Oakland

Our Weekly Picks: November 3-9, 2010

Jesse Hawthorne Ficks
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WEDNESDAY 3

EVENT

“The Neighborhood”

Audyssey, an L.A.-based audio laboratory, must have a thing for San Francisco. First it marketed its iPhone docking station as the South of Market, and now it’s calibrating the music scene by launching a monthly music showcase at 111 Minna: “Multiple genres. Local talent. The Neighborhood.” With live performances by Maus Haus, My First Earthquake, Shortkut, Trackademicks, Ghosts On Tape, DLRN, and Electric Sunset, and DJs King Most, Prince Aries, and A-Ron, the lineup is enough to make you forget the whole synergistic marketing thing (it’s free, yo). That many diverse acts and the promise of local food carts to keep you fed? (Food not free.) Half the fun should be seeing if it all come together under one roof. (Ryan Prendiville)
9 p.m., free
111 Minna Gallery
111 Minna, SF
(415) 974-1719
www.audyssey.com/theneighborhood

THURSDAY 4

COMEDY

Michael Ian Black

First gaining widespread fame for his work on Stella, The State, Viva Variety and other TV shows, comedian Michael Ian Black has honed his sarcastic commentary on pop culture to a fine, surgical-quality blade, quite literally stealing the show on every appearance he has made on VH1’s I Love The … series. For those who just can’t get enough of his wit and witticisms from the short, seconds-long snippets that make it on the air, here’s the chance to experience a full-on onslaught of hilarious, side-splitting observations from one of the best funnymen on the circuit today. (Sean McCourt)
Thurs.–Sun., 8 p.m. (also Fri.–Sat., 10:15 p.m.), $22.50–$23.50.
Cobb’s Comedy Club
915 Columbus, SF
(415) 928-4320
www.cobbscomedyclub.com

MUSIC

Marnie Stern

Kill Rock Stars artist Marnie Stern brings her whirlwind brand of finger-tap guitar shredding to Oakland. With influences ranging from math-rock godfathers Don Cabellero to punk and classic-rock staples, Stern and her band create quite the interesting racket. Equally impressive as Stern herself is her drummer, Zach Hill (of Hella), who matches her yelping vocal style and hyperactive arena rock solos with a frenetic creativity all his own. Stern’s new self-titled album brings the “noise for the sake of noise” level down just a tad and offers a more melodic and direct approach to her songwriting. (Landon Moblad)
8 p.m., $12
New Parish
579 18th St., Oakl.
www.thenewparish.com

FRIDAY 5

VISUAL ART

“I Live Here: SF”

It goes without saying that we live in a pretty diverse city, but since February 2009 photographer Julie Michelle has been capturing the people and stories that make SF great in her “I Live Here: SF” portrait series. The end result includes more than 170 images of SF residents, complete with their personal stories and accounts of their connection to this lovely, crazy, and exciting city of ours. Her subjects cut across races, classes, ages, and neighborhoods; you might just be surprised by the SF microcelebrities who pop up in them. I guarantee you’ll recognize someone photographed for the exhibit — or at least have seen one walking by you on the street. (Ben Hopfer)
6-9 p.m., free
SOMArts
934 Brannan, SF
(415) 552-1770
www.iliveheresf.com

DANCE

“Shared Space 4”

This is the fourth “Shared Space” season for Todd Eckert and Nol Simonse, two dancers who couldn’t be more different from each other. Yet as choreographers they find common ground. At least for this season, they are both diving into the past for their world premieres. The intricate meters of a medieval poetic form and the music of J.S. Bach inspired Eckert’s new Sinfonia. Continuing his interest in Greek mythology, Simonse is reaching even farther back. Demeter, the goddess of harvest and generosity, became the springboard for Greater Than. With Dancer for Hire, however, he hits a painful, up-to-date note: how to keep dancing in these parlous times. (Rita Felciano)
Fri/5-Sat/6, 8 p.m.; Sun/7, 7 p.m., $20
Dance Mission Theater
3316 24th St., SF
(415) 273-4633
www.sharedspacesf.org

MUSIC

Ray Manzarek and Roy Rogers

A recent project bringing together two luminaries of the 1960s and ’70s California rock ’n’ roll scene, the collaboration between legendary Doors keyboardist Ray Manzarek and blues guitarist par excellence Roy Rogers has produced an eclectic exploration of musical styles, including reimaginings of Doors classics, along with other blues and jazz tracks. Tonight’s show is being billed as “An Evening of Rock ’n’ Roll Tales and Music” since the duo promise to share stories about their long and fruitful careers between songs — fans won’t want to miss this rare opportunity to hear them straight from the still-rocking source. (McCourt)
8 and 10 p.m., $18–$25
Yoshi’s San Francisco
1330 Fillmore St., SF
(415) 655-5600
www.yoshis.com

DANCE

AXIS Dance Company and inkBoat

Known for its mix of disabled and able-bodied dancers, AXIS Dance Company has joined forces with Shinichi Iova-Koga and his company inkBoat to create ODD, a piece inspired by the work of Norwegian painter Odd Nerdrum. With cellist Joan Jeanrenaud performing a live original composition, ODD delves into themes found in Nerdrum’s paintings, including loneliness, fear, sexuality, and degradation. Iova-Koga’s choreography is mesmerizing to say the least and exactly how he will fuse two companies, a musician, and an artist’s work into an evening show is the source of much anticipation. (Emmaly Wiederholt)
Fri/5–Sat/6, 8 p.m., Sun/7, 3 p.m., $15–$18
ODC Theater
3153 17th St, SF
Also Nov. 12–14, $10–$22
Malonga Theater
1428 Alice, Oakl.
www.axisdance.org

SATURDAY 6

MUSIC

San Francisco Symphony Día de los Muertos family concert

One hundred years ago as the Mexican Revolution kicked into high gear, could Emiliano Zapatista or Pancho Villa have anticipated the havoc that has their country in a stranglehold today? We hear so much about the Mexican drug wars (and bankroll them on the weekend) that it’s easy to forget our southerly neighbor’s beauty and culture. This makes it a particularly salient year for the symphony’s annual celebration of Chicano heritage, underwritten by an homage to the centennial celebration of the Revolution. Papel picado, sugar skulls, and steaming cups of Mexican chocolate precede the musical program, which itself features kid-friendly works from accomplished Latino composers. (Caitlin Donohue)
2 p.m., $15–$68
Davies Symphony Hall
201 Van Ness, SF
(415) 864-6000
www.sfsymphony.org

PERFORMANCE

Burning Libraries: Stories from the New Ellis Island
Arts and Literacy in Children’s Education (ALICE) is a grassroots organization composed of artists from multiple genres committed to bringing arts education to economically disadvantaged schools. Born out of a project encouraging children to learn their oral histories is Burning Libraries: Stories from the New Ellis Island, a new piece by ALICE Presents, the professional performing arm of ALICE. Encapsulating 30 stories from people in minority and immigrant communities, this theatrical piece fuses dance, music, video, puppetry, and aerial arts to explore what it truly means to be American. (Wiederholt)
Through Nov. 14
Thurs/4 and Fri.–Sat., 8 p.m.;
Sun, 3 p.m., $15–$30
ZSpace at Theater Artaud
450 Florida, SF
Also Dec. 3–-5,
$15–$25
Laney College Theater
900 Fallon, Oakl.
www.alicepresents.com

MONDAY 8

DANCE

WestWave Dance Festival

If you are counting live performances, this is program three of this year’s WestWave Dance Festival. If you like your dance on screen as well as on stage, this is program four, since officially Nov. 7’s “Dance on Film Nite” is program three. Enough bean counting. It’s good to see that Monday night dance has caught on. Audiences apparently appreciate not having to squeeze all their dance fixes into the weekend. Of course, it helps to program stuff people want to see; tonight’s event is a good mix of well-, fairly-well, and little-known choreographers: Lisa Townsend, Brittany Brown Ceres, Erika Tsimbrovsky, Robert Dekkers, and Andrew Skeels. (Felciano)
8 p.m., $25
Cowell Theater
Fort Mason Center, Marina at Laguna, SF
(415) 345-7575
www.westwavedancefestival.org

TUESDAY 9

MUSIC

The Pains of Being Pure at Heart

With a name like the Pains of Being Pure at Heart, you’d be justified in taking these guys for some sappy, Bright Eyes wannabes. Luckily, this isn’t the case. Based out of New York City (who isn’t these days?), the band makes lovely little indie-pop tunes that couple boy-girl harmonies with Jesus and Mary Chain-style distortion. Check out the absolutely infectious track “Young Adult Friction” from the 2009 self-titled album for a taste. (Moblad)
With Weekend and Grave Babies
8 p.m., $15
Independent
628 Divisadero, SF
(415) 771-1421
www.theindependentsf.com

MUSIC

Kurt Vile and the Violators and Soft Pack

If sneering “I hope I die before I get old” epitomized a generation, what’s the significance of Matt Lamkin singing “I know I’m gonna die before I see my prime” on Letterman? Rock ’n’ roll is now collecting Social Security and emerging acts are hoping for a YouTube apotheosis. Musical appreciation amounts to identifying a band’s influences and then immediately writing them off. With the driving beat of Lamkin’s L.A.-based Soft Pack or the writing-from-the-bottom-of-a-well style of Philadelphia’s Kurt Vile and the Violators, this would be a disservice. The sounds familiar, but moves forward, and as Vile reminds, “I’ve got a freeway mind, let go of my head.” (Prendiville)
With Purling Hiss
8 p.m., $14
Rickshaw Stop
155 Fell, SF
(415) 861-2011
www.rickshawstop.com

Stage Listings

Jesse Hawthorne Ficks
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0

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

THEATER

OPENING

Comedy Ballet Exit Stage Left, 156 Eddy; (800) 838-3006, www.brownpapetickets.com. $10-20. Previews Thurs/4, 8pm. Opens Fri/5, 8pm. Runs Thurs-Sat, 8pm. Through Nov 20. Dark Porch Theatre presents a genre-bending production written and directed by Martin Schwartz.

It’s All the Rage The Marsh, 1062 Valencia; (800) 838-3006, www.brownpapertickets.com. $20-50. Opens Sat/6, 8:30pm. Runs Sat, 8:30pm; Sun, 7pm. Through Dec 5. The Marsh presents a new solo show by Marilyn Pittman.

Murder for Two: A Killer Musical Eureka Theatre, 215 jackson; 252-8207, www.42ndstmoon.org. Previews Wed/3, 7pm; Thurs/4-Fri/5, 8pm. Opens Sat/6, 6pm. Runs Wed, 7pm; Thurs-Fri, 8pm, Sat, 6pm, Sun, 3pm. Through Nov 21. 42nd Street Moon presents a mix of Agatah Christie and musical comedy, by kellen Blair and Joe Kinosian.

A Perfect Ganesh New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-40. Previews Fri/5-Sat/6, 8pm; Nov 10-Nov 12, 8pm. Opens Nov 13, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Dec 19. New Conservatory Theatre Center presents the Terrence McNally play, directed by Arturo Catricala.

The Tempest Exit on Taylor, 277 Taylor; (800) 838-3006, www.cuttingball.com. $15-20. Previews Fri/5-Sat/6, 8pm; Sun/7, 5pm. Opens Nov 11, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm (no show Nov 25). Cutting Ball Theater opens its 11th season with a three-person chamber version of the Shakespeare classic.

BAY AREA

Burning Libraries: Stories From the New Ellis Island Laney College Theater, 900 Fallon, Oakl; (800) 838-3006, www.brownpapertickets.com. $15-25. Previews Thurs/4-Fri/5. Opens Sat/6, 8pm. Runs Wed-Sat, 8pm, Sun, 3pm (also Sun/7, 7pm). Through Nov 14. Alice presents an evening-length theatrical performance spectacle, directed and co-written by Helen Stoltzfus.

Cinderella, Enchanted Julia Morgan Center for the Arts, 2640 College, Berk;; (510) 665-5565, www.berkeleyplayhouse.org. $15-33. Previews Sat/6, 2pm. Opens Sat/6, 7pm. Call for run times. Through Dec 5. Frenchie Davis is plays the Fairy Godmother in this production of the Rogers and Hammerstein musical.

CTRL-ALT-DELETE Pear Avenue Theatre, 1220 Pear, Mountain View; (650) 254-1148, www.thepear.org. $15-30. Previews Thurs/4, 8pm. Opens Fri/5, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through Nov 21. Pear Avenute Theatre presents the comedy by Anthony Clarvoe.

The Play About the Naked Guy La Val’s Subterranean, 1834 Euclid, Berk; (800) 838-3006, www.brownpapertickets.com. $10-20. Previews Thurs/4-Fri/5, 8pm. Opens Sat/6, 8pm. Runs Thurs-Sat, 8pm (no show Nov 25). Through Dec 11. Impact Theatre presents an off-Broadway hit, written by David Bell and directed by Evren Odcikin.

 

ONGOING

Christian Cagigal’s Obscura: A Magic Show EXIT Cafe, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $15-25. Thurs-Sat, 8pm. Through Dec 18. Magician Christian Cagigal presents a mix of magic, fairy tales, and dark fables.

Dracula’s School for Vampires Young Performers Theatre, Fort Mason Center, Bldg C, Third Floor, Room 300; 346-5550, www.ypt.org. $7-10. Sat, 1 pm; Sun, 1 and 3:30pm. Through Nov 14. Young Performers Theatre presents a Dracula comedy by Dr. Leonard Wolf.

Equus Boxcar Theatre Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $10-25. Wed-Sat, 8pm. Through Nov 20. Boxcar Theatre kicks off its fifth season with Peter Shaffer’s drama, directed by Erin Gilley.

Failure to Communicate The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. Call for prices. Fri-Sat 8pm; Sun, 2pm. Through Nov 14. One part Torey Hayden, and one part Dr. Pangloss, Veronica Gray (Jaimielee Roberts) is an artist in need of a job, and so takes the position of teaching assistant in a classroom for severely troubled children. At first it seems like a good fit for her — she’s unfazed by the student’s scare tactics and drawn to their talents, in particular the artistic streak displayed by the autistic Loomis (Geoff Bangs). But eventually the extreme stress of her responsibilities starts to effect her equilibrium, and the rest of the play becomes a sort of elegiac apology for her eventual request to be transferred, and the havoc it plays on the emotions of her students. A first foray into playwriting for Performers Under Stress company member Valerie Fachman, Failure to Communicate feels very much like a work in progress. Its strengths – compelling material, quirky characters, and an insider’s perspective on an overloaded educational system – are soon overwhelmed by its weak points: too many veiled references to various abuses without follow-up, too much random violence without consequences, too many lengthy transitions and choppy scenes which neither drive the skeletal plot nor flesh out the occasionally hilarious yet often frustratingly two-dimensional characters. As a concept, Failure is intriguing but I’m hoping there will be a version 2.0 in the future, with a tighter focus and more comprehensive character development. (Gluckstern)

Glory Days Boxcar Studios, 125 Hyde; www.jericaproductions.com. $30. Fri-Sat, 8pm; Sun, 2pm. Through Nov 7. Jerica Prodcutions and the Royal Underground Theatre company present Nick Blaemire’s and James Gardiner’s one-act musical.

