troupe, but she will also dance her 2011 solo “Plainsong”, inspired by the myth of Penelope and first seen at last year’s San Francisco International Dance Festival. As is her want, Mohr has invited an out of town company whose work she feels complements her own to share this evening. They are the Dušan Týnek Dance Theatre from New York. (Rita Felciano)

Thurs/22-Sat/24, 8 p.m., $20–$25

Z Space

450 Florida, SF

(800) 838-3006

www.zspace.org


FRIDAY 23

The Brightness of the Day . . .

Peter Whitehead makes instruments out of the things you’ve got in your kitchen, toolbox, and garbage bin — and makes them sound fucking rad. Brightness of the Day . . . will feature his experimental instruments, including his spoon harp, ektar, and buzzing bass lyre, alongside his textile paintings and collages. Whitehead’s visual art and musical endeavors parallel each other: his art illustrates music’s patterns and variation, and he conceptualizes music visually. Whitehead has exhibited his instruments in various museums and galleries in the past, but this is the first time he’ll be bringing together the various aspects of his visual art, music, and instrument building for an exhibit. (Mia Sullivan)

6 p.m., free

60Six

66 Elgin Park, SF

(415) 621-8377

www.gallery60six.com

 

Saviours

When Saviours first broke into the Bay Area metal and punk scenes, their unrepentant Thin Lizzy worship, filtered through a nasty hardcore sensibility, was as refreshing as a cold Hamm’s on a hot Tuesday afternoon. Like their recently-disbanded peers, Annihilation Time, Saviours dig deep into the record vault of the great hoary cannon of metal’s early days, reemerging with forgotten treasures like the weedeley-weedeley twin-guitar lead, and lyrics about getting epically baked. The band plans to get loud at a familiar San Francisco haunt, the Elbo Room, this Friday. (Tony Papanikolas)

With Holy Grail, Hazard’s Cure

9:30 p.m., $10–$13

Elbo Room

647 Valencia, SF

(415) 552-7788

www.elbo.com

 

Yuksek

Someone repeatedly tapping a note on a natural sounding piano. A bunch of finger snaps. An additional R&B riff on the keys. A man singing…Fitz and the Tantrums?…with an accent. Who is this? Metronomy? French accent. Phoenix? An electro snare/kick. MGMT? Background children’s vocals. Justice? Errrrr. Times up. We could play another song, or the full album, but it probably wouldn’t help. With Living on the Edge of Time, an album inspired by life as a lonely electronic musician on the road, French producer Yuksek expanded his sound — heading into a lighter, melodic though dance-oriented pop territory — as well as his band, which kicks off its US tour here. (Prendiville)

With Tenderlions, Realboy, DJ Aaron Axelsen

9 p.m., $15

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

SATURDAY 24

Napoleon

Fans of silent film and early cinema are in for an incredibly special treat this week and next when the San Francisco Silent Film Festival presents a series of screenings featuring Abel Gance’s legendary 1927 masterpiece Napoleon. Lauded for its use of then-groundbreaking and innovative techniques, the epic five-and-a-half hour biography of the French ruler has been painstakingly restored over the past several years, and will be shown accompanied by a live musical score performed by the Oakland East Bay Symphony. Don’t miss the opportunity to see this amazing event in the Bay Area’s own movie palace, the Paramount Theatre — these performances will not be staged anywhere else in the world. (McCourt)

Sat/24-Sun/25, March 31, April 1

1:30 p.m., $40–$120

Paramount Theatre

2025 Broadway, Oakl.

www.silentfilm.org

 

Thee Oh Sees

As prolific as they are prodigiously loud, San Francisco favorites Thee Oh Sees have cultivated over the course of ten albums (and a shitload of EPs, singles, etc.) a familiar wilderness, equal parts Black Flag and Their Satanic Majesties Request. This shouldn’t mask how unpredictable the band can sound — like the vaguely grotesque, multicolored nightmare aesthetic of the band’s instantly recognizable fliers and album covers, Thee Oh Sees couldn’t be any less concerned with weirding out our delicate sensibilities. (Papanikolas)

With White Mystery, Coathangers, Guantanamo Baywatch, Cyclops

9 p.m., $10

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

The Magnetic Fields

The Magnetic Fields are known for their sardonic, poetic, and, at times, absolutely hilarious songs that tend to focus on loneliness, sexual identity, unrequited love, and other love-related mishaps. Lead singer-songwriter Stephin Merritt has been releasing albums with the Magnetic Fields for more than two decades. Their new album, Love at the Bottom of the Sea, marks the indie pop group’s return to a synthy sound, which they were all about in the ’90s, but veered from in their past three albums (Realism, Distortion, and I). Love at the Bottom of the Sea delves into sexual taboos with catchy tracks like “God Wants Us to Wait” and “Andrew in Drag.” (Sullivan)

8 p.m., $35

Fox Theater

1807 Telegraph, Oakl.

(510) 548-3010

www.thefoxoakland.com


TUESDAY 27

Kendrick Lamar

Best of lists, while good for selling issues or getting views, are guaranteed to start arguments. So it’s no surprise that when XXL released its 2012 Freshmen Issue, crowning emerging hip-hop artists, there was fallout: A$AP Rocky opted out, readers cried foul over selections, and firebrand Azaelia Banks put Iggy Azalea on blast (starting a beef which, given their names, was inevitable.) Time will sort it out, though, as it has with 2011 inductee Kendrick Lamar, who a year later has made the grade, and is now teasing a follow-up to his stellar Section.80. (Although I’m still trying to understand his “I climax where you begin” line on “Rigamortis.”) (Ryan Prendiville) With Hopsin 8 p.m., $30-$50 Regency Ballroom 1300 Van Ness, SF (800) 745-3000 www.theregencyballroom.com

 

Mr. Gnome

Fuzzy Cleveland drums-and-guitar duo Mr. Gnome has been named some variant on the “band to watch” so many times now, it’s best you lift your chin and pay attention. Maybe, you’ll also be scratching that chin, because the band — sugary singer-guitarist Nicole Barille and thwacking drummer-pianist Sam Meister — doesn’t quite sound like anything else. It’s an eye-popping hybrid. And its aesthetic of natural psychedelia in hazy orange and yellow hues with Donny Darko-esque imaginary belies the dark, hard rocking core. Not that they don’t have fun with their music, there are spacey shots of wailing guitars and the occasional high vocal peeps (“Bit of Tongue”), it’s just far more realized a sound than one might expect based on the superficial. Listening yet? (Emily Savage)

With Electric Shepherd & Outlaw, Plastic Villians

8 p.m., $8

Thee Parkside

1600 17th St., SF

(415) 252-1330

www.theeparkside.com

 

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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

Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-69. Previews Thurs/22-Sat/24, 8pm. Opens March 29, 8pm. Runs Thurs-Sat, 8pm. Through May 5. Thrillpeddlers launch a new version (new cast, songs, costumes, etc.) of the Cockettes classic by Scrumbly Koldewyn and Martin Worman.

The Rita Hayworth of this Generation Shotwell Studios, 3252-A 19th St, SF; www.brownpapertickets.com. $10-15. Opens Fri/23, 8pm. Runs Fri-Sat, 8pm. Through April 7. Writer and performer Tina D’Elia performs her solo, multi-character play about a queer Latina performer inspired by the legendary Hollywood goddess.

ONGOING

A Bright Room Called Day Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $25-32. Thurs-Sat, 8pm; Sun, 7pm. Through April 8. Custom Made Theatre performs Tony Kushner’s drama set in Berlin just before the Nazi takeover.

"Celebration of Women’s History Month:" The Right Thing Thick House, 1695 18th St, SF; www.3girlstheatre.org. $30. Dates and showtimes vary. Through April 1. Over one long day of legal mediation, aggrieved former CEO Zell Gardner (a brash but vulnerable Catherine Castellanos) and attorney Manny Diamond (a sharp, loquacious Louis Parnell) square off against Zell’s former Big Pharma pals headed up by vindictive interim CEO David Heller (a coolly cutting Lol Levy) flanked by Zell’s longtime colleague Chris McKnight (a nicely down-to-earth John Flanagan). Zell’s lawyer becomes increasingly ambivalent, however, as Manny discovers his tough, brassy mess of a pill-popping client has been less than forthcoming about the charge of sexual harassment the other side is using to justify her dismissal and the company’s pocketing of the three million Zell expected as compensation — a charge involving Zell’s 19-year-old goddaughter, Sam (Karina Wolfe). Attempting to reconcile the parties and broker a deal is retired judge Leigh Mansfield (Helen Shumaker), but she has her work cut out for her with this crowd. AJ Baker’s new drama — the inaugural production of newcomers 3Girls Theatre — take issues of sexual politics and power in its high-powered setting and cracks them against the everyday familial and social dynamics that are perhaps a casualty of the corporate ethos, but without opening them up to a satisfactory degree. Director Suze M. Allen assembles a generally strong cast (Castellanos is riveting throughout), and some scenes smolder with just the right teeth-baring tension, but pacing is inconsistent and the script’s own wayward drift — together with an odd, unnecessary video backdrop—distract from the concentrated treatment the story demands. (Avila)

