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

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

ONGOING

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

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

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

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

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

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

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Extended through Dec 18. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

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

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

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

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

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm; Sun, 3pm. Extended through Dec 17. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. (Avila)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

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

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

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

PERFORMANCE/DANCE

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

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

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

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

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

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

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

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

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

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

U.S. mayors holding regular discussions about Occupy protests

Sasha Cuttler And Mary Magee
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The U.S. Conference of Mayors, a nonpartisan organization of cities with populations of 30,000 or more, is holding regular discussions about Occupy protests nationwide. In recent days, protests that sprung up as part of the Occupy Wall Street movement in New York, Oakland, Portland, Denver, and some others were targeted with police crackdowns. In a recent interview with BBC news, Oakland Mayor Jean Quan stated that she had been in discussion with other mayors in the days before police raided Occupy Oakland.

The following is a statement issued by the U.S. Conference of Mayors.

“As with many other issue areas, The U.S. Conference of Mayors has facilitated regular conference calls with interested mayors to discuss issues of concern and exchange ideas about the Occupy Wall Street Demonstrations.

“Two of those calls have been a round robin discussion and provided a forum for mayors and police executives to discuss the impact of the demonstrations on their cities and how they are responding to it.

“Included in the discussions have been efforts cities have made to accommodate the demonstrators and maintain public health and safety. Other topics discussed include the costs cities are incurring as a result of the events and the impact on other city service and activities.”

Unclear at this point is whether federal agencies have also been involved in discussions held prior to the recent series of crackdowns. During protests held in Oakland last year decrying the fatal shooting of BART passenger Oscar Grant, there were federal agents mixed among police who were stationed in the streets.

Peeping tomato

Jesse Hawthorne Ficks
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le.chicken.farmer@gmail.com

CHEAP EATS The wind blew our giraffe over. Technically, it’s the neighbor’s giraffe: a fantastic yard sculpture made of tin and holes in tin. But we look out our bedroom window at it. At night, it casts a shadow on our shades. So we consider it ours, too.

Another thing the neighbors have that I covet is a neglected cherry tomato plant, just exploding with clusters and clusters of perfectly ripe tomatoes. I spend a lot of time at our kitchen sink, my hands raisinating in warm, soapy water, just looking out the window at this plant and imagining salads and sauces.

It’s Oakland! There are tomatoes in our yard, too, and our landlordladyperson has kindly welcomed us to them, so we have plenty. But I am a poacher by nature. I pretty much grew up in a state of constant trespass. No lie: as often as possible, I slept in the woods and ate lunch in trees. And while many of the acres that I habitated belonged to my grandparents, most did not.

I love how Mountain Sam, my northerly kindred spirit, refers to certain walnut trees that he harvests as his walnut trees. He has apple trees, persimmon trees, and plum trees too — none of which are on his property. But they’re his. I wouldn’t be surprised if he has a secret stash of cows somewhere.

Of course, Mountain Sam is a Native American Injunperson, so he may have a more legitimate claim to his various steaks than I do. Nevertheless, I’d been threatening since we moved in here to go over the wall. Under cover of night — but only because it sounds good to say so.

I rarely see my neighbors in their beautiful yard, or even looking out their windows at their beautiful yard. And — not that I keep a constant vigil — but I’ve never once seen them eat a tomato.

Meanwhile, tomatoes and tomatoes just hang there, perfectly ripe. And the giraffe blows over in the wind.

But if ever a person’s personality was defined by the air-freshener hanging from the rear-view mirror of their car, that person is Hedgehog. It’s lost its smell entirely. The picture is of a beautiful woman holding a beautiful tomato next to her sweet, smiling face. The words are: YOU SAY TOMATO, I SAY FUCK YOU.

Point being that a couple weeks ago when I said “Fuck you, Just For You,” and this paper edited it to just “Just For You,” that pissed Hedgehog off.

“Where the fuck did the fuck go?” she said when she read that particular work of art for the second time, this one in the paper.

A couple days later she asked, out of the blue, “Hey, did you ever ask your editor about that fuck?”

“Yeah,” I said. “He said to tell you, Tomato.”

Right across the street from my new favorite restaurant (that I accidentally keep forgetting to write about) is my new favorite restaurant, Thai Time. I can’t tell you where it is, or you’ll know what’s across the street.

Anyway, first time I went there was with Hedgehog, after having a balance test. Which is a story unto itself. Suffice to say: in order to try and figure out what’s making you dizzy, they make you very dizzy.

So my appetite was less than healthy to begin with. To boot, the little shoe repair shop next door was just then having some kind of a glue explosion. The smell was everywhere — on the sidewalk, in the doorway, and (gasp) even inside my new favorite restaurant. I was in no condition for strong industrial-style smells. In fact, although they had duck noodle soup on the menu, I couldn’t imagine eating it with the door open.

They were kind enough to close it for me, but still I only ordered a bowl of plain rice noodles, and Tom Yum minus mushrooms. It was fantastic. Hedgehog got a lunch combo. We were both happy, but my favorite thing was how happy the people working there were. Joking and laughing in the kitchen . . . a true cute little cozy little ma-and-pa-style joint.

With good food. Including the duck soup, which I sneaked back for a few days later.

THAI TIME

Sun., Tue.-Thu. 11:30 a.m.-10 p.m.; Fri.-Sat. 11:30 a.m.-10:30 p.m.

315 8th Ave., SF.