Habibi Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. $15-25. Thurs-Sun, 8pm. Through Sun/7. Intersection for the Arts and Campo Santo present the world premiere of a play by Sharif Abu-Hamdeh.

*Hamlet Alcatraz Island; 547-0189, www.weplayers.org. By donation. Sat-Sun, times vary. Through Nov 21. Outside of an actual castle, it would hard to say what could serve as a more appropriate stand-in for Kronborg castle of Helsingør—also known as Elsinore—than the isolated fortress of Alcatraz Island, where WE Players are presenting Hamlet in all its tragic majesty. As audience members tramp along

stony paths and through prison corridors from one scene to the next, the brooding tension the site alone creates is palpable, and the very walls impart a sense of character, as opposed to window-dressing. Deftly leaping around rubble and rock, a hardy troupe of thespians and musicians execute the three-hour

production with neat precision, guiding the audience to parts of the island and prison edifice that aren’t usually part of the standard Alcatraz tour package. Incorporating movement, mime, live music, and carefully-engineered use of space, the Players turn Alcatraz into Denmark, as their physical bodies meld into Alcatraz. Casting actress Andrus Nichols as the discontent prince of Denmark is an incongruity that works, her passions’ sharp as her swordplay, the close-knit family unit of Laertes, Ophelia, and Polonius are emphatically human (Benjamin Stowe, Misti Boettiger, Jack Halton), and Scott D. Phillips plays the

appropriately militaristic and ego-driven Claudius with a cold steel edge. (Gluckstern)

Hedda Gabler Phoenix Theatre, suite 601, 414 Mason; (800) 838-3006, www.offbroadwaywest.org. $35. Thurs-Sat, 8pm. Through Nov 13. The action unfolds in the parlor of the newly married Tesmans, young mediocre academic George (Adam Simpson) and town beauty Hedda, née Gabler (a crisp, tightly wound and nicely understated Cecilia Palmtag), a woman of exceptional intelligence, ambition and pride—to call her fiery wouldn’t be bad either, especially since she’s so fond of shooting off her late father’s pistols. Frustrated by her paltry new life, Hedda seeks news of an old flame, Eilert Lovborg (Paul Baird), via the admiring and vaguely lecherous Judge Brack (Peter Abraham) and a timid acquaintance from school days, Thea (Joceyln Stringer). The semi-wild but brilliant Lovborg has published a new book that imperils George’s chances for a professorship. Less interested in securing George’s career than controlling Lovborg’s destiny, Hedda soon manipulates events around her with bold determination and tragic consequences. Passionate, violent and psychologically complex, Henrik Ibsen’s titular heroine is at turns sympathetic and disturbing, an independent soul trapped in and warped by a society that allows her too little scope—a modern predicament that has inspired many modern and postmodern adaptations. Off Broadway West’s straight-ahead production of the late-19th-century drama, helmed by artistic director Richard Harder, remains faithful to the period setting. This includes Bert van Aalsburg’s respectable scenic design and Sylvia Kratins impressive costumes, as well as the old if fine translation by William Archer, who first introduced Ibsen to the English-speaking world. Unfortunately, the quaint diction is not handled with equal grace across an uneven cast. Palmtag’s solid, at times admirable performance in the lead, however, goes a good way toward grounding an otherwise patchy production. (Avila)

Law and Order: San Francisco Unit: The Musical! EXIT Theater, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $10. Mon, 8pm. Through Nov 15. Funny But Mean comedy troupe extends its newest show at a new venue.

Mary Stuart The Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $15-30. Thurs-Sat, 8pm; Sun, 5pm. (also Wed/3; 7pm). Through Sun/7. Shotgun Players presents Friedrich Schiller’s historical drama, directed by Mark Jackson.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 10th St; (8008) 838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through Dec 19. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

*The Real Americans The Marsh MainStage, 1062 Valencia; (800) 838-3006; www.themarsh.org. $20-50. Wed-Fri, 8pm; Sun, 5pm. Through Nov 6. The fifth extension of Dan Hoyle’s acclaimed show, directed by Charlie Varon.

*Reluctant Brava Theater Center, 2781 24th St; 641-7657, www.brava.org. $10-25. Thurs, 8pm; Fri-Sat, 10pm. Through Nov 13. Joel Israel joins the likes of Eric Bogosian, Joe Frank, and Jack Nicholson (in The King of Marvin Gardens) in making the radio booth one of the more intimate yet far-reaching of metaphors—a hermetic recess of lonely, fervid minds that ranges over the collective unconscious by air, with the power to infiltrate the most vulnerable, unguarded corners of an unsuspecting populace. Shrewdly directed by Meiyin Wang, the New York playwright-performer’s cool, slyly seductive piece of theatrical psychopathology, Reluctant, makes an impressive West Coast debut in Brava’s appropriately intimate upstairs studio. There, on Sophia Alberts-Willis’s choice radio-studio set, and under Simone Hamilton’s moody lighting, the audience slips effortlessly into the hushed, anxious trance of Israel’s intoxicating noir storyteller. Nattily dressed in jacket and tie, and cooing deftly crafted prose over eerie nocturnal underscoring by sound designer Mark Valadez, the storyteller unfurls a performative “audio” spectacle at the borderline between imagination and deed—and maybe personality too. This guy is not to be trusted, especially opposite the woman he interviews (Brava’s artistic director Raelle Myrick-Hodges on opening night but played, in serial fashion, by a different actress each time). No, like any devil in your ear, you don’t want to trust him, but you don’t want to tune him out either. (Avila)

Shocktoberfest!! 2010: Kiss of Blood Hypnodrome Theatre, 575 10th; (800) 838-3006, www.brownpapertickets.com. $25-35. Thurs-Fri, 8pm. Through Nov 19. Thrillpeddlers’ seasonal slice of eyeball is comprised of three playlets variously splattered with platelets, all directed by Russell Blackwood and bridged by a rousing burst of bawdy song from the full cast. Rob Keefe’s Lips of the Damned (after La Veuve by Eugene Heros and Leon Abric) takes place in a rat-infested museum of atrocities just before the fumigating starts, as an adulterous couple—comprised of a kinky married lady (a vivacious Kara Emry) and a naïve hunk from the loading dock (Daniel Bakken)—get their kicks around the guillotine display, and their comeuppance from the jilted proprietor (Flynn DeMarco). Keefe’s delightfully off-the-wall if also somewhat off-kilter Empress of Colma posits three druggy queens in grandma’s basement, where they practice and primp for their chance at drag greatness, and where newly crowned Crystal (a gloriously beaming Blackwood) lords it over resentful and suspicious first-runner-up Patty Himst (Eric Tyson Wertz) and obliviously cheerful, non-sequiturial Sunny (Birdie-Bob Watt). When fag hag Marcie (Emry) arrives with a little sodium pentothal snatched from dental school, the truth will out every tiny closeted secret, and at least one big hairy one. Kiss of Blood, the 1929 Grand Guignol classic, wraps things up with botched brain surgery and a nicely mysterious tale of a haunted and agonized man (Wertz) desperate to have Paris’s preeminent surgeon (DeMarco) cut off the seemingly normal finger driving him into paroxysms of pain and panic. Well-acted in the preposterously melodramatic style of the gory genre, the play (among one or two other things) comes off in a most satisfying fashion. (Avila)

Sunset Limited SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3 and 8pm. Through Nov 6. This 2006 play by Cormac McCarthy exhibits some of the best and worst of the celebrated author, but significantly more of the latter. It sets an aging white academic and failed suicide (Charles Dean) in a room with his rescuer and would-be savior, a poor black social worker (Carl Lumbly), who has just snatched him from a railway platform ahead of a tête-à-tête with a train called the Sunset Limited. Both characters remain nameless, emphasizing the abstract pseudo-Socratic dimensions attendant on the dialogue-driven realism here (staged with a knowing wink in director Bill English’s scenic design, a partially walled wood-framed shack with see-through slits between the thin horizontal planking). The black man is a born-again Christian and ex-con convinced Jesus has just given him a major assignment. His dogmatic certainty is matched by the white man’s nihilism and despair. “I believe in the primacy of the intellect,” the miserable prof tells his host, who’s locked the door on his self-destructive guest in an effort to buy time to change his mind. Leaving aside the historically clichéd, problematic and baggage-heavy dynamic of a poor black American devoted to the welfare of a rich white one, neither man moves from his respective position one inch (at least until perhaps and partially at the very end), which constrains the dramatic development. Moreover, both sides argue feebly, mainly by gainsaying whatever it is the other one says, making this not a great intellectual debate either. SF Playhouse’s production sets two fine actors at this heavy-handed twofer, but little can be done to redeem so static and arid an exercise. (Avila)

Susie Butler Sings the Sarah Vaughan Songbook Exit Theater Cafe, 156 Eddy; (510) 860-0997, www.brownpapertickets.com. $15-20. Sat, 8:30pm. Through Nov 20. Local actress and singer Susie Butler takes on the Sassy songbook.

The Unexpected Man EXIT Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $18-25. Fri-Sat, 8pm; Sun, 3pm. Through Nov 14. Spare Stage revives Yasmina Reza’s ironic comedy, starring Ken Ruta.

*West Side Story Orpheum Theatre, 1192 Market; www.orpheum-theater.com. $88-378. Check for dates and times. Through Nov 28. Opening night of the touring Broadway revival coincided with game two of the World Series, and giddy Giants fans were loath to put away their smart phones until the final plea from the house managers. But then the curtain rose on perhaps the finest and most moving display of athleticism, professionalism, and grace to be found outside of AT&T Park. The 1957 musical, which updated Romeo and Juliet with a cross-cultural romance between Tony (Kyle Harris) and Maria (Ali Ewoldt) amid immigrant gangland New York, came instantly alive with all its storied potency—revved up for new millennium audiences with less reserved violence and the addition of a smattering of real Spanish throughout. David Saint’s excellent cast—including standout Michelle Aravena as Anita—and a nicely dynamic orchestra under conductor John O’Neill do satisfying justice to the jagged, jazzy modernism of Leonard Bernstein’s score, Stephen Sondheim’s soaring lyrics, Arthur Laurents’ smart book, and Jerome Robbins’ mesmerizing choreography (here re-created by Joey McKneely). At intermission, the house manager graciously announced the final winning score from the ballpark, and everyone cheered. It was a win-win situation. (Avila)

BAY AREA

Becoming Britney Center REPertory Company, Knight Stage 3 Theatre, 1601 Civic Drive, Walnut Creek; (925) 943-SHOW, www.centerREP.org. $25. Thurs-Sat, 8:15pm; Sun, 2:15pm. Through Nov 14. Center REPertory Company presents an original musical about a naïve pop star, written by Molly Bell and Daya Curley.

Dracula Center REPertory Company, 1601 Civic, Walnut Creek; (925) 943-SHOW, www.centerrep.org. $36-42. Wed, 7:30pm; Thurs-Sat, 8pm; Sun, 2:30pm (also Nov 20, 8pm). Through Nov 20. Eugene Brancoveanu stars as the Count in a production directed by Michael Butler.

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Nov 21. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*The Great Game: Afghanistan Roda Theatre, 201 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $17-73. Call for times. Through Nov 7. Berkeley Rep presents the West Coast premiere of a three-part show about Afghanistan.

*Loveland The Marsh Berkeley, 2120 Allston Way; (800) 838-3006, www.brownpapertickets.com. $20-50. Fri, 7pm; Sat, 5pm. Through Nov 13. Ann Randolph’s acclaimed one-woman comic show about grief returns for its sixth sold-out extension.

Palomino Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Dec 5. David Cale brings his new solo play about a gigolo to Aurora Theatre for its Bay Area premiere.

Pirates of Penzance Novato Theatre Company Playhouse, 484 Ignacio, Novato; 883-4498, www.novatotheatercompany.org. $12-22. Thurs-Sat, 8pm; Sun, 3pm. Through Nov 21. Novato Theatre Company revives the popular Gilbert and Sullivan swashbuckling tale.

Winter’s Tale Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $12-15. Fri-Sat, 8pm (also Sun/7, and Nov 14, 2pm; Nov 18, 8pm). Through Nov 20. Actor’s Ensemble of Berkeley presents the rarely-performed Shakespeare play.

GOLDIES 2010 LIFETIME ACHIEVEMENT: Slumberland Records

Jesse Hawthorne Ficks
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0
GOLDIES 2010 LIFETIME ACHIEVEMENT: Slumberland Records

Look at the key critically acclaimed and popular indie (or subsidiary) releases of the past few years, and certain label names recur: Captured Tracks, Mexican Summer, Sincerely Yours, True Panther, Slumberland. Most of these names belong to new kids on the block, but Mike Schulman has been at the helm of Slumberland for more than 20 years. If anything, his label, a home for perfect guitar pop, is stronger than ever, with bands such as Pains of Being Pure at Heart and Crystal Stilts on the roster. Slumberland has outlived many of the legendary indie labels — from Postcard to Creation to Rough Trade — that inspired it. Sometimes dedication reaps rewards.

In 1989, when Slumberland began in Washington, D.C., indie rock was a postal affair. The foundation of an international pop underground was being forged through letters and records and zines sent among fans and small record stores. From the beginning, Schulman was uniquely out of step, focusing on melodicism when the D.C. scene was known for punk abrasion. When Slumberland relocated to the Bay Area a few years later, releases by Stereolab, Henry’s Dress, Aisler’s Set, and the unjustly obscure Rocketship had nothing to do with grunge mania. “I felt painted into a corner,” Schulman, who was working at the Berkeley record store Mod Lang, remembers. “It seemed like there weren’t a lot of opportunities to get stuff heard, unless you took bigger deals. It was a craven time.”

Slumberland endured, and Schulman’s deep and abiding love of music is a major reason. One can argue that the label is more refined or restrictive in terms of sound than most — simply put, it offers the true wild heart of what has been more calculatedly and generically marketed as noise pop. But Schulman’s musical taste runs deep and wide. In the mid-1990s he started an electronic label, Drop Beat, and today he DJs at Oakland’s Actual Cafe, spinning rock steady, ’60s hard bop, Blue Note classics, and ’70s soul, funk, and reggae.