*Fool For Love Boxcar Studios, 125A Hyde, SF; www.boxcartheatre.org. $25. Showtimes vary. Through April 14. Another installment of Boxcar Theatre’s epic Sam Shepard repertory project, Fool for Love inaugurates their newest performance space within their Hyde Street Studios location. A depressingly realistic reproduction of a claustrophobic motel room, the tiny jewel-box theatre provides no refuge for the actors, and certainly not for the audience, each trapped beneath the pitiless gaze of the other. And if that too-close-for-comfort intimacy doesn’t get to you, the intentionally difficult subject matter — a "typical" Shepardian foray into alcohol-fueled ranting, violence, incest, and casual cruelty — probably will. Shepard’s strength in monologue shows itself off to meaty effect from May’s (Lauren Doucette) melancholy description of her mother’s love affair with the Old Man (Jeff Garrett) to Eddie’s (Brian Trybom) candid admittance to May’s timid suitor Martin (Geoffrey Nolan) that he and May are not cousins at all but half-siblings who have "fooled around" with each other. In addition to the reliably strong performances from each of the actors, Fool features a notably clever bit of staging involving the Old Man who appears not as a specter wandering the periphery of the stage, but as a recurring figure on the black-and-white television, interrupting the flow of cheesy Westerns with his garrulous trailer park wisdom and an omnipresent Styrofoam cup filled, one suspects, with something stronger than just coffee. (Gluckstern)

Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Fri/23-Sat/24, 8pm. David Mamet’s cutthroat comedy, courtesy of the Actors Theatre of San Francisco.

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

Julius Caesar Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; 1-800-838-3006, www.african-americanshakes.org. $10-30. Sat, 8pm; Sun, 4pm. Through April 1. African-American Shakespeare Company performs a version of the Bard’s classic set during the ongoing civil wars of West Africa.

*Maurice New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $25-45. Wed/21-Sat/24, 8pm; Sun/25, 2pm. The eponymous hero of E.M. Forster’s late novel (written early but published only posthumously) wrestles with his love for another man in Edwardian England — oscillating between defiant assertion of feeling and an anguished recoil into desperate treatments like hypnotism — but manages to find happiness as a homosexual by the end of the story. No doubt that would have most appalled the guardians of those extremely homophobic, repressive times. Today there’s still much to recognize in the confused feelings and social censure faced by such a figure, though what helps make the 1998 stage adaptation (by Brits Andy Graham and Roger Parsley) so compelling a story is the not always flattering complexity and honesty with which Forster portrays the (at least partly autobiographical) Maurice Hall — played winningly by an intelligent, agile Soren Santos in New Conservatory Theatre Center’s persuasive U.S. premiere. Maurice’s outré sexuality is one thing; his class position and status as a man are another, affording him certain limited protection and also contributing to certain weaknesses of character, which become most apparent vis-à-vis his mother (a quietly potent Lindsey Murray) and sister (an effervescent Hilary Hyatt) as well as his second love, ambitious young laborer Alec Scudder (a nicely restrained Andrew Nolan). Director George Maguire rightly concentrates on the reciprocal influences between these vital characters and gets fine performances from his entire cast in an uncluttered, sure and measured production, with capable John Hurst in several supporting roles and Alex Kirschner doing excellent work as Clive Durham, Maurice’s Cambridge classmate and mercurial first love. (Avila)

Merchants Exit Stage Left, 156 Eddy, SF; www.brownpapertickets.com. $10-25. Thurs/22-Sat/24, 8pm. According to playwright Susan Sobeloff, the vision for Merchants, premiering this month at the EXIT Theatre, came to her after watching Shakespeare’s The Merchant of Venice, a play at least partially responsible for cementing the caricature of the money-hungry Jew in Western literary tradition for centuries to come. Her intention to write a play featuring a family of more "rounded" Jews doesn’t entirely coalesce once it becomes clear that the bulk of the dramatic tension actually revolves very closely around monetary concerns. As one family business folds, and other members get squeezed out of their jobs by the new economy, a new family business of sorts begins to grow around the quirky, confessional performance art of youngest daughter, Mercedes (Maura Halloran). Emotional blackmail and sheer desperation kickstart their efforts to turn Mercedes into a financially-sustainable "brand," while the all too human costs of burnout, fatigue, and simmering resentments are roundly disregarded, until a crisis point is reached. It’s difficult to connect with this particular set of almost comically self-absorbed characters, despite the desire to root for the underdog, and the play would have benefited from a staging that allowed either more humor or more humanity to creep into the relentless tirades that characterize much of the dialogue. (Gluckstern)

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $25-50. Fri, 8pm; Sat, 5pm. Extended through April 14. Dan Hoyle revives his hit solo show about small-town America.

Sam Marlowe and the Mean Streets of San Francisco Stage Werx, 446 Valencia, SF; (415) 412-3989, www.catchynametheatre.org. $20. Thurs-Sat, 8pm. Through April 7. Catchy Name Theatre presents a world premiere noir play by Jim Strope.

*True West Boxcar Studios, 125A Hyde, SF; (415) 967-2227, www.boxcartheatre.org. $25. Thurs-Sat, 8pm. Through April 7. The first installment of Boxcar Theatre’s four-play Sam Shepard repertory project, True West ushers in the ambitious run with a bang. This tale of two brothers who gradually assume the role of the other is one of Shepard’s most enduring plays, rich with humorous interludes, veering sharply into dangerous terrain at the drop of a toaster. In time-honored, True West tradition, the lead roles of Austin, the unassuming younger brother, and Lee, his violent older sibling, are being alternated between Nick A. Olivero and Brian Trybom, and in a new twist, the role of the mother is being played by two different actresses as well (Adrienne Krug and Katya Rivera). The evening I saw it, Olivero was playing Austin, a writer banging away at his first screenplay, and Trybom was Lee, a troubled, alcoholic drifter who usurps his brother’s Hollywood shot, and trashes their mother’s home while trying to honor his as yet unwritten "contract". The chemistry between the two actors was a perfect blend of menace and fraternity, and the extreme wreckage they make of both the set (designed by both actors), and their ever-tenuous relationship, was truly inspired. (Gluckstern)

Waiting for Godot New venue: SF Playhouse Stage Two, 533 Sutter, SF; (415) 336-3522, www.tidestheatre.org. $20-32. Thurs, 7pm; Fri-Sat, 8pm. Extended through April 14. The fuchsia papier-mâché tree and swirling grey-on-white floor pattern (courtesy of scenic designer Richard Colman) lend a psychedelic accent to the famously barren landscape inhabited by Vladimir (Keith Burkland) and Estragon (Jack Halton) in this production of the Samuel Beckett play by newcomers Tides Theatre. The best moments here broadcast the brooding beauty of the avant-garde classic, with its purposely vague but readily familiar world of viciousness, servility, trauma, want, fear, grudging compassion, and the daring, fragile humor that can look it all squarely in the eye. (Avila)

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through April 27. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Cabaret Larkspur Café Theater (American Legion Hall Post 313), 500 Magnolia, Larkspur; www.brownpapertickets.com. $25-45. Fri-Sat, 8pm; Sun, 7pm (no show April 8). Through April 15. Independent Cabaret Productions and Shakespeare at Stinson move their production of the Kander and Ebb classic from Fort Mason to the North Bay.

The Coast of Utopia: Voyage Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Opens Fri/23, 8pm. Runs Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through April 29. Shotgun Players present Tom Stoppard’s riff on pre-revolutionary Russia.

A Doctor in Spite of Himself Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Thurs/22 and Sat/24, 8pm; Wed/21 and Sun/25, 7pm (also Sun/25, 2pm). Berkeley Rep performs a contemporary update of the Molière comedy.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through May 6. 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)

Now Circa Then Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through April 1. TheatreWorks performs Carly Mensch’s comedy about a romance that blooms between two historical re-enactors.

The Pirates of Penzance Julia Morgan Center for the Arts, 2640 College, Berk; (510) 845-8542, www.juliamorgan.org. $17-35. Fri-Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm. Through April 1. Berkeley Playhouse performs the Gilbert and Sullivan classic, with the setting shifted to a futuristic city.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Opens Thurs/22, 8pm. Runs Tues and Thurs-Fri, 8pm (also March 29 and April 26, 2pm; no show April 27); Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; Sun, 7pm; no matinee March 31). Through April 29. Berkeley Rep performs John Logan’s Tony Award-winning play about artist Mark Rothko.

Titus Andronicus La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through March 31. Impact Theatre takes on the Bard’s bloodiest tragedy.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: Sun/25 and April 1, 11am. Also May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis "The Amazing Bubble Man" Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

"Arthur in Underland" CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/23-Sat/24, 8pm. $15-24. Dandelion Dancetheater performs a new work about a young man whose life is changed when he becomes part of a rock group’s entourage.

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

"Enchantingly Wicked" Davies Symphony Hall, 201 Van Ness, SF; www.sfgmc.org. Wed/21, 8pm. $15-75. San Francisco Gay Men’s Chorus and Stephen Schwartz perform musical theater hits.

Hope Mohr Dance Z Space, 450 Florida, SF; www.zspace.org. Thurs/22-Sat/24, 8pm. $20-25. The company presents its fifth San Francisco home season, with a rare solo by Hope Mohr and the Bay Area debut of New York-based choreographer-performer Dusan Tynek’s company.