(415) 831-3663

AE/MC/V

Beer and wine

 

State of the occupations

Jesse Hawthorne Ficks
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State of the occupations

rebeccab@sfbg.com

The police evictions of OccupyOakland and OccupyCal over the last week, and the looming threat of another attempt to evict OccupySF, presented challenges for the Bay Area protests just as similar police crackdowns targeted Occupy encampments in Portland, Denver, New York, and other cities nationwide.

These fast-moving developments also come at a time when university students from around California will be descending on San Francisco for a Nov. 16-17 University of California Board of Regents meeting that was canceled this week because of public safety concerns. All of this adds up to a big and unpredictable moment for the widening movement (see “The growing 99 percent,” 11/9).

So we’ve decided to start a regular feature to track the latest developments in an Occupy movement that seems adamant about standing its ground even as it’s forced to deal with threats from police, organizing challenges, and the coming of winter.

 

#OCCUPYCAL GROWS UP FAST

Students at the University of California at Berkeley burst onto the Occupy scene Nov. 9 with the launch of OccupyCal, a student-led protest that made waves nationally after university police advanced on around 500 students in Sproul Plaza, the historic epicenter of the Free Speech Movement, and struck them with batons after they tried to set up camp.

UCB police made 39 arrests in two separate actions against protesters, fueling student protesters’ resolve at a general assembly convened afterward that drew more than 1,000 people and lasted well into the night. At around 1:30 am, students voted to hold a student strike on Nov. 15 in solidarity with others throughout the UC system.

The harsh police response prompted condemnation from the Free Speech Movement Archives (FSM-A). “It appears that the campus police are in need of remedial education concerning fundamental protections offered by the US Constitution — including First Amendment rights to Free Speech and Free Assembly that were clearly recognized and enshrined on the UCB campus 47 years ago on these very steps,” the group noted in an open letter.

UC Berkeley Chancellor Robert J. Birgeneau, who was out of the country during the violent police crackdown, issued a statement on Nov. 14 ordering a third-party investigation of the clash and granting amnesty under the Student Code of Conduct to all students who were arrested for blocking police from removing the encampment.

“It was only yesterday that I was able to look at a number of the videos that were made of the protests on November 9. These videos are very disturbing. The events of last Wednesday are unworthy of us as a university community. Sadly, they point to the dilemma that we face in trying to prevent encampments and thereby mitigate long-term risks to the health and safety of our entire community,” he wrote. “Most certainly, we cannot condone any excessive use of force against any members of our community.”

 

#OCCUPYSF, THE NEXT BATTLEGROUND

At press time, student and labor groups that were planning to converge on the UC Regents meeting at UCSF Mission Bay on Nov. 16 by the thousands were deciding how to respond to the meeting cancellation, but protests are still planned for that day, with support from OccupySF.

Meanwhile, Mayor Ed Lee continues to insist that OccupySF break camp, but instead it has only grown larger, with the tents spreading out from Justin Herman Plaza onto the nearby sidewalk along Market Street in front of the Federal Reserve. At press time, protesters feared what seemed an imminent police raid, particularly now that the election is over and busloads of student protesters were headed into town.

 

TRAGEDY STRIKES #OCCUPYOAKLAND

On Nov. 10, Kayode Ola Foster, 25, suffered a fatal gunshot wound to the head following an argument, just yards from the Occupy Oakland encampment in Frank Ogawa Plaza (Oscar Grant Plaza to the occupiers who’d camped there for a solid month).

A somber mood settled over the plaza in the hours following the shooting as the tent city dwellers absorbed the gravity of the situation, and occupy activists held a candlelight vigil. Although initial reports suggested Foster had no relationship to the camp, police later said they believed he and one of two shooting suspects had spent time there.

 

#OCCUPYOAKLAND GETS THE BOOT

Three days after the fatal shooting near the OccupyOakland encampment sparked a hard-line response from local government officials, the camp was dismantled in an early morning police raid Nov. 14, the second to befall the occupation since it began a month ago. That evening, thousands marched back to the plaza in response to the raid and held a general assembly.

On the night of the raid, it took several hours for police to arrive at 14th and Broadway streets, where protesters began congregating in the intersection around 2 a.m. in anticipation of the forced eviction from camp. Law enforcement came en masse, with mutual aid support from seven different regional law enforcement agencies.

While two lines of riot police formed an L-shaped formation blocking protesters’ access to the plaza and nearby streets, hundreds more poured into the plaza to dismantle tents, flatten structures, and make arrests. Police arrested 32, the majority of whom belonged to a group of clergy members from the occupation’s Interfaith Coalition tent who sat calmly together in the plaza and sang by candlelight as they waited for police. Occupiers who witnessed the dismantling of the camp from behind police barricades yelled out, “Shame! Shame! Shame!”

Steven T. Jones contributed to this report.