Schulman draws from a deep library — he has 30,000 records in his basement. “It’s out of control,” he admits with a smile. “I don’t sell anything. I buy new records every week: dubstep, soul and jazz reissues, and more indie than I have in the recent past. But currently it’s hard for me to listen to new stuff because I’m spending so much time listening to [Slumberland] test pressings.”

For Schulman, the process of assembling an album is one of the greatest pleasures of running a label. “I was really happy when they started sending me mixes,” he says when asked about the newest Slumberland release, Sports by the Bay Area trio Weekend, an album that promises future greatness and mass appeal. “The only reason I do this is to help bands get their music out there. I’ve been doing it long enough that I can give advice to a young band doing their first record. It’s gratifying talking to a band, listening to demos, and hearing an album come to fruition.”

Another gratifying moment for Schulman was Slumberland’s 20th anniversary mini-tour, when new bands and older bands — including his own, Black Tambourine — united for shows on both coasts. “The SF show was crazy,” he says. “There were so many people I hadn’t seen since the Aisler’s Set broke up [in the late ’90s]. So many people came to see Henry’s Dress.” Contrary to what one might assume from Slumberland’s music, Schulman is the opposite of a sentimentalist, but in this instance, he’s unabashedly romantic: “It was magical. It was kind of heartwarming. When I started doing a label I was so into music and supporting labels and I wanted to contribute. There was something about those shows that made me feel like, oh, maybe I did.”

He did — and he’s still contributing, with support and inspiration from his wife Nomi and son Theo. Through well-timed and still-strong acts of fidelity, Slumberland has forged its own community of friends who now have a shared history. The label’s present — 2010 brought powerful debut albums by Weekend and Frankie Rose and the Outs — is vital. Its future looks even livelier. Schulman is excited about upcoming releases by Brown Recluse and Emitt Rhodes-like baroque pop troubadour Devon Williams, and he drops some big name hints regarding the next Pains of Being Young at Heart album. For Slumberland, the pains of being young at heart have matured into the rewards of being true.

www.slumberlandrecords.com

>>MORE GOLDIES 2010

GOLDIES 2010: Ruth Laskey

Jesse Hawthorne Ficks
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1
GOLDIES 2010: Ruth Laskey

One thing that Bay Area art has no shortage of is color. Whether it be Albers-informed theory, Op-influenced repetitious patterns, Mission muralismo, or mural-like Mission School paintings, in general, local color has been primary, if not outright garish. Ruth Laskey’s palette stands apart — confident enough to be low-key or even muted in comparison. “Color is kind of it for me,” Laskey says, in the middle of a sleepy afternoon at a Mission cafe. “It’s where a piece gets its emotion.”

You could say that there’s a quality of quiet intensity to Laskey’s work, and the artist herself is soft-spoken. She’s also strong, clear, and candid in terms of viewpoint. “My relationship to color is not very systematic,” she says, when the topic of Albers references in relation to her work is broached. “It’s more intuitive. I already see things from a painter’s perspective. When you’re a painter making color, there’s an evolution that happens.”

In Laskey’s case, this evolution is ongoing — and it isn’t taking place within traditional painting. Both “7 Weavings,” her first solo exhibition at Ratio 3 in 2008, and a self-titled show at the same space this year are taken from her larger “Twill Series,” a growing group of “investigations” that she began in 2005, years after taking a weaving class in between undergraduate and graduate studies at California College of the Arts. “Twilling is basic, the first pattern weave you learn,” she says. “The loom I’ve been using from the beginning is basic. I was thinking about my understanding of weaving, and I was interested in how twill creates shape on its own. It kind of clicked one day that I could use twill, but insert the thread in the same way I would with tapestry.”

That moment kick started Laskey’s unique use of dye and weft and warp to create color forms in which minimalism and materiality intersect. Her “Twill Series” has generated a cover story critical appraisal in Artforum and many responses locally — in some ways, the discourse about her growing body of work (including my own 2008 piece for this publication, which focused on geometric elements) reveals as much about the writers as it does about the art itself, which invites contemplation and allows open interpretation. It’s a mistake to assume this openness is cool detachment, though. “It’s fabric,” she says. “It’s inherently warm.”

At the moment, Laskey’s studio is in the garage of her apartment in Glen Park, a neighborhood that has housed some artists of renowned dedication, like Bruce Conner. Her day job at California College of the Arts’ Oakland library is one source of inspiration and perspective. Music could be another. When I ask her what sounds might make apt accompaniment for an audiovisual presentation of her art, her choice is Sun Ra. Thinking of her work as what Ra would call an “art form of dimensions tomorrow” adds another a playful element to its fabric. She uses blankness around an image as he uses the silence that surrounds sound. Space is the place.

As for Laskey’s “Twill Series,” at the moment it’s hard to gauge how large it will grow, but there is no doubt her deployment of dye and geometric shape is subtly shifting. “It’s an issue that artists have to deal with all the time,” she reflects. “I might still be interested in what the work is doing, but is it still engaging for everyone else? There’s always that tiny figure on your shoulder saying, ‘Maybe you need to move on.’ But I feel like it’s taking me on this journey. It might be a really slow journey. It might have small steps. But I’m enjoying that. For me, it’s fruitful.” 

www.ratio3.org; www.ruthlaskey.com

>>MORE GOLDIES 2010

GOLDIES 2010: Hunx and his Punx

Jesse Hawthorne Ficks
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0
GOLDIES 2010: Hunx and his Punx

It should come as no surprise that a gay 30-year-old male living in the Bay Area who borrows elements of his fashion-forward look from Freddie Mercury is putting out the “gayest music ever.” He’s a Pisces who rocks a switchblade comb and blends leather daddy duds with a 1950s-meets-1980s juvenile delinquent touch.

Seth Bogart, a.k.a. Hunx, has been devoted to rock and trash pop culture for years. He made zines as a teen in Arizona when riot grrrl was happening, and has essentially created a life from his variety of enthusiasms.

“I do it for myself, to have fun. It makes me feel better being constantly creative. As cheesy as it sounds, happiness is doing what you want to do,” says the rather butch-looking Bogart over tortas at a 24th Street restaurant. His eyes are piercing, he’s wearing a torn biker jacket, and he’s sporting a few days more than a five o’clock shadow.

Probably tired from having just gotten back from New York City, where he spent eight days recording the next Hunx and His Punx album for Sub Pop’s subsidiary label Hardly Art, Bogart appears happy to be home. After years living in Oakland, he currently resides in the Bayview District.

Thematically, Bogart describes the first proper Hunx and His Punx album as being similar to this year’s compilation Gay Singles (True Panther) in that it deals with love and teenage heartbreak. “It sounds like a dream,” he exclaims. But the upcoming album delves deeper into a sadness he said he’s never really written about before. His father committed suicide when he was just a teen, and with his mom left “out of it and depressed” in the immediate aftermath, it’s no wonder he grew up fast and was on his own by 17.

Bogart found catharsis in freedom of expression. As the tale goes, after his previous group Gravy Train!!! disbanded, friends such as Nobunny and Christopher McVicker helped pen some of the early Hunx and His Punx songs. On the new album, Bogart more fully takes the reins, writing half the album’s tracks himself, with his bold bassist and bandmate Shannon Shaw also contributing a few numbers. As for Hunx’s flirty and quick-witted onstage candor, Bogart attributes some of his brazen confidence to old pal and former roadie Nobunny, who instilled in him that you only have one chance in life. This attitude has led to a colorful album insert of Hunx in the buff, as well as an awkward moment when his Internet-browsing mom unexpectedly saw his boner in a Girls music video.

If you think Bogart’s skills to pay the bills begin and end with music, guess again. He happens to co-own Down at Lulu’s, a popular Oakland vintage boutique and salon, with Tina Lucchesi (of Trashwomen, Bobbyteens, and now Midnite SnaXXX). The shop has been open four years, and Bogart, a licensed cosmetologist, cuts hair there three days a week. He and his friend Brande Baugh are also developing a TV talk show.

Although owning his own shop and contributing to the local music scene are two obvious ways Bogart serves the Bay Area community, it’s what he stands for on a larger scale as a unique gay personality in the still hetero male-dominated genre of punk — and broader realm of rock — that makes him bold and noteworthy. You can call him bubblegum and outrageous, but the fact remains that Hunx exudes an image of strength and confidence. He fills a void in garage rock that isn’t quite clean enough for the Castro and maybe too queer for some fans of harder sounds. He blurs the lines, breaks down boring boundaries, and stays true to himself all the while. 

www.myspace.com/hunxsolo; www.myspace.com/gayestmusicever

>>MORE GOLDIES 2010

GOLDIES 2010: Said Adelekan

Jesse Hawthorne Ficks
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GOLDIES 2010: Said Adelekan

One of the joys of house music in this century is that it doesn’t exist. Or rather, its influence is so ubiquitous, its borders so gleamingly porous, that to call a dance track (or indie song, or laptop experiment, or even symphonic composition) “house” is to engage in the laughably vague. And while the expansion of the genre has produced its fair share of unlistenable clutter, it’s also given rise to exciting new standards of quality and adventurousness. Many of the new house standard bearers are located in the Bay Area, and among the most invigorating is Said Adelekan, known as DJ Said.

A Nigerian native who discovered his love for music through his family’s record collection, Said became a young disciple of Fela Kuti, the outspoken legend who shared his political message through Afrobeat, which combined a plethora of African styles into popping, hypnotic grooves featuring chiming guitars and swelling brass and organ chords. After promoting one of Kuti’s clubs in Lagos, Said moved to England to study and absorb the underground London club scene. Soon after, he found himself drawn to “the beautiful and very open” Bay Area in the 1990s, hosting parties like the wonderful, storied Atmosfere, which combined soulful house grooves with live instrumentation and Afrobeat spirit.

As his party reputation grew, Said felt the need to expand and launched the topnotch Fatsouls record label in 2007. “After a decade of successful event production, I realized that throwing parties isn’t all there is, and that creating music is equally important,” he says. “Dance music at the time had gotten so dark and aggressive, I wanted to counter that with something organic, refreshing. Something that celebrated the soul — the soul of the Bay Area, the soul of Africa, the soul of dance music — to bring that to the world.”

With his parties, Said had already attracted global attention to the Bay’s burgeoning Afrohouse scene, and his Fatsouls releases — featuring sparkling live instrumentation, heavy bass-driven grooves, and collaborations with soulful house giants like Alton Miller, Jerome Sydenham, Hideo Kobayashi, and Mr. Raoul K. — repped the Bay abroad as well. (The world dance music community also has been rediscovering house music’s black and African roots, celebrating complex rhythms and Chicago-style funkiness.) “The vast majority of people that download and buy Fatsouls vinyl are from Europe, Japan, South Africa, and Canada.” Said says. “I wanted to create and bring music to the very same people that had been attending my parties and keeping the spirit alive.”

Fatsouls’ first release, “Bad Belle (Remix),” a sublime, slow-burning slice of Afrohouse by Said overlaid with a ethno-ecological spoken word lament by Nigerian poet Ikwunga, was one of the best dance music releases of the past decade, and the seven Fatsouls releases since have shown an astonishing devotion to quality production and expanding scope. (Said plans to release a Fatsouls compilation soon.)

Said hasn’t stopped throwing parties either. “We & the Music” (first Fridays of the month, 9 p.m., $10. 222 Hyde, SF. www.222hyde.com ) is a fantastic and necessary monthly get-down in San Francisco that showcases the deep and lovely grooves being produced here — especially those coming from Oakland’s thriving soulful and Afro-influenced house scenes. East Bay players like Stephen Ringmaiden, Aybee and the Deepblak crew, and parties like The People, Top Ten Social, and Ra Rah are also contributing to the Bay’s liveliness, and Said is an invaluable supporter of their efforts.

“With the everchanging demographic of new partygoers here and so many promoters willing to cash in on faceless trends, I feel there’s a danger of the true San Francisco nightlife essence — diverse in its range but consistent in its dedication to soulfulness and intimacy — being compromised,” Said says. “With my parties and releases, I strongly wish to preserve that here and transmit it to the world.” 

www.fatsouls.com

>>MORE GOLDIES 2010

Calls for justice

Jesse Hawthorne Ficks
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0
Calls for justice

rebeccab@sfbg.com

Since the fatal shooting of Oscar Grant III on New Year’s Day in 2009, a photograph of the 22-year-old African American man from Hayward has become iconic. The picture shows Grant’s smiling face, and the black ski cap and a hooded sweatshirt he was wearing the day it was taken.

It has been copied onto posters and displayed like wallpaper in downtown Oakland cafes and along city blocks, manipulated with different hues and accents to produce scores of flyers, banners, hip-hop album jackets, T-shirts, and even masks. An expansive mural in Oakland displays Grant’s image on a larger-than-life scale, framed with roses.

The ubiquitous pictures of Grant, the victim of a shooting by police, are a constant reminder that his life was taken suddenly when BART cop Johannes Mehserle shot him in the back on the Fruitvale train platform. At the time, Grant was unarmed and physically restrained, having been arrested following reports of a fight.

Cell phone camera footage of the shooting went viral, and the case drew national attention. The defense argued that it was all a tragic accident, saying Mehserle had mistakenly drawn his firearm when he meant to draw his Taser.

Mehserle was convicted of involuntary manslaughter and his sentencing is expected Nov. 5. With all the attention surrounding the case, this final determination has taken on the proportions of a moment of truth.

Mehserle could be sent to prison for as long as 14 years, or merely be placed on probation. For many Grant supporters, it’s a question of whether the justice system will incarcerate a police officer for killing a young person of color, after so many other youths have been slain in police shootings that never went to trial. For Mehserle’s supporters, the outcome will signify something else entirely.

 

RIVAL NARRATIVES

Mehserle, a white Napa native in his late 20s who resigned from BART after the shooting, was tried on a murder charge. But a jury in Los Angeles (where the trial was moved because of the publicity here) found him guilty of involuntary manslaughter on July 8. Protesters, decrying the verdict as too lenient, converged in downtown Oakland for a street rally directly afterward that later gave way to bursts of rioting and looting.

The grassroots community leaders who urged supporters into the streets aren’t the only people now mobilizing around the sentencing. In the months following the verdict, the law enforcement community rallied in support of Mehserle, whose conviction for on-duty police conduct stood out as a rarity.

The former cop’s supporters have set up websites, hosted vigils, and arranged media interviews for Mehserle and his allies. A website called Justice4Johannes.com decries his conviction, denouncing the justice system as biased against police. “Do not let our officers fall victim to a spineless system,” the website urges, “who would rather protect criminals than protect our law enforcement officers who daily put their lives on the line for you!”