"Improvised Shakespeare" Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; www.improv.org. Sat/24, 8pm. $20. Bay Area Theatre Sports (BATS) presents Improvised Shakespeare, a fine troupe (and a slightly different lineup each night, but on March 10 including Kasey Klemm, Rebecca Stockley, Tim Orr, William Hall, Zoe Galvez, and Regina Saisi) with no idea what full length Shakespeare-ish play they will lay on their eager audience until the latter gift them with a title and a key word or two. The rest is remarkably well-tethered mayhem, as cast spontaneously riffs on the audience cue, the conventions of Elizabethan drama, and its own inventions —including the unintentional slip of the tongue, which in this context can prove as productive as anything. March 10 saw the premiere — and simultaneous closing — of an ephemeral little comedy called Two Crows. The players strutted and fretted (or frolicked, really) an hour or so upon the stage.’Twas an idiotic tale, told by some of the sharpest improvisers around, and signifying nothing, save good times. (Avila)

"indifference and MASTERWORK" CounterPULSE, 1310 Mission, SF; www.eventbrite.com. Thurs/22-Sun/25, 8pm, $17-30. New works by artists-in-residence Lisa Townsend and Mica Sigourney.

"ODC Dance/Downtown" Yerba Buena Center for the Arts, Novellus Theater, 700 Howard, SF; www.odcdance.org. Through Sun/25, programs and showtimes vary. $15-750. ODC/Dance kicks off its 41st annual home season with two programs of new works, plus an opening-night gala.

"Octopus’s Garden" Alcove Theater, 414 Mason, Fifth Flr, SF; www.thealcovetheater.com. Sat, 8pm. Through April 7. $25-35. PianoFight performs Scott Herman’s modern-family drama.

"Regeneration" Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Thurs/22-Sat/24, 8pm, $25. Performance duo Eiko and Koma highlight new and old works from their four-decade oeuvre.

"2012 Rhino Benefit Extravaganza" Eureka Theatre, 215 Jackson, SF; www.therhino.org. Mon/26, 8pm. $25. Queer talent performances (plus free food and drinks!) to benefit Theatre Rhinoceros.

Spring fairs and festivals

Andrew Lam
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1
Spring fairs and festivals

culture@sfbg.com

MARCH

SF Flower and Garden Show, San Mateo Event Center, 495 S. Delaware, San Mateo. (415) 684-7278, www.sfgardenshow.com. March 21-25, 10am-6pm, $15–$65, free for 16 and under. This year’s theme is “Gardens for a Green Earth,” and features a display garden demonstrating conservation practices and green design. Plant yourself here for thriving leafy greens, food, and fun in the sun.

The Art of Aging Gracefully Resource Fair, Jewish Community Center of San Francisco, 3200 California, SF. (415) 292-1200, www.jccsf.org. March 22, 9:30am-2:45pm, free. Treat yourself kindly with presentations by UCSF Medical Center professionals on healthy living, sample classes, health screenings, massages, giveaways and raffles.

California’s Artisan Cheese Festival, Sheraton Sonoma County, 745 Sherwood, Petaluma. (707) 283-2888, www.artisancheesefestival.com. March 23-25, $20–$135. Finally, a weekend given over to the celebration of cultures: semi-soft, blue, goat, and cave-aged. More than a dozen award-winning cheesemakers will provide hors d’oeuvres and educational seminars.

15th Annual Rhone Rangers Grand Tasting, Fort Mason Festival Pavilion, Buchanan and Marina, SF. (800) 467-0163, www.rhonerangers.org. March 24-25, $45–$185. The largest American Rhone wine event in the country, with over 2,000 attendees tasting 500 of the best Rhones from its 100 US member wineries.

Whiskies of the World Expo, Hornblower Yacht, Pier 3, SF. (408) 225-0446, www.whiskiesoftheworld.com. March 31, 6pm-9pm, $120–$150. The expo attracts over 1400 guests intent on sampling spirits on a yacht and meeting important personages from this fine whiskey world of ours.

Bay Area Anarchist Book Fair, SF County Fair Building’s Hall of Flowers, Golden Gate Park, SF. (415) 431-8355, bayareaanarchistbookfair.wordpress.com. March 31-April 1, free. This political book fair brings together radical booksellers, distributors, independent presses, and political groups from around the world.

Monterey Jazz Festival’s Next Generation Festival Monterey Conference Center, One Portola Plaza, Monterey. (831) 373-3366, www.montereyjazzfestival.org. March 30-April 1, free. 1200 student-musicians from schools located everywhere from California to Japan compete for the chance to perform at the big-daddy Monterey Jazz Festival. Free to the public, come to cheer on the 47 California ensembles who will be playing, or pick an away team favorite.

APRIL

Argentine Tango Festival, San Francisco Airport Marriot Hotel, 1800 Old Bayshore Highway, Burlingame. www.argentinetangousa.com. April 5-8, $157–$357. Grip that rose tightly with your molars — it’s time to take the chance to dance in one of 28 workshops, with a live tango orchestra, and tango DJs. The USA Tango championship is also taking place here.

Salsa Festival, The Westin Market Street, 50 Third St., SF. (415) 974-6400. www.sfsalsafestival.com. April 5-7, $75–$125. Three nights of world-class performances, dancing, competition and workshops with top salsa instructors.

Union Street Spring Celebration and Easter Parade, Union between Gough and Fillmore, SF. (800) 310-6563, April 8, 10am-5pm, parade at 2pm, free. www.sresproductions.com/union_street_easter. A family festival with kids rides and games, a petting zoo, and music.

45th Annual Northern California Cherry Blossom Festival, Japan Center, Post and Buchanan, SF. (415) 567-4573, www.sfjapantown.org. April 14-15 and 21-22, parade April 22, free. Spotlighting the rich heritage and traditional customs of California’s Japanese-Americans. Costumed performers, taiko drums, martial arts, and koto music bring the East out West.

Bay One Acts Festival, Boxcar Theatre, 505 Natoma, SF. www.bayoneacts.org. April 22 — May 12, 2012, $25–$45 at the door or online. Showcasing the best of SF indie theater, with new works by Bay Area playwrights.

Earth Day, Civic Center Plaza, SF. (415) 571-9895, www.earthdaysf.org. April 22, free. A landmark day for the “Greenest City in North America,” featuring an eco-village, organic chef demos, a holistic health zone, and live music.

Wedding and Celebration Show, Parc 55 Wyndham, 55 Cyril Magnin, SF. (925) 594-2969, www.bayareaweddingfairs.com. April 28, 10:00am-5:00pm. Exhibitors in a “Boutique Mall” display every style of product and service a bride may need to help plan his or her wedding.

San Francisco International Beer Festival, Fort Mason Center, Festival Pavilion, SF. www.sfbeerfest.com. April 28, 7pm-10pm, $65. The price of admission gets you a bottomless taster mug for hundreds of craft beers, which you can pair with a side of food from local restaurants.

Pacific Coast Dream Machines Show, Half Moon Bay Airport, 9850 Cabrillo Highway North, Half Moon Bay. www.miramarevents.com/dreammachines. April 28-29, 9am-4pm, $20 for adults, kids under 10 free. The annual celebration of mechanical ingenuity, an outdoor museum featuring 2,000 driving, flying and working machines from the past 200 years.

May:

San Francisco International Arts Festival Various venues. (415) 399-9554, www.sfiaf.org. May 2-20, prices vary. Celebrate the arts, both local and international, at this multimedia extravaganza.

Cinco de Mayo Festival, Dolores Park, Dolores and 19th St, SF. www.sfcincodemayo.com. May 5, 10am-6pm, free. Enjoy live performances by San Francisco Bay Area artists, including mariachis, dancers, salsa ensembles, food and crafts booths. Big party.

A La Carte and Art, Castro St. between Church and Evelyn, Mountain View. May 5-6, 10am-6pm, free. With vendors selling handmade crafts, micro-brewed beers, fresh foods, a farmers market, and even a fun zone for kids, there’s little you won’t find at this all-in-one fun fair.

Young at Art Festival, De Young Museum, 50 Hagiwara Tea Garden Drive, SF. (415) 695-2441. www.youngatartsf.com. May 12-20, regular museum hours, $11. An eight-day celebration of student creativity in visual, literary, media, and performing arts.

Asian Heritage Street Celebration Larkin and McAllister, SF. www.asianfairsf.com. May 19, 11am-6pm, free. Featuring a Muay Thai kickboxing ring, DJs, and the latest in Asian pop culture, as well as great festival food.

Uncorked! San Francisco Wine Festival, Ghirardelli Square, 900 North Point, SF. (415) 775-5500, www.ghirardellisq.com. May 19, 1pm-6pm, $50 for tastings; proceeds benefit Save the Bay. A bit of Napa in the city, with tastings, cooking demonstrations, and a wine 101 class for the philistines among us.

Maker Fair, San Mateo Event Center, San Mateo. www.makerfaire.com. May 19-20, $8–$40. Make Magazine’s annual showcase of all things DIY is a tribute to human craftiness. This is where the making minds meet.