The Hangover: Nov. 10-12

Andrew Lam
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0

**The sunny, indie rock jams of Ridgewood, NJ’s Real Estate cured my rainy day blues on Friday night at Slim’s. San Francisco’s unshaven, flannel-clad urban lumberjacks showed up en masse to seek shelter from the rain and soak up some seriously good vibes. The five-piece kicked off with “Suburban Beverage” from its 2009 self-titled debut. Inviting us to mellow out, leader Martin Courtney repeated the song’s only words, “Budweiser, Sprite, do you feel alright?” Fans responded with blissful head-nodding. See full story here. (Frances Capell)

**I shall refrain from naming this unnamed SF bar for reasons that will soon become clear. On Friday night I took a group of females out for a night of drinking, dancing, and old school friendly conversations. At the bar where we eventually landed, the DJs were spinning what amounted to Bar Mitzvah music. No, not Hebraic, religious, Cantorial chants, I’m talking about the Celebrate Good Times after-party repeated hits, the ones we’ve all just heard too many times, at the aforementioned life changing parties, and in commercials for cheap burgers or pull-up diapers, at the dentist’s office (my dentist keeps the mood perky). The meandering blob of drinkers seemed confused — but willing, determined — to dance to this godforsaken sound. I, however, could not muster enough enthusiasm. (old-stick-in-the-mud, Emily Savage)

**It wouldn’t (quite) be fair to fault the party for the muscle-bound tank top clones posing sullenly about the edges of the dancefloor and truth be told, the beats coming from Stallion Saturdays at Rebel more than made up for all the unyielding musculature in the club. Seattle’s DJ Nark had appeared for the evening, sporting fetching neckwear and spinning even more fetching, not-corny-at-all jams from disco greats to more current, creepy-good modern bangers. By the end of the night the place was packed, just packed with hairless wonders, swaying slightly to the tune of their sugar-free Red Bull-vodkas. (Caitlin Donohue)

**The cooperative music project known as BOBBY may never be conventionally popular. Founded by Tom Greenberg as a multimedia project at Vermont’s Bennington College, BOBBY’s avante-garde psych-folk tunes are favored by the nerdiest of music geeks. That said, my fondness for BOBBY’s strange, multi-layered debut album was enough to send me across town in dismal weather to catch its brief opening set at Bottom of the Hill on Saturday night. It was an uncharacteristically mature crowd for the venue, peppered with the occasional young art hippie. Four members of the sometimes septet were present, all of whom sported bizarre blonde wigs. The band opened with the cinematic “We Saw,” and continued on to “Sore Spores,” the catchy standout track from its debut. Weird samples and synths were paired with guitar, drums, and crazy vocal harmonies. BOBBY finished with an untitled, totally epic track and left the stage long before I was ready to say goodbye. (Frances Capell) 

**Guitarists strummed intricately, singers rang out piercingly in throaty voices, everyone clapped complicated rhythms, and brightly costumed dancers stomped, shouted, and whirled until they could no more at San Francisco Theatre Flamenco‘s thrilling “45 Años de Arte Flamenco” celebration at the Marines Memorial Theater on Saturday. Although guest dancer Manuel Gutierrez couldn’t be there due to visa issues (this is happening to a lot of performers lately!), the fantastic Juan Siddi took over with jaw-dropping, toreador-jacketed moves. Company artistic director Carola Zertuche fascinated with her regal bearing and sprightly footwork, while a chromatic bulerías dance by Cristina Hall (accompanied in the beginning by Alex Conde playing the strings of his piano) was eerily contemporary and deeply engaging. Singers Kina Mendez and Jose Cortes mesmerized with entwined cries and intimations of extreme longing. Olé! (Marke B.)

**Toward the end of a tight, danceable set at the Great American Music Hall on Saturday night – a performance that was, by the way, dedicated to Occupy Oakland – Austra’s glorious vocalist Katie Stelmanis told the crowd this show was the best of the tour. My mind went black and the thought flashed: I bet she says that to all the cities. I felt a pang of jealousy. Though the operatic electro-new wave act is based in Canada, I wanted her – and the rest of the band – to love San Francisco most of all, to blow us sugary, synth-soaked kisses for eternity. The night started with such a snag, a quartet of sorrowful hipsters pretending to see a friend “Oh Sarah! I think she’s up there all alone” and bully their way into a hot and packedthistight crowd, but when crystal-throated Stelmanis fluttered out in a flowy cape-dress, looking like a peroxide cult leader, flanked on either side by two back-up singers in gold-lined black tunics, it was hard to stay pissy long. Song three: the emblematic stunner “Lose It.” (Emily Savage) 

**The stage lights go dark and the rainbow of panels on the front start to glow as Holy Ghost! takes the stage at Slim’s, launching into “Static on the Wire,” from its 2010 EP of the same name. Although Holy Ghost! is just two guys, Nick Millhiser and Alex Frankel, they’ve enlisted a number of other musicians (including the drummer who played earlier with Jessica 6) to bolster the live show, just as James Murphy did for the live LCD Soundsystem performances. Frankel, sporting the second leather jacket of the night, is on vocal duties, while Millhiser is stationed on guitar behind a pair of floor toms. The bands takes moves into familiar territory with “It’s Not Over,” not just because it’s one of their more recognizable songs, but because it has what I can only assume to be a deliberate lyrical reference to New Order’s “Bizarre Love Triangle.” (Ryan Prendiville)

 

Oakland occupiers respond to second police raid

Sasha Cuttler And Mary Magee
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4

By Shawn Gaynor

Angered yet undeterred by an early morning police raid, several thousand protesters came out in support of Occupy Oakland and marched from the Oakland Public Library back to the encampment site at Frank Ogawa Plaza — renamed Oscar Grant Plaza by the occupiers — a little after 5 p.m. on Nov. 14. The atmosphere of the march was festive as the crowd made its way through the streets of Oakland, chanting and waving signs and banners.

The Oakland Police Department had a small presence of regularly uniformed officers in the plaza as of 5:30 p.m., but they did not interfere with protesters streaming into the square, where tents were dismantled by police earlier that day. However, city officials made it clear in the hours following the raid that they would not allow protesters to remain in the plaza overnight.

According to a text message update, an emergency general assembly was being convened at the amphitheater of the plaza to determine future plans.