As the date of the sentencing approaches, each side has demonstrated that they are as active as ever. When the Giants played in AT&T Park in October, Mehserle’s father, Todd, made an appearance in McCovey Cove on a stately sailboat with “Free Johannes Mehserle” banners ruffling on its tall masts. But a smaller wooden ketch with activist Jared Aldrich at the helm, hoisted banners that read “Justice for Oscar Grant” and, on another occasion, “Jail Killer Cops.”

On Oct. 23, the International Longshore and Warehouse Union (ILWU) Local 10 shut down Bay Area ports, using a stop-work day to hold a rally at the Port of Oakland calling for the maximum sentence for Mehserle.

“The litany of police killings of innocent young black and Latino men has evoked a public outcry in California,” Jack Heyman, a co-organizer of the rally, wrote in an article in CounterPunch. “Yet when it comes to killer cops, especially around election time, with both the Democratic and Republican parties espousing law and order, the mainstream media either expunges or whitewashes the issue.”

Heyman told the Guardian that he had visited Oakland high school classes to speak about the issue and found that in some classes, every single student raised a hand when asked if they knew the name Oscar Grant. “They happen to be sensitive to the issue of police brutality,” he noted. “A number of them had had problems with police.”

 

PRISON OR PROBATION?

On Oct. 26, opposing briefs on the sentencing were filed in Los Angeles County Superior Court. Defense Attorney Michael Rains submitted a 126-page memo urging the judge to drop the gun-enhancement charge and place Mehserle on probation, which would keep him out of prison. Meanwhile, prosecutors with the Alameda County District Attorney filed a 20-page memo indicating that Mehserle should be sent to prison, but stopped short of advocating for the maximum sentence.

Rains’ motion goes into great detail, quoting from letters sent to the court in Mehserle’s defense, in which the former transit officer is said to be “a gentle giant.” It even goes so far as to suggest that Mehserle’s infant son (born New Year’s Day, 2009) could suffer psychological difficulties later in life if he is separated from his father.

Grant, too, was a father — his daughter, Tatiana, is six — but the prosecution’s motion doesn’t mention how she may be psychologically affected later in life by her loss. Grant supporters sent some 2,000 letters to the judge, according to a posting on civil rights attorney John Burris’ website, but none were referenced in the briefing.

The DA argues that Mehserle intentionally shot Grant, implying that the Taser argument was a fabrication. In the moments following the shooting, the document notes, Mehserle told his fellow officer that he thought Grant was going for a gun. “If the sentence in this case is to serve any purpose whatsoever,” it notes, “it must serve as punishment.”

 

INSIDE THE POLICE LOBBY

The Peace Officers Research Association of California (PORAC) covered the cost of Mehserle’s defense. The 85,000-member, politically powerful police organization maintains a legal defense fund for officers facing legal troubles.

Technically, Mehserle wasn’t entitled to the financial assistance. According to PORAC’s website, an officer who voluntarily resigns may be ineligible for benefits, and Mehserle quit shortly after the shooting. Still, PORAC stepped up and put itself on the hook for millions in legal fees to ensure he had the best possible defense. PORAC was a driver behind the Peace Officers’ Bill of Rights, which established a unique set of protections for law enforcement officers under investigation for misconduct.

PORAC president Ron Cottingham acknowledged that its decision to fund Mehserle’s defense was discretionary, but declined to say more. It’s possible that PORAC was interested in preventing Mehserle’s trial from setting a precedent for other cases involving officers who use deadly force against unarmed suspects.

PORAC also played a role in the BART civilian oversight structure that was ultimately approved by the California Legislature. The transit agency’s lack of civilian oversight became a flashpoint in the wake of the shooting, prompting Assemblymember Tom Ammiano to draft legislation that would have created an Office of Citizen Complaints (OCC) for BART patterned after the system in place in San Francisco. PORAC fought it and the effort was stymied.

“PORAC … will actively oppose your bill as it is written,” Jesse Sekhon, president of the BART Police Officers’ Association, wrote in a letter to Ammiano’s office. “They also said that they will have every law enforcement agency in the state oppose the bill.” Ammiano’s bill would have prevented police officers from serving in oversight roles and would have granted more power to the OCC.

The bill that went forward instead, Assembly Bill 1586, was crafted by BART, supported by PORAC, and introduced by Assemblymember Sandre Swanson (D-Oakland). Under this system, the oversight process begins with a police auditor selected by the BART Board of Directors, and a citizen board — which may include police officers.

According to Lynette Sweet, a member of the BART Board who spoke about the bill during a community meeting in Oakland in August 2009, PORAC opposed Ammiano’s bill because it would have allowed the state to direct municipalities throughout California to create civilian-oversight offices. “PORAC doesn’t want to see that happen. So we’ve now become the lesser of two evils for them,” she said.

On Oct. 29, BART held a dedication ceremony for the new police auditor office and honored Swanson for bringing the legislation forward. The transit agency has initiated a search to fill the civilian-oversight positions. But the rifts in the community over this shooting are far from healed.

On one side, a politically powerful and financially robust police lobby is actively influencing civilian-oversight legislation and spending top dollar trying to keep Mehserle out of prison. On the other, a grassroots community movement furious about police brutality against black and Latino youth is gaining momentum.

Only Judge Robert Perry knows what his own personal interpretation of justice is, and he alone will determine if or for how long Mehserle will spend time behind bars. If he is spared from prison, the community will be outraged. If he is incarcerated, Mehserle supporters will be outraged. But regardless of the decision, Mehserle’s life will go on.

Election Night Parties

Sasha Cuttler
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7

These are heady days to live in San Francisco, what with the Giants’ World Series victory last night, Halloween festivities the night before, and today’s Dia de los Muertos, which I believe is Spanish for Election Night (okay, we know they’re different, but given this year’s electoral slate, we couldn’t resist). It’s also a big election for The City, with our own Gavin Newsom and Kamala Harris seeking statewide office, a pivotal Board of Supervisors election, and some controversial propositions.

As usual, we’ll be covering and blogging all the election action live on this site. But if you’d like to get out there and mix and mingle with the politicos yourself, here’s the list of parties, which will be updating as we learn about more of them:

Board of Supervisors

D2

Janet Reilly – La Barca Restaurant, 2036 Lombard St. @ Fillmore

D6

Debra Walker- 8-10pm Outsider (894 Geary) and 10-12:30am, Great American Music Hall, 859 O’Farrell

Jane Kim: Public Works, 161 Erie Street @ Mission

Jim Meko- Campaign HQ, 364 10th Street

James Keys- Amsterdam Cafe (937 Geary, between Larkin and Polk)

Theresa Sparks: Don Ramon’s, 225 11th Street

Glendon “Anna Conda” Hyde: Eagle Tavern, 12th and Harrison

D8

Rafael Mandelman – Pilsner Inn, 225 Church St., @ Market

Scott Weiner: Harvey’s. 500 Castro @ 18th

Rebecca Prozan: Noe Valley Tavern, 4054 24th St., between Noe and Castro

D10

Lynette Sweet: Campaign HQ, 1 Rhode Island

Chris Jackson: Campaign HQ, 93 Leland Ave.

Dewitt Lacy: Bloom’s Saloon, 1918 18th @ Missouri

Steve Moss: Goat Hill Pizza, 300 Connecticut

Tony Kelly, Potrero Hill Neighborhood House, 953 DeHaro,

Malia Cohen: Poquito’s, 2368 3rd Street

SF School Board

Kim-Shree Maufas – Circulating with stops at Walker Democratic Party parties.

Hydra Mendoza: Mercury Lounge, 1582 Folsom St., @ 11th St.

Margaret Brodkin: home, 45 Graystone Terrace

Emily Murase: 6-9pm 142 Clearfield Drive (Between Ocean and Eucalyptus

Interest Groups

SF Labor Council/Democratic Party: Great American Music Hall, 859 O’Farrell St.

League of Pissed Off Voters: El Rio, 3158 Mission

Conservatives/Tea Party California Council: Pirro’s Restaurant, 2244 Taraval

SF Propositions

No on B – Great American Music Hall, with Dems/Labor

Yes on Prop B/Adachi: Lava Lounge, 527 Bryant Street

Yes on D, Mercury Lounge, 1582 Folsom @ 12th

No on L: Great American Music Hall, with Dems/Labor

Yes on L: Hobson’s Choice, 1601 Haight

State and Federal Races

John Dennis for Congress: Nectar Wine lounge, 3330 Steiner (off Lombard)

Jerry Brown for Governor: Fox Theater, 1807 Telegraph Ave, Oakland

Gavin Newsom for Lt. Gov: Tres Agaves – La Plaza De Agave Room, 130 Townsend @ 2nd

Kamala Harris for Attorney General, Delancey Street Foundation, 600 Embarcadero

 

Rebecca Kaplan for Oakland Mayor: Everett & Jones BBQ, 126 Broadway, Oakland

Hot sexy events: October 27th-November 2nd

Andrew Lam
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0

So you loved it when the princess in Disney movies was tied up, but aren’t quite sure if you’re ready to make the move to complicated (read: spendy) ropes and harnesses? No fear, my dear! Alluring ropes lady Midori is here to teach you how to hold down your naughty loved one with the aid of but a few handy scarves at her upcoming Good Vibrations class (Mon/1). Can you believe you can make a dildo harness from a kicky accessory? Come to think of it, dildo harnesses might just be the most kicky accessory of them all…

 

Erotic Reading Circle

Because where oh where will all those literary dirty thoughts in your head go, if not out your mouth and onto the printed page? An opportunity for all those venturing into erotica writing to test out their material in front of a welcoming, sex-positive crowd, hosted by Carol Queen and Jen Cross of Writing Ourselves Whole.

Wed/27 7:30-9:30 p.m., free

Center for Sex and Culture

1519 Mission, SF

(415) 552-7399

www.sexandculture.org


Halloween Pansexual Play Party

For all voyeurs, tops, bottoms, switches, here’s the perfect chance to check out Oakland’s relatively new dungeon space. Space mistresses Jezebel and Isabella will be more than happy to aide you in your BDSM hauntings. 

Fri/29 8 p.m.-1 a.m., $20 single-$35 couple

The Looking Glass Dungeon

Jack London Square, Oakl.

 www.myspace.com/thelookingglassdungeon 

mail@thelookingglassarts.com 


Kinky Salon XXX Haunted Funhouse

I’m not really sure how you’ll find time to engage in copulation at this fake blood scare sex session. Between beats by clown-hop Burner DJ http://gooferman.com/ Gooferman, demon summonings, seances, zombie strippers, and ahem, fake spiders on strings (watch that he doesn’t dangle into unwelcoming orifices, will ya) – well, I’m sure you’ll find time. After all, it’s a two-night party.

Fri/29 and Sat/30 10 p.m., $25-$30 members only

Mission Control

2519 Mission, SF

www.missioncontrolsf.org


Wonderland at the Citadel

The Citadel is quick to note that unlike Wonderland, events at the Citadel do not inspire with the mere ingestion of fungi or snack treats – although that’d be awesome if they did. This is why they are having this fundraiser, which will plunge the appreciative perv into the White Rabbit, the Mad Hatter, various tea party refreshments, burlesque, and a dirty singalong of “My Favorite Things.” Plus an auction will be held where things like corsets, gags, sensual cupping scenes, and rattan canes can be had for a bid. 

Sat/30 3-6 p.m., $10

SF Citadel

1277 Mission, SF

(415) 626-2746

www.sfcitadel.org


Citadel Cinema: Rob Zombie’s Halloween

How often during the course of your dungeon play party do you look up and think man, I wish there was a big screen TV over there? Well, all you screen-addicted creatures of the 21st century, your time is now! In honor of the scariest time of year besides Fleet Week, the Citadel is playing one of Rob Zombie’s gore fests – with It’s the Great Pumpkin, Charlie Brown as a bonus teaser. Invite says bring your own pillows and blankets, uh-oh!

Sun/31 6-10:30 p.m., $5

SF Citadel

1277 Mission, SF

(415) 626-2746

www.sfcitadel.org


Wrapped for Pleasure: Easy Bondage for Steamy Sex

You need not have a fully-equipped dungeon to have fun with toys. Let an expert teach you the utility of a few well-placed scarves and cushions. Viola! You are now kinky. 

Mon/1 6-8 p.m., $20-$25

Good Vibrations

1620 Polk, SF

(415) 345-0500

www.goodvibes.com

 

 

 

Fall election ’10 clip out guide

Andrew Lam
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15
Fall election ’10 clip out guide

Click here for the San Francisco Bay Guardian’s complete endorsements — and happy voting. CLICK HERE for the printable PDF from our home page.


 

NATIONAL RACES

U.S. Senate

Barbara Boxer

 

Congress, 6th District

Lynn Woolsey

 

Congress, 7th District

George Miller

 

Congress, 8th District

Nancy Pelosi

 

Congress, 9th District

Barbara Lee

 

Congress, 13th District

Pete Stark

 

STATE RACES

Governor

Edmund G. Brown

 

Lieutenant governor

Gavin Newsom

 

Secretary of state

Debra Bowen

 

Controller

John Chiang

 

Treasurer

Bill Lockyer

 

Attorney general

Kamala Harris

 

Insurance commissioner

Dave Jones

 

Board of Equalization, District 1

Betty Yee

 

Superintendent of public instruction

Tom Torlakson

 

State Senate, District 8

Leland Yee

 

State Assembly, district 12

Fiona Ma

 

State Assembly, District 13

Tom Ammiano

 

State Assembly, District 14

Nancy Skinner

 

State Assembly, District 16

Sandré Swanson

 

STATE BALLOT MEASURES

Prop. 19: YES, YES, YES

Prop. 20: NO

Prop. 21 YES

Prop. 22: NO

Prop. 23: NO, NO, NO

Prop. 24: YES

Prop. 25: YES, YES, YES

Prop. 26: NO, NO, NO

Prop. 27: YES

 

SAN FRANCISCO CANDIDATES

Supervisor, District 2

Janet Reilly

 

Supervisor, District 4

No endorsement

 

Supervisor, District 6

1. Debra Walker

2. Jane Kim

3. Glendon “Anna Conda” Hyde

 

Supervisor, District 8

Rafael Mandelman

 

Supervisor, District 10

1. Tony Kelly

2. DeWitt Lacy

3. Chris Jackson

 

Board of Education

Margaret Brodkin

Kim-Shree Maufas

Hydra Mendoza

 

Community College Board

John Rizzo

 

BART Board, District 8

Bert Hill

 

Assessor-Recorder

Phil Ting

 

Public Defender

Jeff Adachi

 

San Francisco Superior Court, Seat 15

Michael Nava

 

SAN FRANCISCO BALLOT MEASURES

Prop. AA: YES

Prop. A: YES Prop. B: NO, NO, NO

Prop. C: YES

Prop. D: YES

Prop. E: YES

Prop. F: NO

Prop. G: NO

Prop. H: NO

Prop. I: YES

Prop J: YES

Prop. K : NO

Prop. L : NO, NO, NO

Prop. M: YES

Prop. N: YES

 

EAST BAY ENDORSEMENTS

BART Board District 4

Robert Raburn

 

Berkeley City Auditor

Ann-Marie Hogan

 

Berkeley City Council District 1

Linda Maio

 

Berkeley City Council District 4

Jesse Arreguin

 

Berkeley City Council District 7

Kriss Worthington

 

Berkeley City Council District 8

Stewart Jones

 

Berkeley Rent Board

Asa Dodworth

Lisa Stephens

Jesse Townley

Pam Webster

Dave Blake

Katherine Harr

 

Oakland City Auditor

Courtney Ruby

 

Oakland Mayor

1. Rebecca Kaplan

2. Jean Quan

 

Oakland City Council District 2

Jennifer Pae

 

Oakland City Council District 4

Daniel Swafford

 

Oakland City Council District 6

Jose Dorado

 

EAST BAY BALLOT MEASURES

Berkeley Measure H: YES

Berkeley Measure I: YES

Berkeley Measure T: YES

Oakland Measure L: YES

Oakland Measure V: YES

Oakland Measure W: YES

Oakland Measure X: NO

Oakland Measure BB: YES

 

Stage

Andrew Lam
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0

 

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


OPENING

Equus Boxcar Theatre Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $10-25. Opens Wed/27, 8pm. Runs Wed-Sat, 8pm. Through Nov 20. Boxcar Theatre kicks off its fifth season with Peter Shaffer’s drama, directed by Erin Gilley.