Castroville Artichoke Festival, Castroville. (831) 633-2465 www.artichoke-festival.com. May 19-20, 10am-5pm, $10. Pay homage to the only vegetable with a heart. This fest does just that, with music, parades, and camping.

Bay to Breakers, Begins at the Embarcadero, ends at Ocean Beach, SF. www.zazzlebaytobreakers.com. May 20, 7am-noon, free to watch, $57 to participate. This wacky San Francisco tradition is officially the largest footrace in the world, with a costume contest that awards $1,000 for first place. Just remember, Port-A-Potties are your friends.

Freestone Fermentation Festival Salmon Creek School, 1935 Bohemian Hwy, Sonoma. (707) 479-3557, www.freestonefermentationfestival.com. May 21, Noon-5pm, $12. Answer all the questions you were afraid to ask about kombucha, kefir, sauerkraut, yogurt, and beer. This funky fest is awash in hands-on demonstrations, tastings, and exhibits.

San Francisco Carnaval Harrison and 23rd St., SF. www.sfcarnaval.org. May 26-27, 10am-6pm, free. Parade on May 27, 9:30pm, starting from 24th St. and Bryant. The theme of this year’s showcase of Latin and Caribbean culture is “Spanning Borders: Bridging Cultures”. Fans of sequins, rejoice.

June:

Union Street Eco-Urban Festival Union Street between Gough and Steiner, SF. (800) 310-6563, www.unionstreetfestival.com. June 2-3, 10am-6pm, free. See arts and crafts created with recycled and sustainable materials and eco-friendly exhibits, along with two stages of live entertainment and bistro-style cafes.

Haight Ashbury Street Fair, Haight between Stanyan and Ashbury, SF. www.haightashburystreetfair.org. June Date TBD, 11am-5:30pm, free. Celebrating the cultural history and diversity of one of San Francisco’s most internationally celebrated neighborhoods, the annual street fair features arts and crafts, food booths, three musical stages, and a children’s zone.

San Mateo County Fair, San Mateo County Fairgrounds, 2495 S. Delaware, San Mateo. www.sanmateocountyfair.com. June 9-17, 11am-10pm, $6–$30. Competitive exhibits from farmers, foodies, and even technological developers, deep-fried snacks, games — but most importantly, there will be pig races.

Queer Women of Color Film Festival Yerba Buena Center for the Arts, 701 Mission, SF. (415) 752-0868, www.qwocmap.org. June 8-10 times vary, free. Three days of screenings from up-and-coming filmmakers with unique stories to tell.

Harmony Festival, Sonoma County Fairgrounds, 1350 Bennett Valley, Santa Rosa. www.harmonyfestival.com. Date TBA. One of the Bay Area’s best camping music festivals and a celebration of progressive lifestyle, with its usual strong and eclectic lineup of talent.

North Beach Festival, Washington Square Park, SF. (415) 989-2220, www.northbeachchamber.com. June 16-17, free. This year will feature over 150 art, crafts, and gourmet food booths, three stages, Italian street painting, beverage gardens and the blessing of the animals.

Marin Art Festival, Marin Civic Center, 3501 Civic Center Drive, San Rafael. (415) 388-0151, www.marinartfestival.com. June 16-17, 10am-6pm, $10, kids under 14 free. Over 250 fine artists in the spectacular Marin Civic Center, designed by Frank Lloyd Wright. Enjoy the Great Marin Oyster Feast while you’re there.

Sierra Nevada World Music Festival, Mendocino County Fairgrounds Booneville. (916) 777-5550, www.snwmf.com. June 22-24, $160. A reggae music Mecca, with Jimmy Cliff, Luciano, and Israel Vibration (among others) spreading a message of peace, love, and understanding.

Gay Pride Weekend Civic Center Plaza, SF; Parade starts at Market and Beale. (415) 864-FREE, www.sfpride.org. June 23-24, Parade starts at 10:30am, free. Everyone in San Francisco waits all year for this fierce celebration of diversity, love, and being fabulous.

Summer SAILstice, Encinal Yacht Club, 1251 Pacific Marina, Alameda. 415-412-6961, www.summersailstice.com. June 23-24, 8am-8pm, free. A global holiday celebrating sailing on the weekend closest to the summer solstice, these are the longest sailing days of the year. Celebrate it in the Bay Area with boat building, sailboat rides, sailing seminars and music.

Stern Grove Festival, Stern Grove, 19th Ave. and Sloat, SF. (415) 252-6252, www.sterngrove.org. June 24-August 26, free. This will be the 75th season of this admission-free music, dance, and theater performance series.

July:

4th of July on the Waterfront, Pier 39, Beach and Embarcadero, SF. www.pier39.com 12pm-9pm, free. Fireworks and festivities, live music — in other words fun for the whole, red-white-and-blue family.

High Sierra Music Festival, Plumas-Sierra Fairgrounds, Lee and Mill Creek, Quincy. www.highsierramusic.com. July 5-8, gates open 8am on the 5th, $185 for a four-day pass. Set in the pristine mountain town of Quincy, this year’s fest features Ben Harper, Built To Spill, Papodosio, and more.

Oakland A’s Beer Festival and BBQ Championship, (510) 563-2336, www.oakland.athletics.mlb.com. July 7, 7pm, game tickets $12–$200. A baseball-themed celebration of all that makes a good tailgate party: grilled meat and fermented hops.

Fillmore Street Jazz Festival, Fillmore between Jackson and Eddy, SF. (800) 310-6563, www.fillmorejazzfestival.com. July 7-8, 10am-6pm, free. The largest free jazz festival on the Left Coast, this celebration tends to draw enormous crowds to listen to innovative Latin and fusion performers on multiple stages.

Midsummer Mozart Festival, Herbst Theater, 401 Van Ness, SF (also other venues in the Bay Area). (415) 627-9141, www.midsummermozart.org. July 19-29, $50. A Bay Area institution since 1974, this remains the only music festival in North America dedicated exclusively to Mozart.

Renegade Craft Fair, Fort Mason Center, Buchanan and Marina, SF. (415) 561-4323, www.renegadecraft.com. July 21-22, free. Twee handmade dandies of all kinds will be for sale at this DIY and indie-crafting Mecca. Like Etsy in the flesh!

Connoisseur’s Marketplace, Santa Cruz and El Camino Real, Menlo Park. July 21-22, free. This huge outdoor event expects to see 65,000 people, who will come for the art, live food demos, an antique car show, and booths of every kind.

The San Francisco Shakespeare Festival, locations TBA, SF. (415) 558-0888, www.sfshakes.org. July 23-August 28, free. Shakespeare takes over San Francisco’s public parks in this annual highbrow event. Grab your gang and pack a picnic for fine, cultured fun.

Gilroy Garlic Festival, Christmas Hill Park, Miller and Uvas, Gilroy. (408) 842-1625, www.gilroygarlicfestival.com. July 27-29, $17 per day, children under six free. Known as the “Ultimate Summer Food Fair,” this tasty celebration of the potent bulb lasts all weekend.

27th Annual Berkeley Kite Festival & West Coast Kite Championship, Cesar E. Chavez Park at the Berkeley Marina, Berk. (510) 235-5483, www.highlinekites.com July 28-29, 10am-5pm, free. Fancy, elaborate kite-flying for grown-ups takes center stage at this celebration of aerial grace. Free kite-making and a candy drop for the kiddies, too.

Up Your Alley Fair, Dore between Howard and Folsom, SF. (415) 777-3247, www.folsomstreetfair.org. July 29, 11am-6pm, free with suggested donation of $7. A leather and fetish fair with vendors, dancing, and thousands of people decked out in their kinkiest regalia, this is the local’s version of the fall’s Folsom Street Fair mega-event.

Alerts

Andrew Lam
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0

THURSDAY 22

The longest war: Afghanistan beyond the Taliban

Two veteran journalists who have covered Afghanistan talk about the war that has surpassed Vietnam as the longest in US history. Masood Farivar, a former fighter in the Afghan anti-Soviet resistance before becoming a newswire in New York, then returning to Afghanistan in his capacity as journalist, and Tim McGirk a former Time magazine bureau chief in the region who has reported from Afghanistan since 1990, will have a conversation hosted by Jason Motlagh, a freelance journalist/filmmaker and former Time magazine correspondent in Kabul. A short documentary, Million Dollar Militia , will also be screened. What does a continued US presence—or, potentially, troops preparing to leave—mean for the country’s future? What political environment exists there?  Oakland-based production company Blackbeard Films launches a series that will highlight reporting on underreported stories with this event. 

7 p.m., free

Arbor Café

4210 Telegraph, Oakl.

www.blackbeardfilms.com 

 

SATURDAY 24

Wilderness first aid for the streets

In the saga of Occupy Oakland clashes with police, perhaps none are more unsung than the medics. These volunteers do everything from flushing eyes of tear gas to being first responders to protesters with broken limbs and gushing wounds. The medics team up for a training to others who want to do what they do. “Developed for wilderness situations, this course is adapted for urban uprisings, and will include care for chemical weapons exposure, herbal first aid, and public health considerations for long-term occupations,” according to the Occupy Oakland medics committee. This course is serious, covering two full days- March 24 and 25, 10am to 8pm. Red Cross certification and Continuing Education Units credits are available for $20, and scholarships are available.