Protesters were also circulating petitions calling for a recall of Mayor Jean Quan.

Check back here for more.

Fearing violence, UC cancels Regents meeting; Chancellor pardons arrested UC protesters

Sasha Cuttler
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15

Citing public safety concerns, University of California has canceled a UC Board of Regents meeting set for Wednesday morning at UCSF Mission Bay, a meeting that has been the target of months worth of student organizing to protest tuition hikes and service cuts and which dovetailed with the roiling Occupy movements in the Bay Area.

After police crackdowns on Occupy encampments in Oakland and in UC Berkeley’s Sproul Plaza over the last week, the long-planned showdown with the UC Regents – whom protest groups such a ReFund California say are among the powerful 1 percent that Occupy has targeted and which they blame for deep cuts in California’s public university system – was highly anticipated.

OccupyCal protesters have called for a strike on that and other UC campuses tomorrow to protest the violent police expulsion of student protesters at UC Berkeley last week. At a General Assembly at 6 pm today (Mon/14) in UC Berkeley’s Sproul Plaza, attendees will decide how to respond to the cancellation of the meeting.

Other groups that include labor representatives, such as ReFund California, will also independently decide how to proceed. “We’re figuring out what to do,” said Jennifer Tucker with ReFund, noting that they will post that information on its website: www.makebankspaycalifornia.com.

A statement issued today by the UC President’s Office cited information gathered by UC Police: “From various sources they had received information indicating that rogue elements intent on violence and confrontation with UC public safety officers were planning to attach themselves to peaceful demonstrations expected to occur at the meeting.

“They believe that, as a result, there is a real danger of significant violence and vandalism. They have advised us further that this violence could place at risk members of the public, students lawfully gathered to voice concerns over tuition levels and any other issues, the UCSF community, including patients, and public safety officers, UC staff and neighbors of UCSF Mission Bay. They recommended to us, in the strongest of terms, that we cancel or postpone the meeting as scheduled.”

Tucker criticized the move: “We were floored this morning by the announcement that the Regents were canceling their meeting. There had been a statewide organizing campaign for months on this with thousands of students coming in on buses from throughout the state,” she said, adding that, “There will still be protests on Wednesday, but we’re not sure what form they will take.”

Meanwhile, UC Berkeley Chancellor Robert J. Birgeneau, who was out of the country during the violent police crackdown last week, today issued a statement ordering a third-party investigation of the clash and granting amnesty under the Student Code of Conduct to all students who were arrested for blocking police from removing the encampment.

“It was only yesterday that I was able to look at a number of the videos that were made of the protests on November 9.  These videos are very disturbing.  The events of last Wednesday are unworthy of us as a university community.  Sadly, they point to the dilemma that we face in trying to prevent encampments and thereby mitigate long-term risks to the health and safety of our entire community,” he wrote. “Most certainly, we cannot condone any excessive use of force against any members of our community.”

Dick Meister: Strange bedfellows: Labor’s Tim Paulson and the Chamber’s Steve Falk

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By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom and a former city editor of the Oakland Tribune, has covered labor and politics for a half-century as a reporter, editor, author and commentator. Contact him through his website, dickmeister.com, which includes more than 300 of his columns.

It’s hard to imagine organized labor and the thoroughly anti-labor Chamber of Commerce on the same side, especially in a city like San Francisco with a major union presence.

It’s especially hard to imagine it at a time when unions everywhere are joining with Occupy Wall Streeters to demand justice from anti-labor business and corporate leaders like those who control the Chamber.

But consider what Tim Paulson, executive director of SF’s Labor Council, and President Steve Falk of the SF Chamber of Commerce had to say in a joint statement about the results of Tuesday’s election.

They were downright overjoyed about the passage of Proposition C, which will raise the amounts city employees must pay toward their less-than lucrative pensions and limit future cost-of-living raises. That’s a way to avoid raising business taxes to maintain city services in these recessionary times.

Perhaps most distressing, the passage of Prop C shifted control of the City Health Service System from the employees who are covered by the system to City Hall appointees who won’t have to demonstrate any particular experience in health care matters.

At least Paulson and Falk said they were pleased with the defeat of Public Defender Jeff Adachi’s outrageous Prop D – even though it would have changed the city pension system in almost exactly the same ways as Prop C.

In any case, the difference between C and D was not necessarily their content, but how they got on to the ballot.

Why, exclaimed Paulson in a separate, self-congratulatory statement, the results “sent new shock waves across San Francisco and America as workers demonstrated that collaborative democracy is the best way to set public policy.”

Collaborative democracy? By that I guess Tim was referring to the joining together of labor leaders and public employee unions and Chamber of Commerce members in a coalition with city officials, non-profit social agencies and community groups to put Prop C on the ballot.

The collaborators didn’t even include representatives of the retired employees whose health care would be seriously affected and who were quite active in helping elect labor-friendly candidates.

Paulson, a generally ineffective leader who always seems to be seeking approval of the City establishment, singled out billionaire Warren Hellman for being one of the principal collaborators.

Paulson boasted that every city employee union joined in what he actually described as “a real San Francisco way of doing things.” Hardly. If there really were such a thing, it would be a far cry from the “collaborative” approach that involved labor giving in to the wishes of its anti-labor corporate and business opponents.

Paulson and Falk claimed the approach will be “a model for the rest of the country.” Thankfully for the rest of the country, that seems highly unlikely given the widespread demands for actual reform triggered by the Occupy Wall Street protests.