Failure to Communicate The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. Call for prices. Opens Fri/29, 8pm. Runs Fri-Sat 8pm; Sun, 2pm. Through Nov 14. Perfomers Under Stress opens its sixth season with the world premiere of a physical theater piece by Valerie Fachman.

The Unexpected Man EXIT Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $18-25. Opens Fri/29. Runs Fri-Sat, 8pm; Sun, 3pm. Through Nov 14. Spare Stage revives Yasmina Reza’s ironic comedy, starring Ken Ruta.

BAY AREA

Becoming Britney Center REPortory Company, Knight Stage 3 Theatre, 1601 Civic Drive, Walnut Creek; (925) 943-SHOW, www.centerREP.org. $25. Previews Thurs/28-Fri/29, 8:15pm. Opens Sat/30, 8:15pm. Runs Thurs-Sat, 8:15pm; Sun, 2:15pm. Through Nov 14.Center REPortory Company presents an original musical about a naïve pop star, written by Molly Bell and Daya Curley.

Palomino Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Previews Fri/29-Sat/30 and Nov 3, 8pm; Sun/31, 2pm; Tues/2, 7pm. Opens Nov 4, 8pm. Runs Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Dec 5. David Cale brings his new solo play about a gigolo to Aurora Theatre for its Bay Area premiere.

Pirates of Penzance Novato Theatre Company Playhouse, 484 Ignacio, Novato; 883-4498, www.novatotheatercompany.org. $12-22. Opens Thurs/28, 8pm. Runs Thurs-Sat, 8pm; Sun, 3pm. Through Nov 21. Novato Theatre Company revives the popular Gilbert and Sullivan swashbuckling tale.

ONGOING

Christian Cagigal’s Obscura: A Magic Show EXIT Cafe, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $15-25. Thurs-Sat, 8pm. Through Dec 18. Magician Christian Cagigal presents a mix of magic, fairy tales, and dark fables.

Dracula’s School for Vampires Young Performers Theatre, Fort Mason Center, Bldg C, Third Floor, Room 300; 346-5550, www.ypt.org. $7-10. Sat, 1 pm; Sun, 1 and 3:30pm. Through Nov 14. Young Performers Theatre presents a Dracula comedy by Dr. Leonard Wolf.

Equus Boxcar Theatre Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $10-25. Opens Wed/27, 8pm. Runs Wed-Sat, 8pm. Through Nov 20. Boxcar Theatre kicks off its fifth season with Peter Shaffer’s drama, directed by Erin Gilley.

Futurestyle ’79 Off-Market Theater, Studio 250, 965 Mission; (800) 838-3006, www.brownpapertickets.com. $15-20. Wed, 8pm. Through Wed/27. A fully improvised episodic comedy played against the backdrop of SF in 1979.

Glory Days Boxcar Studios, 125 Hyde; www.jericaproductions.com. $30. Fri-Sat, 8pm; Sun, 2pm (no performance Sun/31). Through Nov 7. Jerica Prodcutions and the Royal Underground Theatre company present Nick Blaemire’s and James Gardiner’s one-act musical.

Habibi Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. $15-25. Thurs-Sun, 8pm. Through Nov 7. Intersection for the Arts and Campo Santo present the world premiere of a play by Sharif Abu-Hamdeh.

*Hamlet Alcatraz Island; 547-0189, www.weplayers.org. By donation. Sat-Sun, times vary. Through Nov 21. Outside of an actual castle, it would hard to say what could serve as a more appropriate stand-in for Kronborg castle of Helsingør—also known as Elsinore—than the isolated fortress of Alcatraz Island, where WE Players are presenting Hamlet in all its tragic majesty. As audience members tramp along

stony paths and through prison corridors from one scene to the next, the brooding tension the site alone creates is palpable, and the very walls impart a sense of character, as opposed to window-dressing. Deftly leaping around rubble and rock, a hardy troupe of thespians and musicians execute the three-hour

production with neat precision, guiding the audience to parts of the island and prison edifice that aren’t usually part of the standard Alcatraz tour package. Incorporating movement, mime, live music, and carefully-engineered use of space, the Players turn Alcatraz into Denmark, as their physical bodies meld into Alcatraz. Casting actress Andrus Nichols as the discontent prince of Denmark is an incongruity that works, her passions’ sharp as her swordplay, the close-knit family unit of Laertes, Ophelia, and Polonius are emphatically human (Benjamin Stowe, Misti Boettiger, Jack Halton), and Scott D. Phillips plays the

appropriately militaristic and ego-driven Claudius with a cold steel edge. (Gluckstern)

Hedda Gabler Phoenix Theatre, suite 601, 414 Mason; (800) 838-3006, www.offbroadwaywest.org. $35.

The action unfolds in the parlor of the newly married Tesmans, young mediocre academic George (Adam Simpson) and town beauty Hedda, née Gabler (a crisp, tightly wound and nicely understated Cecilia Palmtag), a woman of exceptional intelligence, ambition and pride—to call her fiery wouldn’t be bad either, especially since she’s so fond of shooting off her late father’s pistols. Frustrated by her paltry new life, Hedda seeks news of an old flame, Eilert Lovborg (Paul Baird), via the admiring and vaguely lecherous Judge Brack (Peter Abraham) and a timid acquaintance from school days, Thea (Joceyln Stringer). The semi-wild but brilliant Lovborg has published a new book that imperils George’s chances for a professorship. Less interested in securing George’s career than controlling Lovborg’s destiny, Hedda soon manipulates events around her with bold determination and tragic consequences. Passionate, violent and psychologically complex, Henrik Ibsen’s titular heroine is at turns sympathetic and disturbing, an independent soul trapped in and warped by a society that allows her too little scope—a modern predicament that has inspired many modern and postmodern adaptations. Off Broadway West’s straight-ahead production of the late-19th-century drama, helmed by artistic director Richard Harder, remains faithful to the period setting. This includes Bert van Aalsburg’s respectable scenic design and Sylvia Kratins impressive costumes, as well as the old if fine translation by William Archer, who first introduced Ibsen to the English-speaking world. Unfortunately, the quaint diction is not handled with equal grace across an uneven cast. Palmtag’s solid, at times admirable performance in the lead, however, goes a good way toward grounding an otherwise patchy production. (Avila)

Last Days of Judas Iscariot Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.CustomMade.org. $10-30. Thurs-Sat, 8pm. Through Sat/30. Custom Made Theatre Company presents the 2005 play by New York’s Stephen Adly Guirgis (Our Lady of 121st Street, Jesus Hopped the A Train), which places purgatorial Judas (Kristoffer Alberto Barrera) on trial to determine his deserved fate for dropping a dime on Jesus and all that jazz. Flamboyant, sycophantic and horny prosecutor El-Fayoumy (Ben Ortega) and defense attorney Loretta (Amelia Avila) call between them a series of brow-raising witnesses—including Mother Teresa (Brandy Leggett), Sigmund Freud (Catz Forsman), and Satan (Richard Wenzel)—as Judas (seated on the upper tier of Sarah Phykitt’s suitably imposing split-level set) stares stoically in relative silence or appears in a series of childhood flashbacks. Characteristically funny and streetwise, as well as versed in the Catholic rigmarole as filtered through a NYC-boroughs sensibility, Guirgis’s play is also unusually tedious in its jokey, poky unfolding since—offering not much more than a cipher in the largely mute Iscariot—the proceedings lack a strong sense of dramatic stakes. It feels more like a revue than a play, or like an unnecessarily long-winded excuse for the final, well-turned concluding monologue by a heretofore marginal character (a speech delivered with admirable understatement by director Brian Katz). (Avila)

Law and Order: San Francisco Unit: The Musical! EXIT Theater, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $10. Mon, 8pm. Through Nov 15. Funny But Mean comedy troupe extends its newest show at a new venue.

Mary Stuart The Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $15-30. Thurs-Sat, 8pm; Sun, 5pm. (also Wed/27, Nov 3; 7pm). Through Nov 7. Shotgun Players presents Friedrich Schiller’s historical drama, directed by Mark Jackson.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 10th St; (8008) 838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through Dec 19. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Proof Exit Stage Left Theatre, 156 Eddy; www.belljartheatre.com. $20. Fri-Sat, 8pm. Through Sat/30. Bell Jar Theatre presents David Auburn’s award-winning play.

*The Real Americans The Marsh MainStage, 1062 Valencia; (800) 838-3006; www.themarsh.org. $20-50. Wed-Fri, 8pm; Sun, 5pm. Through Nov 6. The fifth extension of Dan Hoyle’s acclaimed show, directed by Charlie Varon.

*SHIToberfest Off-Market Theaters, 965 Mission; (800) 838-3006, www.brownpapertickets.com. $20. Fri-Sat, 8pm. Through Sat/30. This special October run of PianoFight’s bowel-loosening comedy series, the S.H.I.T. Show (for acronym fans, that’s the Stop Hating Imagination Time Show), revolves dizzyingly around the subject of beer, Germans and, perhaps less explicably, flatulent dolphins, among much else in the wide open seas of poor taste. Is it hilarious? It is. And you don’t even need to smuggle in a forty to make it so, though it certainly doesn’t hurt. Fine comic acting throughout a charismatic cast (including writer-director-producers Alex Boyd, Zach Cahn, Jed Goldstein, Ray Hobbs, Devin McNulty, Evan Winchester and Duncan Wold, with help from Nicole Hammersla, Gabrielle Patacsil, Rob Ready, Derricka Smith, Andy Strong, Jacque Vavroch and Dan Williams) combines here with generally solid to exceptional sketch work, video and song. Add in a permeating spirit of revelry, debauchery and irreverence and the evening becomes a diversion of the first order, culminating in an utterly sacrilicious sketch about a bunch of toasted beer-brewing monks treated to a papal visit—one of the best venial sins for your buck. When it comes to Octoberfesting this year, “Bavaria” is just S.H.I.T.–faced for Bay Area. (Avila)

Shocktoberfest!! 2010: Kiss of Blood Hypnodrome Theatre, 575 10th; (800) 838-3006, www.brownpapertickets.com. $25-35. Thurs-Fri, 8pm (Thurs/28-Sun/31 include performances of The Forsaken Laboratory by the Brazilian Grand Guignol group Vigor Mortis). Through Nov 19. Thrillpeddlers’ seasonal slice of eyeball is comprised of three playlets variously splattered with platelets, all directed by Russell Blackwood and bridged by a rousing burst of bawdy song from the full cast. Rob Keefe’s Lips of the Damned (after La Veuve by Eugene Heros and Leon Abric) takes place in a rat-infested museum of atrocities just before the fumigating starts, as an adulterous couple—comprised of a kinky married lady (a vivacious Kara Emry) and a naïve hunk from the loading dock (Daniel Bakken)—get their kicks around the guillotine display, and their comeuppance from the jilted proprietor (Flynn DeMarco). Keefe’s delightfully off-the-wall if also somewhat off-kilter Empress of Colma posits three druggy queens in grandma’s basement, where they practice and primp for their chance at drag greatness, and where newly crowned Crystal (a gloriously beaming Blackwood) lords it over resentful and suspicious first-runner-up Patty Himst (Eric Tyson Wertz) and obliviously cheerful, non-sequiturial Sunny (Birdie-Bob Watt). When fag hag Marcie (Emry) arrives with a little sodium pentothal snatched from dental school, the truth will out every tiny closeted secret, and at least one big hairy one. Kiss of Blood, the 1929 Grand Guignol classic, wraps things up with botched brain surgery and a nicely mysterious tale of a haunted and agonized man (Wertz) desperate to have Paris’s preeminent surgeon (DeMarco) cut off the seemingly normal finger driving him into paroxysms of pain and panic. Well-acted in the preposterously melodramatic style of the gory genre, the play (among one or two other things) comes off in a most satisfying fashion. (Avila)

Sunset Limited SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3 and 8pm. Through Nov 6. This 2006 play by Cormac McCarthy exhibits some of the best and worst of the celebrated author, but significantly more of the latter. It sets an aging white academic and failed suicide (Charles Dean) in a room with his rescuer and would-be savior, a poor black social worker (Carl Lumbly), who has just snatched him from a railway platform ahead of a tête-à-tête with a train called the Sunset Limited. Both characters remain nameless, emphasizing the abstract pseudo-Socratic dimensions attendant on the dialogue-driven realism here (staged with a knowing wink in director Bill English’s scenic design, a partially walled wood-framed shack with see-through slits between the thin horizontal planking). The black man is a born-again Christian and ex-con convinced Jesus has just given him a major assignment. His dogmatic certainty is matched by the white man’s nihilism and despair. “I believe in the primacy of the intellect,” the miserable prof tells his host, who’s locked the door on his self-destructive guest in an effort to buy time to change his mind. Leaving aside the historically clichéd, problematic and baggage-heavy dynamic of a poor black American devoted to the welfare of a rich white one, neither man moves from his respective position one inch (at least until perhaps and partially at the very end), which constrains the dramatic development. Moreover, both sides argue feebly, mainly by gainsaying whatever it is the other one says, making this not a great intellectual debate either. SF Playhouse’s production sets two fine actors at this heavy-handed twofer, but little can be done to redeem so static and arid an exercise. (Avila)

Susie Butler Sings the Sarah Vaughan Songbook Exit Theater Cafe, 156 Eddy; (510) 860-0997, www.brownpapertickets.com. $15-20. Sat, 8:30pm. Through Nov 20. Local actress and singer Susie Butler takes on the Sassy songbook.