10 a.m., donation suggested

The Holdout

2313 San Pablo, Oakl.

www.occupyoakland.org

WFAforthestreets@gmail.com 

 

St. Patricks Day Ceili

Did you make it through that special day without participating in a ceili, a traditional Irish social dance that is a hallmark of St. Patricks Day? If so, you’re in luck — you will be given a second chance. This dance is easily accessible for newbies and much more fun than cheap plastic green stuff and day-drinking. 

7 p.m., $10 (free for children)

United Irish Cultural Center 

2700 45th Ave., SF

www.irishcentersf.org  

 

MONDAY 26

Speaking youth to power

When it comes to climate change, young people know what’s up. Specifically such acclaimed young people as project coordinator for the urban farming non-profit Urban Tilth and Green For All Fellow Tania Pulido, Adarsha Shivakumar, founder of Project Jathropa, and Abigail Boroh, the student best known for interrupting the Durban, South Africa Climate Conference in December to bring urgency to the less than promising conference proceedings. Join them for a discussion on civic engagement within the climate justice movement. 

Doors 5:30, program 6pm, $20 (free for members and students)

Commonwealth Club

595 Market, SF

www.commonwealthclub.org

 

Black Power and OWS

Andrew Lam
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2

OPINION Since its inception in September of 2011, The Occupy Wall Street movement has come to mean many things to many people. For some it’s a movement to end skyrocketing tuition at State Colleges and Universities. For others its a platform to stop and bring attention to unfair and illegal foreclosures. Still others see the Occupy as a movement that’s going to bring back unions and level the playing field for workers.

But one of the nagging critiques of OWS has been that it’s a movement for white middle-class youth who were late to the social justice arena — where many who are poorer and darker had been struggling for years. While economic disparities on the surface appear to be universal, the challenge has been recognizing how many who are white and part of the 99 percent have been used strategically by those in power as a sort of buffer to keep black and brown folks at an economic disadvantage. Many have brought into the narrative that underachievement by blacks is the result of individuals not applying themselves hard enough.

The economic downturn in the white communities is now viewed as systemic, with a call to arms and a move to confront the system. What’s been missed is that for decades folks in the hood have been challenging the system, trying to survive and barely holding on. Only now are you starting to see deeper discussions between OWS and black and brown community members about how this economic system has uniquely impacted them.

Because we’ve seen former black panthers and leaders within black liberation struggles like Angela Davis, Elaine Brown, Bobby Seal, Mumia and Dave Hilliard work with or show support address OWS, the question of how OWS relates to the Black Power Movement has emerged.

Like OWS, Black Power means many things to many people, from economic empowerment to political empowerment. If we go back to what Student Nonviolent Coordinating Committee leaders Stokley Carmichael (Kwame Toure) and Willie Ricks (Mukasa Dada) meant when they first coined the phrase in 1966, it was a call for solidarity and challenging racism and the systems giving it light..

Black Power leaders back then weren’t about trying to reform the system and its institutions, but dismantle it and rebuild. That approach, and the militancy that came along with it, caused a split in the Civil Rights Movement. It was break from Dr. King and the nonviolent approach by the so-called Big 5 civil rights organizations.

Today, many of the aforementioned leaders, along with others, have evolved in their definition and understanding of what it means when we say Black Power. Not to short change or misspeak for anyone (keep in mind entire courses are devoted to the topic), today we see that Black Power has expanded on its critique of capitalism. That, of course, has been echoed in many sectors of OWS. In fact, that’s what’s attracted many from the old guard to it.

Today we see many in the Black Power movements dealing with issues like the Prison Industrial Complex, the mass incarceration of black folks, and tactics like stop and frisk, gang injunctions, war on drugs etc. Any conversation about economic disparity inevitably leads back to discussions on the prison system in the black community.

While we hear within OWS calls to rebuild the system and harsh critiques of capitalism, we haven’t always seen an emphatic call to arms to deal with the PIC and issues related to police terror — even as OWS members are frequent victims themselves.

In places like Occupy Oakland, we see those bridges being built in meaningful ways. We’ve seen the forming of Occupy the Hood, which frequently addresses those issues — but talk to OTH organizers in various cities and they’ll tell you it’s still a struggle to get folks on board and make this an intuitive part of their day to day outlook.

The good news is we see conversations taking place and folks trying to work it out..

And while OWS deals with building bridges into communities of color, in our own ranks we have the challenge of class divisions. We have folks who are black, and have means, who won’t even give lip service to these issues.

But then again, mass movements even during the hey day of Dr. King always had those who spoke out, got in the way and took up space for real change. With spring coming, there’s a lot of hope that things will pick up.

The legacy of racism

Andrew Lam
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5
The legacy of racism

steve@sfbg.com

The legacy of brutal racism in this country, particularly against African Americans, shapes the events of today. That’s a notion that much of white America resists accepting, particularly conservatives. But actions create reactions, hatred begets hatred, and those cycles can roll forward endlessly and manifest in unpredictable ways.

That’s one of the most compelling lessons in local journalist Thomas Peele’s gripping and insightful new book, Killing the Messenger: A Story of Radical Faith, Racism’s Backlash, and the Assassination of a Journalist (2012, Crown), which grew out of covering the aftermath of the 2007 murder of Oakland journalist Chauncey Bailey by members of Your Black Muslim Bakery.

Bailey was killed to prevent him from writing a story in the Oakland Post about the violence and financial crimes perpetrated by followers of the late Yusuf Bey and his sons, including Yusuf Bey IV (aka Fourth). Peele and other local journalists and media outlets (including the Bay Guardian) formed the Chauncey Bailey Project to build on the work Bailey began and investigate his murder, which Fourth was convicted last year of ordering.

“The free press on which the public depends to keep it informed had been attacked,” Peele wrote. While such murders are rare in the U.S. — the last was a Mafia hit on a reporter from Arizona in 1976 — Peele and his brethren considered it important to send the message that, “A story could not be killed by killing a journalist.”

But the story that emerges from Peele’s years-long investigation goes well beyond Bailey’s murder, its flawed investigation by the Oakland Police Department, the violence and hypocrisy of the Your Black Muslim Bakery “cult,” or its long and complex relationship with Oakland’s political and community leaders.

Peele delves deeply into the 80-plus-year history of the Nation of Islam and Black Muslim ideology, dissecting its turbulent evolution and belief system that white people are “devils,” created by a mad scientist named Big-Headed Yakub, who use “tricknology” to hide the truth that African Americans are superior beings who will be spared during a coming Armageddon inflicted by a spaceship that has long circled the earth — a belief system that Malcolm X rejected after taking a hajj to Mecca and shortly before his assassination.

Peele dismisses the entire religion — which has very little in common with true Islam — as a deceptive scam from its inception, devised by the “con man” W.D. Fard and promoted by Elijah Muhammad simply to enrich its leaders by manipulating poor African Americans. Similarly, Yusuf Bey spoke the language of black empowerment in founding his own breakaway Black Muslim sect in North Oakland then used it as cover for criminal enterprises and raping the women under his control over a period of decades.

But to understand the appeal of Black Muslims preaching hatred of white devils, you have to look at the African American experience and horrible racism and violence that black people have endured in this country, as Peele does. He starts in Depression-era Detroit, where Fard and Muhammad met amid the virulent racism against Southern blacks who migrated north to work in Henry Ford’s automobile factories.

“This is the question of the psychology of race,” legendary attorney Clarence Darrow said during the Detroit murder trial of blacks defending their home against an attacking white mob, which Peele uses to great effect. “Of how everything known to a race affects its actions. What we learn as children we remember — it gets fastened to the mind. I would not claim that the people outside the Sweet house were bad. But they would do to Negroes something they would not do to whites. It’s their race psychology.”

We see Joseph Stephens (who would later become Yusuf Bey) growing up with tales of brutal lynchings in his hometown of Greenville, Texas, and later as a Santa Barbara hairdresser who discovered the Nation of Islam in 1962 after the Los Angeles Police Department had shot up its mosque and Stephens found his calling in the resolute words of Malcolm X and the Honorable Elijah Muhammad.

African American history made Bailey want to become a journalist focused on covering and empowering his community. And this same legacy — mixed with hopelessness, poverty, and broken homes during an upbringing in San Francisco and Richmond — animated Devaughndre Broussard, who fired three shotgun blasts into Bailey on a sunny morning in downtown Oakland.

“His life was no accident. Neither was his faith,” Peele wrote of Fourth in the last chapter. “The society that now worked through its flawed laws and imperfect courts to put him in prison for life had only itself to blame for the terror that Fourth and his fellow believers had inflicted upon it. The backlash against centuries of enslavement of Africans and the subhuman treatment of their descendants had seen to that. The stick figure hanging from a loose that Elijah Muhammad had ordered displayed in all the Nation of Islam mosques, the symbol of the boyhood lynching of his friend Albert Hamilton, showed that some could never forget, or forgive. Neither could Yusef Bey forget the stories of cotton fields his parents brought west from East Texas along with the story of a Negro burned to death as white people gathered in the square of a horrible place called Greenville and cheered. Some wounds are too deep to heal.”