Negotiations between labor and management eventually reach agreements that both can live with, albeit often uncomfortably. But no agreement can be reached, or should be reached, when one party – the Chamber of Commerce in this case – is not seeking real compromise with an enemy – namely unions – that it would like to put out of business, or at least seriously weaken. Unions, of course, have the same feelings about union foes like the Chamber.

Tim Paulson actually declared the election results “a great victory during difficult times.”

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom and a former city editor of the Oakland Tribune, has covered labor and politics for a half-century as a reporter, editor, author and commentator. Contact him through his website, dickmeister.com, which includes more than 300 of his columns.

 

Occupy SF: The eviction drumbeat begins

Zelda Bronstein
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Occupy SF: The eviction drumbeat begins

We all knew that Mayor Lee wouldn’t risk sending the cops in to evict OccupySF until after the election. But now the newspaper drumbeat has begun — the place is filthy, there’s shoplifting nearby and (gasp) the Ferry Building has to spend more money on toilet paper.

There’s an easy solution to the toilet paper problem: Install and maintain some more portable toilets near the camp. Not difficult, not expensive. And when you have that many people around (the camp keeps growing) and some of them have been living on the streets for a long time, having to hustle to stay alive, it’s not surprising that some cookies have been stolen. For the most part, the camp is pretty self-sufficient and there’s plenty of food, but if theft is a problem, a couple more beat cops at the Ferry Building would probably put a lid on it.

It’s too bad the Bay is so cold at this time of year; a quick dip with some Dr. Bronner’s would solve the need for the alleged sponge baths (and I just can’t imagine anything worse than the thought of a few people washing themselves off in a …. bathroom). It really wouldn’t be hard to install a solar shower on the scene, if the Department of Public works cooperated.

We all know there are going to be challenges dealing with a growing outdoor encampment in the middle of a big city. But this is something special, something important, a popular movement that’s responding to an emergency situation in the United States. This is a sophisticated city; we can deal.

But just as the merchants complaining in Oakland is putting pressure on Mayor Jean Quan, this sort of stuff will put pressure on Lee to send in the cops. Ugh.

 

Weird Al Yankovic never misses a beat at the Fox

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

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

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

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

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

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

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

Our Brother the Native documents love on ‘Vows’

Tony Robles
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Our Brother the Native documents love on ‘Vows’

When I call Josh Bertram of Our Brother The Native at his home in Pontiac, Mich., he’s unwinding with hot tea and whiskey after “one of those days” at the office. The 22-year-old art director harbors an insuppressible passion for music, which is tough to convey to his older coworkers. “I feel like they progressively get more and more weirded out by me,” he admits. Bertram graciously welcomes my questions, speaking openly and eloquently about his new album, Vows.

At age 16, Bertram began recording with high school friend John-Michael Foss. They soon linked up with California resident Chaz Knapp and started collaborating via the Internet. “There wasn’t a lot of that kind of thing going on,” says Bertram. “Now, that’s really common.”

Bertram, Foss, and Knapp only met face to face after Our Brother The Native recorded its first full length album. Following its debut, Tooth And Claw, the band put out a host of material ranging from “pretty folk” to “post rock” on FatCat Records. Through all the style shifts, an avid fascination with circuit-bent instruments and layered sounds remained a consistent focus. After 2009’s Sacred Psalms, however, the steady outflow of releases came to a halt.

“Chaz and I were never really satisfied with the records we put out,” says Bertram. “I’ve been documenting my artistic growth over the years. It’s kind of like looking at embarrassing photos from high school. Finally, I was like alright, I need to slow it down.”

Production slowed, but Bertram’s been busier than ever. “It’s such an ambitious project to get all these players and instruments recorded,” he says. “It just took a lot longer.” The self-described sound geek did all the tracking for Vows himself. Guitar, banjo, ukulele, piano, synthesizer, and alto saxophone were among the instruments he played on the album. Knapp wrote the orchestral arrangements, and Nick Cowman of Oakland’s Religious Girls laid down the drums. “A lot of these songs had almost 120 tracks of instruments and sounds,” Bertram tells me. The final mixing of the album became an eight month endeavor.

Vows (released late October) is a dynamic flurry of sounds. Dense arrangements of strings, wind instruments, and clattering percussion accompany harrowing vocals from Bertram and an ethereal chorus of friends. “There’s so much to take in on this record,” Bertram affirms. “It’s kind of exhausting.”

In the course of recording the album, Bertram fell in love for the first time. “I wanted to make it sort of like marriage vows documenting various stages of love,” he says. “This is the first [album] I feel has actual human depth.” Ironically, it’s also the first time Bertram’s had difficulty finding a label. He’s digitally self-releasing Vows in the hopes that someone takes interest in putting out a physical version. “I don’t want fame or fortune or anything,” Bertram tells me. “I just want people to hear it. If I could have a conversation with you about your art, my art… I just want music to instigate these sort of things.”

Our Brother the Native
With Future Twin, Dead Eyes, and the Mallard
Sat/12, 9 p.m., $5
Engine Works
190 Capp, SF
(415) 563-8941

Dick Meister: Labor and the occupiers: a natural fit

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LABOR & THE OCCUPIERS: A NATURAL FIT

By Dick Meister

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom and a former city editor of the Oakland Tribune, has covered labor and politics for a half-century as a reporter, editor, author and commentator. Contact him through his website, dickmeister.com, which includes more than 300 of his columns.

Think of what a combined effort by unions and the Occupy Wall Street movement could do to weaken the tight grip of corporate greed on the economy. Think of how it could greatly strengthen both the labor movement and the occupiers.