Zombie Town Stage Werx Theatre, 533 Sutter; www.stagewerx.org. (800) 838-3006, www.brownpapertickets.com. $24. Thurs-Sat, 8pm (also Sun/31, 5pm). Through Sun/31. Catharsis Theatre Collective presents a documentary play about zombie attacks in Texas.

BAY AREA

*Compulsion Berkeley Repertory Theatre, Thrust Stage, 2025 Addison; (510) 647-2949, www.berkeleyrep.org. $29-85. Dates and times vary. Through Sun/31. Director Oscar Eustis of New York’s Public Theater marks a Bay Area return with an imaginatively layered staging of Rinne Groff’s stimulating new play. Compulsion locates the momentous yet dauntingly complex cultural-political outcomes of the Holocaust in the career of a provocative Jewish American character, Sid Silver, driven by real horror, sometimes-specious paranoia, and unbounded ego in his battle for control over the staging of Anne Frank’s Diary. A commandingly intense and fascinatingly nuanced Mandy Patinkin plays the brash, litigious Silver, based on real-life writer Meyer Levin, a best-selling author who obsessively pursued rights to stage his own version of Anne Frank’s story. The forces competing for ownership of, and identification with, Anne Frank and her hugely influential diary extend far beyond her father Otto, Silver, or the diary’s publishers at Doubleday (represented here by a smooth Matte Osian in a variety of parts; and a vital Hannah Cabell, who doubles as Silver’s increasingly alarmed and alienated French wife). But the power of Groff’s play lies in grounding the deeply convoluted and compromised history of that text and, by extension, the memory and meanings of the Holocaust itself, in a small set of forceful characters—augmented by astute use of marionettes (designed by Matt Acheson) and the words of Anne Frank herself (partially projected in Jeff Sugg’s impressive video design). The productive dramatic tension doesn’t let up, even after the seeming grace of the last-line, which relieves Silver of worldly burdens but leaves us brooding on their shifting meanings and ends. (Avila)

Dracula Center REPertory Company, 1601 Civic, Walnut Creek; (925) 943-SHOW, www.centerrep.org. $36-42. Wed, 7:30pm; Thurs-Sat, 8pm; Sun, 2:30pm (also Nov 20, 8pm). Through Nov 20. Eugene Brancoveanu stars as the Count in a production directed by Michael Butler.

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Nov 21. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*The Great Game: Afghanistan Roda Theatre, 201 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $17-73. Call for times. Through Nov 7. Berkeley Rep presents the West Coast premiere of a three-part show about Afghanistan.

*Loveland The Marsh Berkeley, 2120 Allston Way; (800) 838-3006, www.brownpapertickets.com. $20-50. Fri, 7pm; Sat, 5pm. Through Nov 13. Ann Randolph’s acclaimed one-woman comic show about grief returns for its sixth sold-out extension.

Superior Donuts TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro; (650) 463-1960, www.theatreworks.org. $19-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sun/31. This latest from Tracy Letts (August: Osage County, Killer Joe) starts out as a delicious treat but a hollowness in the center of it all leaves one less than fully unsatisfied. Director Leslie Martinson’s cast shines, however, as the action unfolds in crisp, engaging scenes set in the titular run-down donut shop in Chicago’s slowly gentrifying Uptown neighborhood. Owner-operator Arthur Przybyszewski (Howard Swain) is an aging baby boomer and second-generation Polish immigrant who fled to Canada to avoid the Vietnam draft and returned years later to take over his parents shop, alienated and hesitant, though well liked by his regulars. At least most: As the play opens his shop has been vandalized. Two beat cops are on the scene, James (Michael J. Asberry) and Randy (Julia Brothers), the latter eventually displaying a visible crush on an oblivious, then discombobulated Arthur. When an impressive young African American man named Franco (Lance Gardner) comes in and charms his way into a job, Arthur gradually finds himself drawn out of his shell and faced with the challenge of valuing another human being more than his own hide—a challenge underscored by Arthur’s several monologues, in which his personal history comes to the fore. The play feels pat and a little lazy-sentimental in the end, but there’s no denying the entertainment afforded here, especially by the magnetic pairing of leads Swain and Gardner. (Avila)

Winter’s Tale Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $12-15. Fri-Sat, 8pm (also Sun/31, Nov 7, and Nov 14, 2pm; Nov 18, 8pm). Through Nov 20. Actor’s Ensemble of Berkeley presents the rarely-performed Shakespeare play.

PERFORMANCE/DANCE

“Beloved: A Requiem for Our Dead” CELLspace, 2050 Bryant; (510) 207-6101. $10-20. Fri/29, 8pm. Mangos With Chili presents a night of conjuring, memory, mourning and celebration.

“The ChatRoulette Halloween Show” Makeout Room, 3225 22nd St; www.chatrouletteshow.com. $12-15. Sat/30, 7:30pm. The Illuminated Theater presents a special Halloween edition of its show.

Alicia Dattner Off-Market Theater, 965 Mission; (917) 363-9646, www.aliciadattner.com. $20. Fri/29, 8pm.

“Fright Nights at the Wharf” Castagnola’s, 286 Jefferson; (800) 838-3006, www.brownpapertickets.com. $10. Fri/29-Sat/30, 8pm. An evening of stand-up comedy by the water.

“Ghost Stories and other Horrors!” Jellyfish Gallery, 1286 Folsom; www.firesidestorytelling.com. $5. Wed/27, 8pm. Fireside Storytelling presents an evening of ghoulish tales.

“Kaleidoscope Cabaret” Brava Theater, 2781 24th St; (800) 838-3006, www.brownpapertickets.com. $20-25. Sat/30, 8pm. An evening of drag, burlesque, song, and aerial art by performers of color.

“Karaghiozis Saves the Economy” Hallidie Plaza, Market and 5th; 648-446, www.shadowlight.org. Free. Sun/31, 7pm. A Greek shadow theatre performance by Leonidas Kassapides.

“Make Drag, Not War!” Dance Mission Theater, 3316 24th St; www.dancemission.com. $15-20. Sun/31, 8pm. A drag show and dance party hosted by Artist Malcolm Drake.

“MUNI Diaries Live!” Makeout Room, 3225 22nd St; 647-2888, www.munidiaries.com. $5. Fri/29, 7:30pm. An evening of MUNI stories.

“Road trip to Pluto” 4 Star Theatre, 2200 Clement; (800) 838-3006, www.brownpapertickets.com. $9.99-12. Thurs/28, 8:30pm. Bitter Show reprises its contribution to the SF Fringe Fest.

“Romane Event Comedy Show: Super Special Election and Halloween Edition” Makeout Room, 3225 22nd St; 647-2888, www.pacoromane.com. Wed/27, 7:30pm. Paco Romane’s guests include Will Durst, Casey Ley, Grant Lyon, and Pamela Ames.

Devendra Sharma CounterPULSE, 1310 Mission; www.counterpulse.org. $14-24. Thurs/28-Sat/30, 8pm; Sun/31, 2pm. CounterPULSe’s “Performing Diaspora” program presents a contemporary take on Nautanki theater by Sharma.

“Stories From a Haunted Forest” Presidio’s Log Cabin, 1299 Story; www.bindlestiffstudio.org. Free. Sat/30, 7pm. Bindlestiff Studio presents a one-night-only phantasmic experience.

“Teatro Zinzombie!” Pier 29 at Battery; 438-2668, www.love.zinzanni.org. 117-167. Sun/31, 5:15pm. TeatroZinzanni is haunted for one night.

Trailer Park Boys Palace Fine Arts Theatre, 3601 Lyon; 567-6642, www.ticketmaster.com. $45-58. Thurs/28, 7:30pm. The fabled boys appear live in concert.

“Twilight Vixen Revue” SOMArts, 934 Brannan; (800) 838-3006, www.brownpapertickets.com. $12. A special Halloween edition.

“Upper Cut” The Dark Room, 2263 Mission; www.darkroomsf.com. $10. Thurs/28, 8pm. A weekly improve and sketch comedy open mic.

BAY AREA

Hubbard Street Dance Chicago Zellerbach Hall, UC Berkeley campus, Berk; (510) 642-9988, www.calperformances.org. $31-68. Fri/29-Sat/30, 8pm. The acclaimed dance company performs some West Coast premieres.

“Persephone’s Boots” Codornices Park, Berk; www.raggedwing.org. Free. Wed/27-Sun/31, 5:30pm. Ragged Wing Ensemble presents the world premiere of a performance created by Anna Schneiderman and the ensemble.

 

 

The mad hatter

Andrew Lam
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0
The mad hatter

 

le.chicken.farmer@gmail.com

CHEAP EATS I had a coffee date after work in Alameda. He wasn’t feeling well and wondered about chicken soup. I knew exactly what to tell him, and he invited me to come along, but got it to go.

“Do you want a drink?” he said, while we were waiting.

I liked the guy alright, but don’t drink before dinner.

When his soup came, he walked me to my bike and gave me a hug.

“Let me know what you think of the soup,” I said. The place was La Piñata, but it said something else on it. It still said La Piñata, but it just also said I-forget-what. Some other name. So maybe it was La Piñata, and maybe not. But, hey, I get sick too, and what if my favorite bowl of chicken soup in Alameda is not what it used to be?

These were the thoughts I was thinking. Honestly, I knew I wasn’t going to see the guy again, datewise. I just wanted to know about the soup. In retrospect, of course I should have just ordered a bowl, to stay, and sent him packing.

I remember why I didn’t. I had to get to Deevee’s house in downtown Oakland to pick up/borrow my/her pink cowboy hat before she went to sleep. This was important because I was going camping the next day, and Deevee goes to sleep early. So no matter how hungry I was (very very), I had to suck it up, bike to BART, BART to downtown Oakland, bike to Deevee’s, and bike back toward BART on an empty stomach.

All for the sake of a pink cowboy hat. What can I say? I have a huge fucking head, and this is one of only two hats I have found in my life that fits it. It’s good to have a cowboy hat when you go camping. Keeps the sun off your ears, the rain out of your eyes, and the pine needles out of your hair — and if it’s pink it might even make you popular with park rangers.

Just a thought.

Thinking which, I forsook a bowl of sit-down soup to get to Deevee’s before bedtime (hers). Then, on my way back to BART, I thought I would duck into the first restaurant I saw for a quick little bite of something-or-other.

Binh Minh Quan. Vietnamese. Downtown Oakland just a couple blocks shy of BART on 12th Street. It was after 9 p.m. so the place was more than half-empty.

Me, I rarely want to eat in a hurry, but I do, on occasion, have low blood sugar meltdowns that — as many of my friends will attest — can get a little dicey. Usually I manage to keep the dice in my head. I just quietly go crazy, lose my sense of self and direction, then, glazed and psychotic, stagger to the nearest refrigerator and eat every single thing in it in 30 seconds or less. Blink, everything’s okay again, give or take a little heartburn.

I’ve learned to stave off these attacks by eating five meals a day and snacking in between. But sometimes when I’m at work, dating over coffee, or on an urgent hat-related mission — not to mention all three back-to-back — shit happens.

Wouldn’t you know it? The cute little staff of Binh Minh Quan, on this particular evening, was entirely overwhelmed by a party of seven. It took them almost 15 minutes to take my order, and another 20 or so to bring me my bun. Meanwhile, I tried to distract myself by talking local politics to my hat in a Cookie Monster voice, but under my breath.

Finally! The bun was of course great, but no way is this my New Favorite Restaurant. No. My New Favorite Restaurant is the guy at El Rio who makes fry bread, or Indian tacos, on Monday nights. His name is Rocky, he recently transplanted himself here from Arizona, and I think he might be Apache or else maybe I got that wrong.

Any case, I’ve run into him twice, once on the sidewalk and once on the El Rio patio, and both times he made my day. His savory fry bread, stacked with beans, cheese, and onions, transports me back to Delta’s Depression Dough, and breakfast.

And that’s a great place to start. 

ROCKY THE FRY BREAD GUY @ EL RIO

Mon. 8 p.m. until he runs out of dough

3158 Mission, SF

(415) 282-3325

Cash only

Full bar

 

 

Appetite: Del Maguey and the glories of mezcal

Andrew Lam
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Appetite: Del Maguey and the glories of mezcal

There’s mezcal and there’s Del Maguey. You may have heard me talk about Del Maguey mezcals and the line’s founder, Ron Cooper, in the past. A session with the gentle yet passionate Ron (like his mezcal seminar at 2010 Tales of the Cocktail) is an experience you’re not likely to soon forget. Even the way he describes fermentation stays with you: “wild creatures eating sugar, farting carbon dioxide, pissing alcohol!”

I’m leaving for Mexico next week, so sipping Del Maguey was getting me in the south of the border mood — even though I’m going to Tequila vs. Oaxaca, where most mezcal is produced. For the unfamiliar, mezcal is a spirit made from the heart (piña) of the maguey, an agave plant native to Mexico. Piñas are roasted underground, giving mezcal its distinctive smoky properties. Mezcal is the peaty scotch of tequila, which by definition is a mezcal made specifically from blue agave in Tequila, Mexico.

One thing I learned in Ron’s seminar is that traditionally, mezcal was rarely oak-aged for any length of time — more aged mezcals are being produced purely to gain in competing markets. Similar to tequila, mezcal styles include joven (literally “young,” and in this case referring to a silver liquor); blanco (white), which must be bottled within 2 months; reposado (rested), which ages 2-12 months in oak; anejo (mellow), aged a minimum of 1 year in oak; and the rare Pechuga (chicken breast), which can be triple-distilled with everything from fruits, nuts, white rice, to, yes, chicken.

Mezcal is usually drunk neat and you’ll find many in the Del Maguey line available by the shot at Nopalito. Places like Oakland’s Tamarindo Antojeria, with their new tequila bar, Miel, serve cocktails like the Mezcalito – ($12) with Del Maguey’s Creme de Mezcal, fresh orange and volcanic salt rim.

I’ve had the privilege of tasting most Del Maguey mezcals, each one a revelation. Here’s a few recommendations (available locally at Cask and K&L Wine Merchants):

Chichicapa, ($69.99) –  After multiple tastings, this may be my favorite for all-around balance. It marries the best elements of smooth smokiness with citrus. Despite a surprisingly light nose, there’s spice, chocolate, even mint on the finish. It reminds me of a fine coffee mole: succulent, spiced, earthy.