But Americans have short memories for even our recent history, coupled with a growing sense that society’s have-nots somehow deserve to be that way and a lack of understanding of the many ways that racism and its legacy still affects this country.

“I don’t think white America understands it at all. White America has this attitude of: get over it,” Peele told me when I asked about that “racism’s backlash” theme. “How long can you oppress people and treat them like utter garbage before there is a rebellion?”

Gauged by poverty or incarceration rates, or by the poor quality of many of its schools, much of black America still faces tough struggles. It wrestles with a lack of opportunities and an understandable sense of hopelessness that can easily breed resentment or even violence. One example that Peele includes were the Death Angels (aka the “Zebra murders”), in which a small group of militant black ex-convicts randomly shot dozens of white people in San Francisco and Oakland in the early 1970s.

Peele closes the book with a chilling suggestion that Broussard, who is serving a fixed 25-year prison sentence because of his cooperation in the prosecution of Fourth and co-defendant Antoine Mackey, is studying to become a spiritual leader and may follow familiar patterns. “Look at where he came from? Have things changed that much?” Peele said of the lack of opportunities that Broussard faced growing up, and will face again when he gets out of prison in his mid-40s.

Peele has long been an award-winning investigative reporter rooted in deep research, which he combines with a colorful and dramatic narrative style. Yet he sometimes oversimplifies and harshly judges events and people, even Bailey, who Peele deems a lazy journalist and bad writer.

“The truth speaks for itself,” Peele told me. But the truth is often a matter of perspective, and Peele can’t escape the fact that he’s a white guy who has worked out of Contra Costa and Alameda counties since 2000. Perhaps that’s why he’s so quick to label poor urban areas with substantial African American populations as “ghettos.” Or, sometimes even more dramatically, as a “sagging, blood-splattered ghetto,” a phrase that a Los Angeles Times reviewer singled out as an example of how “Peele’s prose occasionally overreaches.”

I was repeatedly struck by the same thought, almost physically cringing when Peele labeled San Francisco’s Western Addition, my old neighborhood, as a violent ghetto. Or when he wrote, “Richmond is one of the most hopeless and violent cities in America, an oil-refinery town of 103,000 people, littered with shanties where shipyard workers lived during World War II ,” as if it were a cross between an Appalachian coal town and Third World hovel rather than a clean, modern Bay Area city well-served by public transit and a Green Party mayor.

Peele got defensive when I asked him about the labels, telling me, ” I stand by characterizations,” although he admitted that maybe Western Addition isn’t really a ghetto. “I think you’re nitpicking,” he told me.

Perhaps, and I do think that Peele’s flair for the dramatic is one of the things that makes Killing the Messenger such a page-turner, in the tradition of great true-crime novels such as Truman Capote’s In Cold Blood. But in a book that bravely takes on the complexities of racism and its backlash, I think this is more than a trivial “nit.”

It’s tempting for white America to dismiss such details, treat racism is a thing of the past, and malign racial sensitivity as political correctness. But as Peele and his book remind us, the wounds of not-so-distant indignities can run deep. And the collapsing opportunities for social and economic advancement in this country will create a backlash if we try to ignore it.

Join vets at City Hall today to mark nine years in Iraq

Andrew Lam
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Join vets at City Hall today to mark nine years in Iraq

Lest we forget, today marks the ninth anniversary of the start of our war in Iraq. If you plan on passing by City Hall today, you’ll have a vivid reminder of today’s important milestone — 481 pairs of combat boots will be lined up on the seat of our city government’s steps, a visual precursor to the afternoon of speeches by vets and their families that has been organized by the Bay Area chapter of Iraq Veterans Against the War.

The vets’ message is rendered all the more important now that US conflict in Iraq technically ended last December. A US service member commits suicide once every 36 hours, and 223,609 veterans are struggling with possible signs of Post Traumatic Stress Disorder. Many battle with the after-effects of head trauma, a poorly-understood injury that can lead to serious psychological problems (the suspect in the massacre that took the lives of 16 Afghanis a few weeks ago was a US soldier who suffered from head trauma and multiple re-deployments.)

President Obama has decided that today will be a “Day of Honor” for our veterans. Now might just be a good time to get down to City Hall and hear what the United States citizens most affected by our engagement in the Middle East and elsewhere have to say. Today’s speakers at the City Hall demonstration will include Scott Olsen (the vet whose skull was fractured by a police-thrown projectile in an October Occupy Oakland demonstration), Ryan Hollerman (an active-duty soldier), and Paula Santos, whose son commited suicide after coming home from war, in addition to others from Swords to Plowshares and Military Families Speak Out. 

Iraq Veterans Against the War press conference and “Eyes Wide Open” exhibit

Press conference: Mon/19 noon, free

Exhibit: Mon/19 9 a.m.-5 p.m., free

City Hall

One Carlton B. Goodlett Plaza, SF

www.ivaw.org

Oakland police keep track of “anarchists”

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Oakland police keep track of “anarchists”

Oakland Police Department’s internal communications about the Occupy Oakland movement, which the Guardian obtained through the California Public Records Act, reveal interesting patterns of what officers deem important to note about protesters.

Officers’ reported observations of the crowd generally concern activity, movement, and sometimes mood. However, there are also mentions of the percieved political affiliations of protesters. In an Oct. 24 briefing, a plainclothes officer, having strolled through the encampment, reports that “the group is diverse, made up of persons including self proclaimed anarchists, labor unions, long term homeless individuals, special cause supporters and others.” 

But by Nov. 2, it seems, all other categories fall away and officers seem interested in reporting on only one perceived type of protester: anarchists. 

Police make several reports in the notes of where and when they’ve noticed “anarchists” or “anarchist behavior.” 

In activity logs reporting “major events” throughout Oct. 25, police include anarchist sightings in that category. In the afternoon, there is “black block (sic) spotted, approximately 12.”

When protesters briefly occupied the Travelers Aid Society building on Oct. 25, police reported “10 anarchists on the roof and inside.”

In an afternoon planning meeting Nov. 3, an officer describes the scene on the streets: “there have been reports that there were 5000 people with relatively no injuries. There seem to be people dressed in regular clothing displaying anarchist behavior.” 

A press release from Nov. 2 also states that “the Oakland Police Department has identified a small group of anarchists roaming through the crowds. OPD is focused on preventing illegal activity while affording the majority their rights to assemble and march.”

It seems that those officers reporting on the crowd equate anarchists with illegal activity, and believe they can identify adherents to anarchism based on appearance and behavior.

Anarchism is a political ideology, and not illegal. Yet officers apparently count out individuals that they perceive as anarchists. 

While popular stereotypes associate illegal activity such as vandalism with anarchism, many who identify with anarchist principles have not broken laws in that fashion. In fact, these documents imply that police may be associated with another illegal activity; targeting some of those they protect and serve based on political belief.

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

Sam Marlowe and the Mean Streets of San Francisco Stage Werx, 446 Valencia, SF; (415) 412-3989, www.catchynametheatre.org. $20. Opens Thurs/15, 8pm. Runs Thurs-Sat, 8pm. Through April 7. Catchy Name Theatre presents a world premiere noir play by Jim Strope.

BAY AREA

The Coast of Utopia: Voyage Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Previews Wed/14-Thurs/15, 7pm; Fri/16-Sat/17, 8pm; Sun/18, 5pm. Opens March 23, 8pm. Runs Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through April 29. Shotgun Players present Tom Stoppard’s riff on pre-revolutionary Russia.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Previews Fri/16-Sat/17 and Tues/20, 8pm; Sun/18, 7pm. Opens March 22, 8pm. Runs Tues and Thurs-Fri, 8pm (also March 29 and April 26, 2pm; no show April 27); Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; Sun, 7pm; no matinees Sat/17-Sun/18 or March 31). Through April 29. Berkeley Rep performs John Logan’s Tony Award-winning play about artist Mark Rothko.