OWS and labor have worked together in some locations. But many occupiers consider labor a part of the economic and political establishment that they’re protesting, and fear that union leaders might try to take control of their movement, which, unlike unions, is based on direct rather than representative democracy.

And labor is not happy that OWS has no clearly identified leaders or formal demands, which of course is how unions operate.

Unions and the occupiers, however, have the same powerful enemies. They need each other if they are to overcome them. It seems to me that unions are in the best position to bring the two much closer together.

So, how to go about it? Unions need to make clear, in words and deeds, that they are indeed facing the same problems and opponents as the occupiers and that they need to join together so as to act as forcefully as possible to overcome their mutual enemies. They must make clear as well that union leaders do not want to take over their movement, but seek to strengthen it.

There’s an old, but still highly effective tactic that labor must stress to its potential OWS friends. It’s called solidarity.

Clearly identified unionists must march and otherwise demonstrate with occupiers, join them in their rallies and in their tent cities and elsewhere. They should provide them with food, blankets, medical care and other necessities. They should organize joint actions and show that labor leaders are doing important work in the occupiers’ behalf.

At the same time, unions should make clear that they do not support the destructive vandals who’ve tried to attach themselves to the OWS movement.

If necessary, labor should also take dramatic actions such as were taken November 2nd by Occupy Oakland protestors who had been camped in front of Oakland’s City Hall for close to a month. They led a rally and then a march of some 7,000 people through downtown Oakland to the city’s port, one of the most important on the West Coast.

Occupiers and their supporters forced the port to close by blocking delivery trucks from loading or unloading cargo on the docks. At any rate, many dock workers, union members all, didn’t show up for work.

The march and port closure were planned as part of a citywide general strike that, while drawing many words of support from Oaklanders and others, was not widely supported otherwise.

Most notable among those who showed their support physically as well as verbally were more than 300 teachers who did not report to school. Some other teachers used the day to explain the nature of such protests to their students.

Unions certainly have had a long experience in doing what needs to be done to build the strength for battling powerful economic and political enemies. During the Great Depression, for instance, unions waged massive organizing drives to recruit workers and give them the strength they needed to overcome the greedy oppressors of the 1930s. That led to the laws that guarantee workers the right to unionization and regulate their hours and other working conditions.

Like the union activists of the thirties, occupiers have helped focus widespread attention on the financial interests which are responsible for battering the economy and on what the financial interests must do to make it right.

That has helped OWS gain support from the AFL-CIO, and from more than two dozen national unions and many of their local affiliates. Some of the unions have made participation in the occupy movement a major activity.

Unions already have spent lots of money and put lots of members into the occupiers battles to win much better treatment for workers from the same forces that are denying decent treatment to unionists.

A partnership of labor and the Occupy Wall Street movement could very well lead to reforms as far-reaching and vital as those won by activists eight decades ago.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom and a former city editor of the Oakland Tribune, has covered labor and politics for a half-century as a reporter, editor, author and commentator. Contact him through his website, dickmeister.com, which includes more than 300 of his columns.

GOLDIES 2011: Tammy Rae Carland

Jesse Hawthorne Ficks
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GOLDIES 2011: Tammy Rae Carland

GOLDIES The beds in the photographs are like any other unmade beds — messes of rumpled sheets and dented pillows occasionally punctuated by a stray article of clothing or a curious pet. Except that they are not like other beds: they are, as the title of Tammy Rae Carland’s 2002 series of depopulated portraits informs the viewer, “lesbian beds.”

The distinction is crucial, critical. A smart conceptual retort to the hoary stereotype of lesbian bed death, Carland’s photographs of one of the places where women share their lives (and their bodies) with other women also make clear the political stakes of representing even the most quotidian objects.

At the same time, there is nothing in or about the photographs that signifies “lesbian.” Indeed, it is very banality of the images’ content, the very familiarity of the scene that is repeatedly depicted in “Lesbian Beds,” that makes them so immediately relatable. And yet to uncouple these photographs from the title which brackets them would be to disregard the difference the entire series makes visible.

This sometimes uneasy mix of representational politics and sentimental attachment to objects is at the core of Carland’s work. She cites her longtime involvement in the queer and feminist punk scenes that sprung up in Pacific Northwest in the early ’90s — where she made zines, ran a gallery space, booked shows and, later, ran the successful and politically progressive indie label Mr. Lady Records with her partner — as a catalyst for her interest in, “marginal identities and marginal bodies.”

“[And] not just in regards to sites of oppression,” explains Carland — who has lived in Oakland for close to a decade and now chairs the California College of the Arts’ photography department — “but alternative sites where people function.” It is often the material possessions accumulated at those sites, rather than the people themselves, that catch Carland’s sympathetic eye and form the genesis for a new project. For her series “Outposts,” it was the (unpopulated) encampments within the “women born, women only” space of the Michigan Womyn’s Music Festival. In “My Inheritance,” Carland turned the camera on the inventory of her late mother’s apartment — the entirety of which could fit in a paper grocery bag.

Carland’s latest project, “I’m Dying Up Here,” which was recently featured as part of Yerba Buena Center for the Arts’s triennial Bay Area Now 6, takes a different tack, focusing on stand-up comedy and the figure of the self-deprecating comedian. Pieces include staged photographs of local female performers, their faces often obscured, caught mid-routine, as well as a bar stool and microphone — the tools of the trade — cast in white porcelain.