Crema de Mezcal ($39.99) – One of the more affordable in the line, this single village mezcal is made from unfermented agave syrup collected during roasting and exhibits a smoky, earthy sweetness with creamy texture. Works as a great introduction to mezcal for the uninitiated.

Mezcal Vida ($38.99) – Newer in the line, the Vida is another fine intro to mezcal: a pure, straightforward expression. Produced according to 400-year tradition with nothing but the agave heart and water, it’s bright with notes of fruit and sweet grass.

Tobala ($119.99) – Tobalá is a sophisticated level of mezcal, taking around eight Tobala piñas (hearts) to equal one piña from the most common maguey plants. Though fruity on the nose, the taste is elemental… smoke intermingles with tropical fruits and dusty cinnamon, with a long, smooth finish.

Minero ($69.99) – From the tiny village of Santa Catarina Minas, this mezcal is double-distilled, giving it greater smoothness with a floral essence tasting of warm honey and fig.

Santo Domingo Albarradas ($69.99) – Citrus and roasted pear combine with wood for a clean, dry mouth feel.

San Luis del Rio ($79.99) – Spice, fruit and ubiquitous smoke hit you on the nose, but there’s mineral citrus and volcanic earth inherent in this recent release produced two hours south of Oaxaca.

Pechuga ($200.00) – Pechuga starts with a double-distilled Minero base, to which 25 pounds of wild mountain apples, plums, red plantain bananas, pineapples, almonds and a few pounds of uncooked white rice are added to each 75 liters of mezcal for distillation round three. Though there is no taste of chicken, a whole chicken breast (minus the skin) has its excess oil removed while cleaned in water, then is hung over the still for a day while spirituous vapors condense into a clear liquid that drips from the bird into the mezcal. With intense citrus on the nose, this fruity spirit evokes earth but is a bright counterpart to the smoky, rocky soil of other mezcals. All that fruit imparts a robust fall glow by way of a gentle spring.

Subscribe to Virgina’s twice-monthly newsletter on SF’s hottest tastes and tipples, The Perfect Spot

 

On the edge

Andrew Lam
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On the edge

rebeccab@sfbg.com

It’s a strange and daunting time for anyone just starting out, but youth who age out of foster care are up against particularly harsh challenges.

In July, the national unemployment rate for 16- to 24-year-olds reached a staggering 51 percent, according to the Bureau of Labor Statistics. A recent article in The New York Times Magazine described how, in the face of a bleak job market, 20-somethings today are far more likely than those in past generations to go back to school, travel, volunteer, or complete unpaid internships — extending a phase of impermanence and financial dependency for years beyond what used to be considered the norm. Studies show that nearly half of youth between ages 18 and 25 move back home with their parents at least once.

But young people aging out of the foster care system typically have to face this world of churning uncertainty without the benefit of a safety net. Many post-foster care youth don’t have the luxury of “failing to launch,” embarking on an early career path without pay, or landing back home if nothing else pans out. Foster youth lose their support base at 18, when the state ceases to be their legal guardian. For these young people, who are often the least equipped to achieve financial self-sufficiency, becoming emancipated as a legal adult is no cause for celebration; rather, it’s a source of anxiety.

Most foster youth lack the skills, connections, and resources they would need to transition to independence at age 18 — a prospect that would be difficult even for youth with greater access to resources and no major family history problems. Studies measuring the outcomes for this population paint a grim picture: many wind up homeless, incarcerated, or at risk of losing children of their own by the time they reach their early 20s.

There’s a growing awareness that many of the approximately 5,000 youth who age out of foster care in California every year are slipping through the cracks. Local and state programs have been initiated to improve their chances of achieving independence, but efforts on both fronts have run up against obstacles.

In Sacramento, Assembly Bill 12 — which extends key services for foster youth to age 21 — was signed into law several weeks ago, but the intentions behind it were undermined when Gov. Arnold Schwarzenegger issued a line-item veto of $80 million in funding for child welfare programs. In San Francisco, a housing facility designed for youth at risk of homelessness seems to hold promise as an effective model, yet it has encountered resistance from local neighborhood organizations.

The plight of these young people is both a measure of our compassion and potentially a harbinger of larger societal problems to come.

HIGH STAKES

Kirsten Johnson-Bell is an emancipated youth who turned 18 in January. She has six siblings still in foster care in the East Bay, and she says she has been in more than 20 foster care placements since 2007.

Johnson-Bell told the Guardian that she has housing assistance that will last for 18 months — but she’s already beginning to wonder what will happen after that. “Where am I supposed to go?” Johnson-Bell wondered. If the experience of her peers who’ve exited the system is any indication, her concern is well founded.

Nationwide, nearly 40 percent of post-foster-care youth have been homeless at some point by the time they turn 24, according to survey results released by the University of Chicago and Partners for Our Children at the University of Washington. Just 6 percent had completed college degrees by that age, and only 48 percent were working — mostly in low-wage jobs. More than half of the young men had been convicted of crimes, and roughly three-quarters of the young women had received government benefits to meet basic needs. Teen pregnancy is statistically higher among young women exiting foster care.

Most youth in foster care aren’t housed continuously with a single caregiver, but bounce from place to place, making it tough to form long-lasting relationships. “It’s a fairly rare experience that youth stay in one home, and that means moving schools and moving friends,” notes Rachel Antrobus, executive director of Transitional Age Youth San Francisco (TAY SF), a city-funded nonprofit. Many foster kids take medication for behavioral problems, and it’s common for them to experience emotional upheaval.

“It’s practically inevitable that they’re going to have long-term emotional impacts,” Antrobus said, noting many bear the long-term scars of abuse, neglect, or forced separation from their families for some other reason. “It’s a much longer road, and they have to do it with deeper wounds. Even the kids that are the most together … will likely experience some really dark places in their 20s.”

In San Francisco, there are 1,400 young people in the foster care system, and all but about 500 are in placements outside the city. Lynette Davis, who turned 18 this year, moved from San Francisco to Oakland when she first entered foster care in the eighth grade. Davis acknowledges that she was one of the lucky ones. Rather than move in with a stranger, she went to live with her godmother and remained there until her 18th birthday.

Davis is now living with her boyfriend and his family in Oakland — and the household was in the process of moving when the Guardian spoke with her. Her godmother offered to continue housing her after she turned 18, Davis noted. “But she’s got her own kids. I felt like I should be able to go off and do my own thing.” The requirement in either housing situation is that she must work, go to school, or both, Davis said. She’s attending classes at Oakland’s Merritt College. In the meantime, she’s mired in the frustrating exercise of applying for job after job.

“It’s been pretty ridiculous,” Davis said of her fruitless job hunt. “Sometimes it makes me want to stop and give up. But as long as you’ve got people around you who care about you, it’s okay.”

Many foster kids who didn’t have the support network that Davis did are up against alarmingly high stakes as they age out. “Some people are mothers and they have to pay rent and are looking for more than two jobs,” she said. Asked what she thought were the greatest challenges facing foster youth in San Francisco, she mentioned poverty, gangs, and a lack of job opportunities.

“To be successful, you have to be financially stable,” she said. “With some youth, that’s hard. They don’t have jobs, or they can’t get jobs. They want to find an easy way out.” That’s when they become more susceptible to gangs or drugs, she said. Davis says she was a “rebellious youth” at a younger age, but now she’s focused on her goal of obtaining a degree in psychology so that one day she can go into counseling. When she became a member of California Youth Connections, which aids youth with transitional support, she met other foster youth and realized she could really have an impact.

HELP OR HARM?

The difference between ages 18 and 21 can be critical, so foster youth advocates throughout the state cheered Sept. 30 when AB12, California’s Fostering Connections to Success Act, was signed into law. It allows California to make use of federal matching funds to provide transitional support for qualifying foster youth until age 21. It also authorizes the state to take advantage of a federal subsidy for an existing guardianship program for relatives of foster youth who want to become caregivers. Many foster youth advocates have thrown support behind the kin caregiver model — it can be less traumatic for youth to move in with a grandparent than being suddenly dropped into a strange place.

A major sponsor of A 12 was the John Burton Foundation for Children Without Homes, and policy director Amy Lemley hailed its passage as “the biggest child-welfare improvement in 20 years.” Studies show that youth who receive support beyond 18 are 200 percent more likely to be working toward completion of a high school diploma, 65 percent less likely to have been arrested, and 54 percent less likely to have been incarcerated than those who exit with no support. The benefits could also generate savings by reducing the number of people in prison, on welfare, or in need of publicly funded health and human services. The law will be implemented in 2012.

The law also will provide new housing options. The federal government will chip in to cover more placements in the Transitional Housing Program Plus — nearly axed during the last budget cycle — which offers supervised transitional housing for emancipated youth. Youth may also receive a rent subsidy that could apply in a dorm, a shared-living situation, or another arrangement that fits the youth’s needs. This flexibility is a positive change, Lemley noted. “We’re not telling young people ‘it’s our way or the highway,'<0x2009>” she said.

“If a state like California can do this in the context of its current fiscal deficit, it sends a strong signal to other states,” Lemley said. However, an unexpected line-item veto put a damper on the landmark achievement. Schwarzenegger dealt a blow to the child-welfare system by cutting $80 million in funding for programs the California Legislature had restored, which actually amounts to more like $133 million due to the loss of federal matching funds.

“It’s really just a schizophrenic policy on the governor’s part,” Lemley said. “We were hoping he would have a legacy of the foster care governor, but now it doesn’t seem as if he will have that legacy at all.”

While the deep budget cut isn’t aimed at AB12 directly, Lemley said, it erodes funding for child-welfare workers and forces counties to make painful funding cuts. The overarching effect is that abuse and neglect may go undetected more often, and youth in the system will have fewer available resources once they’re placed.

ANOTHER CHANCE

Of all the challenges facing foster youth who age out of the system, housing is among the most critical, particularly in San Francisco. A partnership between the city, Larkin Street Youth Services, and nonprofit developer Community Housing Partnership (CHP) aims to address this by providing a space for transitional-age youth who wouldn’t otherwise be able to afford housing in the city. Located at the King Edward II Inn near Cow Hollow and the Marina district, the facility would house 24 young people, ages 18 to 24, who are at risk of homelessness.

“By definition, that includes youth aging out of foster care,” explains David Schnur of CHP. The nonprofits are working in tandem with the city’s Human Services Agency and Mayor’s Office of Housing.

Youth housed at Edward II would have access to physical and mental health care, substance abuse and HIV-related services, education and job training, coaching in basic life skills such as budgeting and personal hygiene, and case management, Schnur said. They would be required to contribute a portion of their income, whatever the amount, toward rent.

However, an organized force of opposition has already surfaced from the surrounding community, which comprises one of San Francisco’s wealthiest neighborhoods. “I think people are just nervous about what it means to have a building of this type in the neighborhood,” Schnur noted. To assuage neighborhood concerns, the nonprofits have set up a project advisory committee in hopes of talking it out and bringing everyone on board.

Patricia Vaughey, with the Marina-Cow Hollow Neighbors, is actively opposed to the project but insists that it isn’t out of NIMBY (Not In My Backyard) concerns. “We are not NIMBYs,” she told the Guardian. “We want to find a location that’s suitable. We want to make sure those kids are safe.” She said that criminal activity in the neighborhood made the inn a poor choice. Yet advocates insist that for the youth, the program could mean the difference between a lifetime of hardship and a chance to get their lives on track at a crucial age. “The safety net for these young people is so thin,” Lemley noted. “You might have one person, you might have another. But then the winds of change blow and suddenly the bloom falls off the rose.”

Our 44th Anniversary Issue also includes stories by Sarah Phelan on SF’s disadvantaged youth, Caitlin Donohue’s account of the Haight street kids, and Tim Redmond’s editorial on the issues facing our rising generation

Stage listings

David Talbot
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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.

THEATER

OPENING

Dracula’s School for Vampires Young Performers Theatre, Fort Mason Center, Bldg C, Third Floor, Room 300; 346-5550, www.ypt.org. $7-10. Opens Sat/23, 1pm. Runs Sat, 1 pm; Sun, 1 and 3:30pm. Through Nov 14. Young Performers Theatre presents a Dracula comedy by Dr. Leonard Wolf.

BAY AREA

Dracula Center REPertory Company, 1601 Civic, Walnut Creek; (925) 943-SHOW, www.centerrep.org. $36-42. Previews Fri/22-Sat/23, 8pm; Sun/24, 2:30pm. Opens Tues/26, 7:30 pm. Runs Wed, 7:30pm; Thurs-Sat, 8pm; Sun, 2:30pm (also Nov 20, 8pm). Through Nov 20. Eugene Brancoveanu stars as the Count in a production directed by Michael Butler.

The Great Game: Afghanistan Roda Theatre, 201 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $17-73. Call for times. Through Nov 7. Berkeley Rep presents the West Coast premiere of a three-part show about Afghanistan.

Winter’s Tale Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $12-15. Opens Fri/22, 8pm. Fri-Sat, 8pm (also Oct 31, Nov, 7, and Nov 14, 2pm; Nov 18, 8pm). Through Nov 20. Actor’s Ensemble of Berkeley presents the rarely-performed Shakespeare play.

 

ONGOING

Absolutely San Francisco Phoenix Theatre, Stage 2, 414 Mason; 433-1235, www.absolutelysanfrancisco.com. $20-25. Fri-Sat, 8pm. Through Sat/23. A one-woman musical starring Karen Hirst, with book and music by Anne Doherty.

Anita Bryant Died For Your Sins New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Sun/24. New Conservatory Theatre Center presents a show by Brian Christopher Williams.

Cat on a Hot Tin Roof Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Fri/22. Actors Theatre presents Tennessee Williams’ sultry, sweltering tale of a Mississippi family, directed by Keith Phillips.

Christian Cagigal’s Obscura: A Magic Show EXIT Cafe, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $15-25. Thurs-Sat, 8pm. Through Dec 18. Magician Christian Cagigal presents a mix of magic, fairy tales, and dark fables.

A Funny Thing Happened on the Way to the Forum Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm (also Sat/16, 1pm). Through Sat/ 24. Although a little slow and awkward at the start, not long into 42nd Street Moon’s staging of Stephen Sondheim classic and classical (being inspired by the farces of Plautus) musical comedy (with book by Burt Shevelove and Larry Gelbart) you feel it’s making up in enthusiasm and grit what it lacks in Broadway-sized budgets. It helps that artistic director Greg MacKellan has assembled an able cast, especially in the principal roles. It can’t be easy to follow in the cavorting footsteps of Zero Mostel and Nathan Lane, but Megan Cavanagh has absolutely no trouble wooing the audience in the central role of Pseudolus, the clever slave bargaining and scheming for his freedom. Strong performances come too from Michael Rhone as fellow slave Hysterium (a name that speaks for itself), Bob Greene as horny paterfamilias Senex, and Rob Hatzenbeller as the self-loving captain Miles Gloriosus. Nice costuming (by Louise Jarmilowicz), a hint of Roman architecture (courtesy of set designer Jon Wai-keung Lowe), generally spiffy choreography (by Tom Segal) and jaunty musical accompaniment from musical director Dave Dobrusky and horn player Nick Di Scala all add lift to a gradual charmer of a show. (Avila)

Futurestyle ’79 Off-Market Theater, Studio 250, 965 Mission; (800) 838-3006, www.brownpapertickets.com. $15-20. Wed, 8pm. Through Oct 27. A fully improvised episodic comedy played against the backdrop of SF in 1979.