ONGOING

*Blue/Orange Lorraine Hansberry Theatre, 450 Post, SF; (415) 474-8800, www.lhtsf.org. $43-53. Wed/14-Sat/17, 8pm (also Sat/17, 2pm); Sun/18, 2pm. Lorraine Hansberry Theater offers an uneven but worthwhile production of British playwright Joe Penhall’s sardonic comedy of ideas and institutional racism, an intriguingly frustrating three-hander about a young doctor (a bright Dan Clegg) at a psychiatric teaching hospital who begins a battle royal with his suave and pompous supervising physician (a comically nimble Julian Lopez-Morillas) over the release of a questionably-sane black patient. Originally brought in by police for creating a disturbance, Christopher (the excellent Carl Lumbly) still exhibits signs of psychosis and his ability to care for himself seems doubtful to the young doctor treating him. The older physician appeals to the patient’s general competence, hospital procedures, the shortage of beds, and the exigencies of career advancement in countering the younger doctor’s insistence on keeping the patient beyond the mandatory 28-day period required by law. For his part, Christopher, nervous and rather manic, is at first desperately eager to be released back to his poor London neighborhood. Competing interviews with the two doctors complicate his perspective and ours repeatedly, however, as a heated debate about medicine, institutionalization, cultural antecedents to mental "illness," career arcs, and a "cure for black psychosis," leave everyone’s sanity in doubt. Although our attention can be distracted by a too-pervading sound design and less than perfect British accents, Edris Cooper-Anifowoshe directs a strong and engaging cast in a politically resonant not to say increasingly maddening play. (Avila)

"Celebration of Women’s History Month:" The Right Thing Thick House, 1695 18th St, SF; www.3girlstheatre.org. $30. Dates and showtimes vary. Through April 1. Over one long day of legal mediation, aggrieved former CEO Zell Gardner (a brash but vulnerable Catherine Castellanos) and attorney Manny Diamond (a sharp, loquacious Louis Parnell) square off against Zell’s former Big Pharma pals headed up by vindictive interim CEO David Heller (a coolly cutting Lol Levy) flanked by Zell’s longtime colleague Chris McKnight (a nicely down-to-earth John Flanagan). Zell’s lawyer becomes increasingly ambivalent, however, as Manny discovers his tough, brassy mess of a pill-popping client has been less than forthcoming about the charge of sexual harassment the other side is using to justify her dismissal and the company’s pocketing of the three million Zell expected as compensation — a charge involving Zell’s 19-year-old goddaughter, Sam (Karina Wolfe). Attempting to reconcile the parties and broker a deal is retired judge Leigh Mansfield (Helen Shumaker), but she has her work cut out for her with this crowd. AJ Baker’s new drama — the inaugural production of newcomers 3Girls Theatre — take issues of sexual politics and power in its high-powered setting and cracks them against the everyday familial and social dynamics that are perhaps a casualty of the corporate ethos, but without opening them up to a satisfactory degree. Director Suze M. Allen assembles a generally strong cast (Castellanos is riveting throughout), and some scenes smolder with just the right teeth-baring tension, but pacing is inconsistent and the script’s own wayward drift — together with an odd, unnecessary video backdrop—distract from the concentrated treatment the story demands. (Avila)

*Fool For Love Boxcar Studios, 125A Hyde, SF; www.boxcartheatre.org. $25. Showtimes vary. Through April 14. Another installment of Boxcar Theatre’s epic Sam Shepard repertory project, Fool for Love inaugurates their newest performance space within their Hyde Street Studios location. A depressingly realistic reproduction of a claustrophobic motel room, the tiny jewel-box theatre provides no refuge for the actors, and certainly not for the audience, each trapped beneath the pitiless gaze of the other. And if that too-close-for-comfort intimacy doesn’t get to you, the intentionally difficult subject matter — a "typical" Shepardian foray into alcohol-fueled ranting, violence, incest, and casual cruelty — probably will. Shepard’s strength in monologue shows itself off to meaty effect from May’s (Lauren Doucette) melancholy description of her mother’s love affair with the Old Man (Jeff Garrett) to Eddie’s (Brian Trybom) candid admittance to May’s timid suitor Martin (Geoffrey Nolan) that he and May are not cousins at all but half-siblings who have "fooled around" with each other. In addition to the reliably strong performances from each of the actors, Fool features a notably clever bit of staging involving the Old Man who appears not as a specter wandering the periphery of the stage, but as a recurring figure on the black-and-white television, interrupting the flow of cheesy Westerns with his garrulous trailer park wisdom and an omnipresent Styrofoam cup filled, one suspects, with something stronger than just coffee. (Gluckstern)

Geezer Marsh San Francisco, MainStage, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $25-100. Thurs/15 and Sat/17, 8pm; Sun/18, 5pm. Geoff Hoyle’s hit solo show returns.

Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Fri-Sat, 8pm. Through March 24. David Mamet’s cutthroat comedy, courtesy of the Actors Theatre of San Francisco.

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

Julius Caesar Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; 1-800-838-3006, www.african-americanshakes.org. $10-30. Sat, 8pm; Sun, 4pm. Through April 1. African-American Shakespeare Company performs a version of the Bard’s classic set during the ongoing civil wars of West Africa.

*Maurice New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through March 25. The eponymous hero of E.M. Forster’s late novel (written early but published only posthumously) wrestles with his love for another man in Edwardian England — oscillating between defiant assertion of feeling and an anguished recoil into desperate treatments like hypnotism — but manages to find happiness as a homosexual by the end of the story. No doubt that would have most appalled the guardians of those extremely homophobic, repressive times. Today there’s still much to recognize in the confused feelings and social censure faced by such a figure, though what helps make the 1998 stage adaptation (by Brits Andy Graham and Roger Parsley) so compelling a story is the not always flattering complexity and honesty with which Forster portrays the (at least partly autobiographical) Maurice Hall — played winningly by an intelligent, agile Soren Santos in New Conservatory Theatre Center’s persuasive U.S. premiere. Maurice’s outré sexuality is one thing; his class position and status as a man are another, affording him certain limited protection and also contributing to certain weaknesses of character, which become most apparent vis-à-vis his mother (a quietly potent Lindsey Murray) and sister (an effervescent Hilary Hyatt) as well as his second love, ambitious young laborer Alec Scudder (a nicely restrained Andrew Nolan). Director George Maguire rightly concentrates on the reciprocal influences between these vital characters and gets fine performances from his entire cast in an uncluttered, sure and measured production, with capable John Hurst in several supporting roles and Alex Kirschner doing excellent work as Clive Durham, Maurice’s Cambridge classmate and mercurial first love. (Avila)

Merchants Exit Stage Left, 156 Eddy, SF; www.brownpapertickets.com. $10-25. Thurs-Sat, 8pm. Through March 24. According to playwright Susan Sobeloff, the vision for Merchants, premiering this month at the EXIT Theatre, came to her after watching Shakespeare’s The Merchant of Venice, a play at least partially responsible for cementing the caricature of the money-hungry Jew in Western literary tradition for centuries to come. Her intention to write a play featuring a family of more "rounded" Jews doesn’t entirely coalesce once it becomes clear that the bulk of the dramatic tension actually revolves very closely around monetary concerns. As one family business folds, and other members get squeezed out of their jobs by the new economy, a new family business of sorts begins to grow around the quirky, confessional performance art of youngest daughter, Mercedes (Maura Halloran). Emotional blackmail and sheer desperation kickstart their efforts to turn Mercedes into a financially-sustainable "brand," while the all too human costs of burnout, fatigue, and simmering resentments are roundly disregarded, until a crisis point is reached. It’s difficult to connect with this particular set of almost comically self-absorbed characters, despite the desire to root for the underdog, and the play would have benefited from a staging that allowed either more humor or more humanity to creep into the relentless tirades that characterize much of the dialogue. (Gluckstern)

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $25-50. Fri, 8pm; Sat, 5pm; Sun/18, 2pm. Extended through April 14. Dan Hoyle revives his hit solo show about small-town America.

*True West Boxcar Studios, 125A Hyde, SF; (415) 967-2227, www.boxcartheatre.org. $25. Thurs-Sat, 8pm. Through April 7. The first installment of Boxcar Theatre’s four-play Sam Shepard repertory project, True West ushers in the ambitious run with a bang. This tale of two brothers who gradually assume the role of the other is one of Shepard’s most enduring plays, rich with humorous interludes, veering sharply into dangerous terrain at the drop of a toaster. In time-honored, True West tradition, the lead roles of Austin, the unassuming younger brother, and Lee, his violent older sibling, are being alternated between Nick A. Olivero and Brian Trybom, and in a new twist, the role of the mother is being played by two different actresses as well (Adrienne Krug and Katya Rivera). The evening I saw it, Olivero was playing Austin, a writer banging away at his first screenplay, and Trybom was Lee, a troubled, alcoholic drifter who usurps his brother’s Hollywood shot, and trashes their mother’s home while trying to honor his as yet unwritten "contract". The chemistry between the two actors was a perfect blend of menace and fraternity, and the extreme wreckage they make of both the set (designed by both actors), and their ever-tenuous relationship, was truly inspired. (Gluckstern)

Waiting for Godot New venue: SF Playhouse Stage Two, 533 Sutter, SF; (415) 336-3522, www.tidestheatre.org. $20-32. Thurs, 7pm; Fri-Sat, 8pm. Extended through April 14. The fuchsia papier-mâché tree and swirling grey-on-white floor pattern (courtesy of scenic designer Richard Colman) lend a psychedelic accent to the famously barren landscape inhabited by Vladimir (Keith Burkland) and Estragon (Jack Halton) in this production of the Samuel Beckett play by newcomers Tides Theatre. The best moments here broadcast the brooding beauty of the avant-garde classic, with its purposely vague but readily familiar world of viciousness, servility, trauma, want, fear, grudging compassion, and the daring, fragile humor that can look it all squarely in the eye. (Avila)

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through April 27. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Cabaret Larkspur Café Theater (American Legion Hall Post 313), 500 Magnolia, Larkspur; www.brownpapertickets.com. $25-45. Fri-Sat, 8pm; Sun, 7pm (no show April 8). Through April 15. Independent Cabaret Productions and Shakespeare at Stinson move their production of the Kander and Ebb classic from Fort Mason to the North Bay.