Like beds, the comedy club stage is also a site of vulnerability, albeit a public one. For female comedians, the price of admission is often predicated on making themselves the butt of their own jokes. The melancholy and tender pieces in “I’m Dying Up Here” convey that moment, pregnant with empowerment but also the threat of rejection. A joke, like an artwork, can always flop or the audience just might not get it. A bed is just a bed; but then it isn’t, if two women share it. Carland’s work routinely foregrounds this riskiness while extending a reassuring hand as if to say, “it’s ok if this fails, because we both still tried.”

GOLDIES 2011: Dirty Cupcakes

Jesse Hawthorne Ficks
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GOLDIES 2011: Dirty Cupcakes

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

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

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

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

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

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

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

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

GOLDIES 2011: Ana Teresa Fernandez

Jesse Hawthorne Ficks
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GOLDIES 2011: Ana Teresa Fernandez

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

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

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

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

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

GOLDIES 2011: Religious Girls

Jesse Hawthorne Ficks
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GOLDIES 2011: Religious Girls

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

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

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

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

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

Occupy Yolkland

Jesse Hawthorne Ficks
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le.chicken.farmer@gmail.com

CHEAP EATS While everyone else in Oakland was occupying Oakland, Hedgehog and me took a vote and decided unanimously to occupy Montclair Village. Oscar Ogawa Plaza didn’t scare us, head-wound-wise; it was just that, from the sound of it, we didn’t think there’d be room to play catch.

Whereas Montclair Playground has a whole empty ball field, and a pond with a fountain, and birdies. And the Montclair Egg Shop is only just a block away.

It feels and sounds like its own little town, but Montclair Village is still technically Oakland, after all. So, OK, we occupied it. If anyone interviewed us, we would say that our protest was peaceful — so peaceful it didn’t even include any signs or slogans. Just mitts. Our demands were simple: a catch, and some yummy egg dishes. (I had wanted to hit her grounders, too, but we couldn’t reach a consensus, so the bat stayed in the car.)

While we warmed up our arms, we talked about what we always talk about: Bloomsburg, Pennsylvania, where Hedgehog was borned and breaded. Like New Orleans — where she was, of course, fried — Bloomsburg has a bad habit of getting underwater up to its kitchen cabinets, and this fall’s flood, as reported in this very column, was its very worst one ever.

Another worst-ever thing about Bloomsburg, turns out, is its daily paper, the Press-Enterprise, whose sophisticated online version consists of unsearchable, unshareable PDFs of the paper paper, and (get this) you have to pay to see them!

Actual quote, from that paper’s publisher to a Poynter reporter: “If it’s important to people, they can go out and pick up a newspaper.”

As a result of such forward thinking, for a time the most extensive “national” news coverage of Hedgehog’s home town’s historic calamity could be found (gasp) in Cheap Eats! Because we was there, and I was personally and catastrophically affected: The fair was cancelled, and with it my first taste of what Hedgehog calls “real” chicken and waffles.

She and a handful of news hungry ex-Blooms, realizing their beloved hometown’s story was in absurdly incapable hands (i.e. mine, and the Press-Enterprise’s) accidentally started their own on-line rag, the Bloomsburg Daily, which has ever since been scooping the living daylights out of Mr. If-It’s-Important-To-People-They-Can-Go-Out-And-Pick-Up-A-Newspaper — live-streaming public meetings, posting original and professional quality videos, reporting on both sides of the great flood wall debate, and just generally kicking ass.

Problem: It’s Bloomsburg. Fucking. PA. I get tired of hearing about it, frankly, and now maybe you can relate.

I mean, I would like for my girlfriend to occupy Oakland with me, so long as we’re here.

“Hey,” I say, whenever enough gets to be, in a word, enough. “Let’s live where we live.”

We live down the hill, closer to the Dimond District, in Glenview, but I have always been fascinated by Montclair Village the same way Brisbane grabs me in San Francisco. I guess I’m a fan of anomalousness over quintessentiality.

Speaking of which, my old friend and favorite country song singer Hambone, she’s who told me about the Egg Shop. She lives in West Oakland but cleans house up in Montclair. “The Egg Shop!” she said.

So I invited her to occupy the Montclair Egg Shop with us one morning. She showed up fashionably late, and even more fashionably sporting the most farmerly overalls I ever seen on a cleaning woman. Driving a red pickup truck, to boot. Which is to say, our Hambone is the real deal, exactly.

And she was exactly right about the Egg Shop: excellent, and odd! A model BART train scooting back and forth along a track behind the counter. A real motorcycle in a Plexiglas case upstairs amidst a collection of antique rolltop desks, homemade apricot jam centerpiecing each table, and ham and cheese potato pancakes with cilantro and tomatoes. They were more like fancy hash browns than what Hedgehog would call “real” potato pancakes. But what the hell? I love hashbrowns! And eggs . . . 

MONTCLAIR EGG SHOP

Lunch: Mon.-Sat. 11 a.m.-3 p.m. Dinner: Sun.-Thu. 4:30-9:30 p.m.; Fri.-Sat. 4:30-10 p.m.

6126 Medau Place, Oakl.

(510) 339-9554

AE/MC/V

Beer & wine

 

Confit basteeya, garlicky marrow

Jesse Hawthorne Ficks
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Confit basteeya, garlicky marrow

virginia@sfbg.com

APPETITE Here are four recent standout dishes or meals, offering affordable hole-in-the-wall charm or upscale creativity.

 

HAVEN PREVIEW AT PLUM

Anticipating the opening of Daniel Patterson’s restaurant (currently slated to happen by year’s end), Haven in Jack London Square, there have been a series of preview dinners on Tuesdays at his Oakland restaurant, Plum — the last one is Tue/15. Haven chef Kim Alter has been on hand to cook a five-course Haven dinner, applying the indelible signature style she established at Sausalito’s Plate Shop.

While I saw Alter’s promise there, I find myself more excited by the Haven preview. It seems her meticulous artistry is making space for comfort in a way that satisfies, yet is neither routine nor predictable.

Three cheers for her bone marrow dish, possibly my favorite bone marrow interpretation ever. A trail of garlic scents the air as two hefty bones come out. Vivid, pickled watermelon radishes brighten up the marrow visually, while leeks and yuzu juice add unexpected layers. Smeared over crusty bread, it was so perfectly indulgent we wanted to applaud. A main course of duck breast and tender duck confit delighted with the accompaniment of beets multiple ways, including dehydrated beets ground up with rye grain, or in German sauerkraut style.

Cocktail king Scott Beattie put three classics on the preview dinner menu, getting creative with ingredients in keeping with a gin theme. Old World Spirits’ Rusty Blade gin made a lush base with maraschino liqueur and Carpano Antica sweet vermouth for his take on a classic Martinez ($10). Smooth and sexy with the duck dish in particular.

Patterson’s flagship is the much-lauded Coi, and Coi’s pastry chef Matt Tinder took care of dessert, winning me over by filling buttery brioche with warm Brillat-Savarin cheese, topped with crispy honeycomb. Savory, creamy, with gently floral honey, it’s a dessert exemplifying the spirit of the entire dinner: inventive yet ultimately gratifying. I’m left expectant for what Alter and crew will cook at Haven.

Plum is located at 2214 Broadway, Oakl. (510) 444-7586, www.plumoakland.com. For the final Haven preview dinner, Tue/15, simply reserve for dinner for that date.

 

GRILL HOUSE MEDITERRANEAN

After moving around to various Tenderloin and North Bay storefronts, gifted Turkish chef Vahit Besir’s started at the new Grill House Mediterranean, only to leave a few weeks later. I caught him on one visit to this humble hole-in-the-wall, no longer there on my most recent stop. Though other food writers have deemed their visits inconsistent, my tastes here have been steady and as such, I find it a worthy place to pick up Middle Eastern bites when in the ‘Loin, though missing Besir.

Shredded chicken, lamb, or beef shawarma ($9.99 plate, or combo of all three: $11.99) fills out a toasted lavash wrap ($6.99-7.99) quite nicely, companion to lettuce, tomato, cucumber, hummus, and tahini sauce (as spicy as you wish).

The menu runs $10 or less with ubiquitous starters ($3.99 each) of baba ganoush, tabouli, dolmas, piyaz (white bean salad), and lahmajun, essentially Middle Eastern flatbread topped with ground beef. The most addictive bite is feta cheese pie ($3.99) straight out of the oven (or stuffed with beef, chicken or spinach). Tomatoes and warm feta ooze from a roll sprinkled in sesame seeds. A supreme Middle Eastern treat.

533 Jones, SF. (415) 440-7786, www.grillhousesf.com

 

PRIME DIP SANDWICHES

Blue collar workers and Civic Center government staff line-up at Prime Dip, a new sandwich shop on Larkin. No frills, just hefty dip sandwiches ($6.99-7.99) on French bread, including a popular prime rib dip. Under $8 is a deal for such hefty rolls, including a choice of sides like mac n’ cheese or mixed veggies. There’s a loaded lobster dip ($12.99) with hot dill butter, though I find my New Jersey (NY) roots push me straight for the hot pastrami dip. Crusty French bread softens when dipped in meaty jus, while spicy mustard and melted Swiss cushion thinly sliced pastrami.

518 Larkin, SF. (415) 800-8244

 

AZIZA

A meal at Aziza is never boring. Celebrated Chef Mourad Lahlou (whose new cookbook Mourad: New Moroccan was just released) puts such an artistic spin on Moroccan food. Some dishes achieve greater heights than others — but all fascinate, reinterpreting traditional elements. Although Aziza’s anticipated downtown location just fell through, the hunt for a new building continues.

Savory, garden-fresh cocktails were the highlight of a recent visit, but on the food front, juicy, little meatballs ($14) on skewers with grapes play the sweet-savory card to winning effect, accented by herb-tossed jicama. I adore Lahlou’s basteeya (or bastilla), to me the ultimate Moroccan dish. This visit it was tweaked from the usual chicken or traditional squab, filled instead with duck confit. Tender, shredded duck is encased in phyllo dough ($22), sweetly contrasted by raisins, cinnamon, and powdered sugar, plus slivers of almonds. Savory-plus-sweet gets me every time.

5800 Geary, SF. (415) 752-2222, www.aziza-sf.com

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot at www.theperfectspotsf.com

 

The growing 99 percent

Jesse Hawthorne Ficks
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The growing 99 percent

steve@sfbg.com

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

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

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

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

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

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

 

NO BUSINESS AS USUAL

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

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

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

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

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

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

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

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

 

DUCKING THE TAX ISSUE

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

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

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

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

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

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

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

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

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

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

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

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

Stage Listings

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

THEATER

OPENING

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

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

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

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

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

BAY AREA

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

ONGOING

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

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

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

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

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat/12, 8:30pm; Sun/13, 7pm. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

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

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

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

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Thurs-Fri, 8pm; Sat, 8:30pm; Sun, 3pm. Extended through Dec 17. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. (Avila)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

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

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

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