A Doctor in Spite of Himself Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Tues and Thurs-Sat, 8pm (no show March 23); Wed and Sun, 7pm (also Sun, 2pm). Through March 25. Berkeley Rep performs a contemporary update of the Molière comedy.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through May 6. 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)

Mesmeric Revelation Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, www.centralworks.org. Thurs/15-Sat/17, 8pm; Sun/18, 5pm. Central Works opens its season of world premieres with Aaron Henne’s Edgar Allen Poe-inspired drama.

Now Circa Then Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through April 1. TheatreWorks performs Carly Mensch’s comedy about a romance that blooms between two historical re-enactors.

The Pirates of Penzance Julia Morgan Center for the Arts, 2640 College, Berk; (510) 845-8542, www.juliamorgan.org. $17-35. Fri-Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm. Through April 1. Berkeley Playhouse performs the Gilbert and Sullivan classic, with the setting shifted to a futuristic city.

Titus Andronicus La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through March 31. Impact Theatre takes on the Bard’s bloodiest tragedy.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: Sun/18, March 25, and April 1, 11am. Also May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis "The Amazing Bubble Man" Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

"Arthur in Underland" CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri-Sun, 8pm. Through March 24. $15-24. Dandelion Dancetheater performs a new work about a young man whose life is changed when he becomes part of a rock group’s entourage.

"The Big Blow" Ebenezer/Herchurch Lutheran, 678 Portola, SF; www.sflgfb.org. Fri/16, 8pm. Free. In honor of the blustery month of March, the San Francisco Lesbian/Gay Freedom Band performs powerful songs arranged for wind ensembles.

Chitresh Das Dance Company Samsun Hall, Asian Art Museum, 200 Larkin, SF; www.kathak.org. Thurs/15-Fri/16, 7pm; Sun/18, 2pm. $35-55. Chitresh Das Dance Company and the Asian Art Museum present Darbar, a new work in conjunction with the exhibition "Maharaja: The Splendor of India’s Royal Courts."

Dance Repertory Fort Mason Center, Cowell Theater, Marina at Buchanan, SF; (415) 225-0934. "Dance Repertory Review," Fri/16, 8pm; "Vision Series Dance Festival," Sat/17, 4pm and Sun/18, 6pm; "Dance Repertory Extravaganza," Sat/17, 8pm. $15-20. A series of showcases highlights emerging artists and college ensembles.

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

"Enchantingly Wicked" Davies Symphony Hall, 201 Van Ness, SF; www.sfgmc.org. March 20-21, 8pm. $15-75. San Francisco Gay Men’s Chorus and Stephen Schwartz perform musical theater hits.

"Exit Cuckoo" Women’s Building, 3543 18th St, SF; www.exitcuckoo.com. Sat/17, 8pm. $15. Lisa Ramirez performs her play about working as a nanny in New York City.

"Improvised Shakespeare" Bayfront Theater, Fort Mason Center, Marina at Laguna, SF; www.improv.org. Sat/17 and March 24, 8pm. $20. Bay Area Theatre Sports (BATS) presents Improvised Shakespeare, a fine troupe (and a slightly different lineup each night, but on March 10 including Kasey Klemm, Rebecca Stockley, Tim Orr, William Hall, Zoe Galvez, and Regina Saisi) with no idea what full length Shakespeare-ish play they will lay on their eager audience until the latter gift them with a title and a key word or two. The rest is remarkably well-tethered mayhem, as cast spontaneously riffs on the audience cue, the conventions of Elizabethan drama, and its own inventions —including the unintentional slip of the tongue, which in this context can prove as productive as anything. March 10 saw the premiere — and simultaneous closing — of an ephemeral little comedy called Two Crows. The players strutted and fretted (or frolicked, really) an hour or so upon the stage.’Twas an idiotic tale, told by some of the sharpest improvisers around, and signifying nothing, save good times. (Avila)

"ODC Dance/Downtown" Yerba Buena Center for the Arts, Novellus Theater, 700 Howard, SF; www.odcdance.org. March 15-25, programs and showtimes vary. $15-750. ODC/Dance kicks off its 41st annual home season with two programs of new works, plus an opening-night gala.

"Rhythm and Roots" Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Fri/16-Sat/17, 8pm; Sun/18, 6pm. $25-35. San Francisco World Percussion Arts Festival presents this performance of taiko drumming, tabla, dulcimer, Shakuhachi, and dance traditions from Japan, West Africa, and India.

Freeing the information

Andrew Lam
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0
Freeing the information

news@sfbg.com

The Society of Professional Journalists, Northern California chapter, will honor champions of the First Amendment at the 27th annual James Madison Awards Banquet on Thursday, March 15, at the City Club of San Francisco.

William Bennett Turner, who has spent his career defending the First Amendment and civil rights, as well as 25 years teaching new generations of journalists and attorneys, is to receive this year’s Norwin Yoffie Award for Career Achievement from the Society of Professional Journalists, Northern California Chapter.

Turner heads a list of a dozen recipients of the James Madison Awards that SPJ NorCal presents annually to champions of the First Amendment and freedom of information.

In his legendary career, Turner has argued three cases before the U.S. Supreme Court, two on First Amendment rights, published more than 40 law review articles and taught First Amendment law at the University of California, Berkeley, for 25 years. He was instrumental in overhauling conditions in the Texas prison system and in 2011 he published the critically-acclaimed book, Figures of Speech: First Amendment Heroes and Villains.

The Yoffie award is named for one of the founders of SPJ NorCal’s Freedom of Information Committee, who as an editor and publisher of the then-family-owned Marin Independent-Journal was a vigorous advocate for transparency and accountability in the public-services sector. Other honorees are:

– Roger Woo, a teacher at Tokay High School in Lodi, California, has forged a strong reputation for quality teaching over decades of instruction. He has seen the work of his students recognized hundreds of times for stories, photos and layout. And in the words of a former student, now a newspaper publisher, Woo taught ethics, pride, and professionalism. Woo will be honored with the Beverly Kees Educator Award, named for a late, former SPJ NorCal president who was an educator and nationally recognized journalist.

– Attorney Cindy Cohn, legal director of the Electronic Frontier Foundation, will receive the Legal Counsel award for her litigation and oversight of countless significant First Amendment and open government cases. She is currently challenging the National Security Agency for alleged spying on the communications of Americans.

– Erin Siegal is being honored in the Author category for her investigation of human rights abuses in Guatemala’s adoption industry, as well as the U.S. government’s role, in which children have been stolen, sold, and offered as orphans to well-intentioned Western parents. Her book, Finding Fernanda, has received wide acclaim.

– The Hercules Patch, the local news site operated by America Online, receives the News Media award for its dogged tracking of the questionable financial management practices in the East Bay city of Hercules. Patch produced more than 13 investigative stories and 100 daily stories, and created 20 databases to follow the money.

– The San Francisco Chronicle, also will be honored in the News Media category for keeping a spotlight on the aftermath of the deadly PG&E natural gas line explosion and fire in San Bruno. The Chronicle’s persistence on the story kept readers abreast of the political fallout, the bureaucratic failings, and reform measures meant to prevent another such disaster.

– Tim Redmond, executive editor of The San Francisco Bay Guardian, receives the Professional Journalist award for his investigation of state agencies’ legally questionable acquisitions of a drug used for lethal injections that is no longer produced in the United States.

– Patrick Monette-Shaw, this year’s Advocacy award recipient, spent nearly two years following a crooked money trail to expose mishandling of millions of dollars at San Francisco’s Laguna Honda Hospital. The scandal he reported in the Westside Observer and his examiner.com articles led to an investigation of the city controller’s Whistleblower program.

– Susie Cagle, a cartoonist and journalist, has earned this year’s Cartoonist Award for her dedicated reporting on Occupy Oakland and for portraying the confrontation through her art. Additionally, she stood up for the rights of all journalists after being arrested at an Occupy Oakland rally that turned violent.

– Citireport.com, produced by Larry Bush, gets the accolade in the Community Media category for shining a bright light not only on San Francisco government but also on the city’s Byzantine political world. Bush, as editor and publisher, has spent nearly 30 years fighting to keep city government publicly accountable.

– Allen Grossman is the recipient of this year’s Citizen award for his efforts over the past several years to advance open government at San Francisco City Hall, whether by prodding the city’s Sunshine Ordinance Task Force to hold agencies and public officials accountable or by prying loose disclosable records that Ethics Commission staff aides wanted to withhold.

– The Bay Citizen, which put campaign finance data to good use, is to receive the Computer-Assisted Reporting award for its detailed political database on the San Francisco mayor’s race in 2011. The Bay Citizen made it easy to track contributions of every stripe. In addition, The Bay Citizen’s use of police records and public input has produced a highly interactive chart of bicycle accidents, letting riders pinpoint the most dangerous routes in the city.

The James Madison Freedom of Information Awards is named for the creative force behind the First Amendment and honors local journalists, organizations, public officials, and private citizens who have fought for public access to government meetings and records and promoted the public’s right to know and freedom of expression. Award winners are selected by SPJ NorCal’s Freedom of Information Committee.

JAMES MADISON AWARDS BANQUET

Thu/15 reception at 5:30 p.m., dinner and awards ceremony at 6:30 p.m., $50 SPJ members and students/$70 general admission

City Club of San Francisco

155 Sansome, SF

www.spjnorcal.org

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