Habibi Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. $15-25. Thurs-Sun, 8pm. Through Nov 7. Intersection for the Arts and Campo Santo present the world premiere of a play by Sharif Abu-Hamdeh.

*Hamlet Alcatraz Island; 547-0189, www.weplayers.org. By donation. Sat-Sun, times vary. Through Nov 21. Outside of an actual castle, it would hard to say what could serve as a more appropriate stand-in for Kronborg castle of Helsingør—also known as Elsinore—than the isolated fortress of Alcatraz Island, where WE Players are presenting Hamlet in all its tragic majesty. As audience members tramp along stony paths and through prison corridors from one scene to the next, the brooding tension the site alone creates is palpable, and the very walls impart a sense of character, as opposed to window-dressing. Deftly leaping around rubble and rock, a hardy troupe of thespians and musicians execute the three-hour production with neat precision, guiding the audience to parts of the island and prison edifice that aren’t usually part of the standard Alcatraz tour package. Incorporating movement, mime, live music, and carefully-engineered use of space, the Players turn Alcatraz into Denmark, as their physical bodies meld into Alcatraz. Casting actress Andrus Nichols as the discontent prince of Denmark is an incongruity that works, her passions’ sharp as her swordplay, the close-knit family unit of Laertes, Ophelia, and Polonius are emphatically human (Benjamin Stowe, Misti Boettiger, Jack Halton), and Scott D. Phillips plays the appropriately militaristic and ego-driven Claudius with a cold steel edge. (Gluckstern)

Last Days of Judas Iscariot Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.CustomMade.org. $10-30. Thurs-Sat, 8pm; Sun, 7pm. Through Oct 30. Custom Made Theatre Company presents the 2005 play by New York’s Stephen Adly Guirgis (Our Lady of 121st Street, Jesus Hopped the A Train), which places purgatorial Judas (Kristoffer Alberto Barrera) on trial to determine his deserved fate for dropping a dime on Jesus and all that jazz. Flamboyant, sycophantic and horny prosecutor El-Fayoumy (Ben Ortega) and defense attorney Loretta (Amelia Avila) call between them a series of brow-raising witnesses—including Mother Teresa (Brandy Leggett), Sigmund Freud (Catz Forsman), and Satan (Richard Wenzel)—as Judas (seated on the upper tier of Sarah Phykitt’s suitably imposing split-level set) stares stoically in relative silence or appears in a series of childhood flashbacks. Characteristically funny and streetwise, as well as versed in the Catholic rigmarole as filtered through a NYC-boroughs sensibility, Guirgis’s play is also unusually tedious in its jokey, poky unfolding since—offering not much more than a cipher in the largely mute Iscariot—the proceedings lack a strong sense of dramatic stakes. It feels more like a revue than a play, or like an unnecessarily long-winded excuse for the final, well-turned concluding monologue by a heretofore marginal character (a speech delivered with admirable understatement by director Brian Katz). (Avila)

Love Song Exit Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $20. Thurs-Fri, 8pm; Sat, 3 and 8pm. Through Sat/23. An offbeat comedy by John Kolvenbach, directed by Loretta Janca.

Mary Stuart The Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $15-30. Thurs-Sat, 8pm; Sun, 5pm. (also Wed/20, Oct 27, Nov 3; 7pm). Through Nov 7. Shotgun Players presents Friedrich Schiller’s historical drama, directed by Mark Jackson.

Nina and the Monsters Shotwell Studios, 3252A 19th; 509-8656, 509-8656. $10-15. Fri-Sat, 8pm (also Sun/24, 2pm). Ninjaz of Drama with Footloose present a modern-day fairy tale.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 10th St; (8008) 838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through Dec 19. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Proof Exit Stage Left Theatre, 156 Eddy; www.belljartheatre.com. $20. Fri-Sat, 8pm. Through Oct 30. Bell Jar Theatre presents David Auburn’s award-winning play.

*The Real Americans The Marsh MainStage, 1062 Valencia; (800) 838-3006; www.themarsh.org. $20-50. Wed-Fri, 8pm; Sun, 5pm. Through Nov 6. The fifth extension of Dan Hoyle’s acclaimed show, directed by Charlie Varon.

*Scapin American Conservatory Theatre, 415 Geary; 749-2228, www.act-sf.org. $10-90. Tues-Sun, times vary. Through Sat/23. Bill Irwin, the innovative former Pickle Family clown and neo-vaudevillian turned Broadway star, makes a San Francisco return at the helm—and in the title role—of American Conservatory Theater’s production of Moliere’s classic farce. It’s an excuse for some arch meta-theatrical high jinx as well as expert clowning, a love fest really, with many fine moments amid a general font of fun whose heady purity seems like it should fall under some FDA regulation or other—clearly, somebody has paid someone to look the other way, and for once the corruption is unreservedly welcome. Joining the fun is Irwin’s old comrade-in-arms and, here, sacks, Geoff Hoyle, as miserly and dyspeptic daddy Geronte. Other ACT regulars and veterans flesh out a winning cast, among them the ever versatile and inimitable Gregory Wallace as Octave, a flouncing Steven Anthony Jones as put-out patriarch Argante, René Augesen as boisterously unlikely “virgin” Zerbinette, and a wonderfully adept and scene-stealing Judd Williford in the role of Scapin sidekick Sylvestre. As for Irwin, his comedic sensibility shows itself scrupulously apt and timeless at once, and his sure, lithesome performance intoxicating and age-defying. As a director, moreover, he gives as generously to each of his fellow performers as he does to his adoring, lovingly tousled audience. (Avila)

The Shining: Live The Dark Room, 2263 Mission; 401-7891, www.darkroomsf.com. $7-10. Fri-Sat, 8pm. Through Sat/23. The Dark Room becomes the Overlook Hotel in this stage production of the horror classic.

*SHIToberfest Off-Market Theaters, 965 Mission; (800) 838-3006, www.brownpapertickets.com. $20. Fri-Sat, 8pm. Through Oct 30. This special October run of PianoFight’s bowel-loosening comedy series, the S.H.I.T. Show (for acronym fans, that’s the Stop Hating Imagination Time Show), revolves dizzyingly around the subject of beer, Germans and, perhaps less explicably, flatulent dolphins, among much else in the wide open seas of poor taste. Is it hilarious? It is. And you don’t even need to smuggle in a forty to make it so, though it certainly doesn’t hurt. Fine comic acting throughout a charismatic cast (including writer-director-producers Alex Boyd, Zach Cahn, Jed Goldstein, Ray Hobbs, Devin McNulty, Evan Winchester and Duncan Wold, with help from Nicole Hammersla, Gabrielle Patacsil, Rob Ready, Derricka Smith, Andy Strong, Jacque Vavroch and Dan Williams) combines here with generally solid to exceptional sketch work, video and song. Add in a permeating spirit of revelry, debauchery and irreverence and the evening becomes a diversion of the first order, culminating in an utterly sacrilicious sketch about a bunch of toasted beer-brewing monks treated to a papal visit—one of the best venial sins for your buck. When it comes to Octoberfesting this year, “Bavaria” is just S.H.I.T.–faced for Bay Area. (Avila)

Shocktoberfest!! 2010: Kiss of Blood Hypnodrome Theatre, 575 10th; (800) 838-3006, www.brownpapertickets.com. $25-35. Thurs-Fri, 8pm (Thurs/21, Fri/22, Oct 28, Oct 29, Oct 30, and Oct 31 include performances of The Forsaken Laboratory by the Brazilian Grand Guignol group Vigor Mortis). Through Nov 19. Thrillpeddlers’ seasonal slice of eyeball is comprised of three playlets variously splattered with platelets, all directed by Russell Blackwood and bridged by a rousing burst of bawdy song from the full cast. Rob Keefe’s Lips of the Damned (after La Veuve by Eugene Heros and Leon Abric) takes place in a rat-infested museum of atrocities just before the fumigating starts, as an adulterous couple—comprised of a kinky married lady (a vivacious Kara Emry) and a naïve hunk from the loading dock (Daniel Bakken)—get their kicks around the guillotine display, and their comeuppance from the jilted proprietor (Flynn DeMarco). Keefe’s delightfully off-the-wall if also somewhat off-kilter Empress of Colma posits three druggy queens in grandma’s basement, where they practice and primp for their chance at drag greatness, and where newly crowned Crystal (a gloriously beaming Blackwood) lords it over resentful and suspicious first-runner-up Patty Himst (Eric Tyson Wertz) and obliviously cheerful, non-sequiturial Sunny (Birdie-Bob Watt). When fag hag Marcie (Emry) arrives with a little sodium pentothal snatched from dental school, the truth will out every tiny closeted secret, and at least one big hairy one. Kiss of Blood, the 1929 Grand Guignol classic, wraps things up with botched brain surgery and a nicely mysterious tale of a haunted and agonized man (Wertz) desperate to have Paris’s preeminent surgeon (DeMarco) cut off the seemingly normal finger driving him into paroxysms of pain and panic. Well-acted in the preposterously melodramatic style of the gory genre, the play (among one or two other things) comes off in a most satisfying fashion. (Avila)

Sunset Limited SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3 and 8pm. Through Nov 6. This 2006 play by Cormac McCarthy exhibits some of the best and worst of the celebrated author, but significantly more of the latter. It sets an aging white academic and failed suicide (Charles Dean) in a room with his rescuer and would-be savior, a poor black social worker (Carl Lumbly), who has just snatched him from a railway platform ahead of a tête-à-tête with a train called the Sunset Limited. Both characters remain nameless, emphasizing the abstract pseudo-Socratic dimensions attendant on the dialogue-driven realism here (staged with a knowing wink in director Bill English’s scenic design, a partially walled wood-framed shack with see-through slits between the thin horizontal planking). The black man is a born-again Christian and ex-con convinced Jesus has just given him a major assignment. His dogmatic certainty is matched by the white man’s nihilism and despair. “I believe in the primacy of the intellect,” the miserable prof tells his host, who’s locked the door on his self-destructive guest in an effort to buy time to change his mind. Leaving aside the historically clichéd, problematic and baggage-heavy dynamic of a poor black American devoted to the welfare of a rich white one, neither man moves from his respective position one inch (at least until perhaps and partially at the very end), which constrains the dramatic development. Moreover, both sides argue feebly, mainly by gainsaying whatever it is the other one says, making this not a great intellectual debate either. SF Playhouse’s production sets two fine actors at this heavy-handed twofer, but little can be done to redeem so static and arid an exercise. (Avila)

Susie Butler Sings the Sarah Vaughan Songbook Exit Theater Cafe, 156 Eddy; (510) 860-0997, www.brownpapertickets.com. $15-20. Sat, 8:30pm. Through Nov 20. Local actress and singer Susie Butler takes on the Sassy songbook.

Zombie Town Stage Werx Theatre, 533 Sutter; www.stagewerx.org. (800) 838-3006, www.brownpapertickets.com. $24. Thurs-Sat, 8pm (also Oct 31, 5pm). Through Oct 31. Catharsis Theatre Collective presents a documentary play about zombie attacks in Texas.

BAY AREA

*Compulsion Berkeley Repertory Theatre, Thrust Stage, 2025 Addison; (510) 647-2949, www.berkeleyrep.org. $29-85. Dates and times vary. Through Oct 31. Director Oscar Eustis of New York’s Public Theater marks a Bay Area return with an imaginatively layered staging of Rinne Groff’s stimulating new play. Compulsion locates the momentous yet dauntingly complex cultural-political outcomes of the Holocaust in the career of a provocative Jewish American character, Sid Silver, driven by real horror, sometimes-specious paranoia, and unbounded ego in his battle for control over the staging of Anne Frank’s Diary. A commandingly intense and fascinatingly nuanced Mandy Patinkin plays the brash, litigious Silver, based on real-life writer Meyer Levin, a best-selling author who obsessively pursued rights to stage his own version of Anne Frank’s story. The forces competing for ownership of, and identification with, Anne Frank and her hugely influential diary extend far beyond her father Otto, Silver, or the diary’s publishers at Doubleday (represented here by a smooth Matte Osian in a variety of parts; and a vital Hannah Cabell, who doubles as Silver’s increasingly alarmed and alienated French wife). But the power of Groff’s play lies in grounding the deeply convoluted and compromised history of that text and, by extension, the memory and meanings of the Holocaust itself, in a small set of forceful characters—augmented by astute use of marionettes (designed by Matt Acheson) and the words of Anne Frank herself (partially projected in Jeff Sugg’s impressive video design). The productive dramatic tension doesn’t let up, even after the seeming grace of the last-line, which relieves Silver of worldly burdens but leaves us brooding on their shifting meanings and ends. (Avila)

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Nov 21. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*Loveland The Marsh Berkeley, 2120 Allston Way; (800) 838-3006, www.brownpapertickets.com. $20-50. Fri, 7pm; Sat, 5pm. Through Nov 13. Ann Randolph’s acclaimed one-woman comic show about grief returns for its sixth sold-out extension.

Superior Donuts TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro; (650) 463-1960, www.theatreworks.org. $19-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Oct 31. This latest from Tracy Letts (August: Osage County, Killer Joe) starts out as a delicious treat but a hollowness in the center of it all leaves one less than fully satisfied. Director Leslie Martinson’s cast shines, however, as the action unfolds in crisp, engaging scenes set in the titular run-down donut shop in Chicago’s slowly gentrifying Uptown neighborhood. Owner-operator Arthur Przybyszewski (Howard Swain) is an aging baby boomer and second-generation Polish immigrant who fled to Canada to avoid the Vietnam draft and returned years later to take over his parents shop, alienated and hesitant, though well liked by his regulars. At least most: As the play opens his shop has been vandalized. Two beat cops are on the scene, James (Michael J. Asberry) and Randy (Julia Brothers), the latter eventually displaying a visible crush on an oblivious, then discombobulated Arthur. When an impressive young African American man named Franco (Lance Gardner) comes in and charms his way into a job, Arthur gradually finds himself drawn out of his shell and faced with the challenge of valuing another human being more than his own hide—a challenge underscored by Arthur’s several monologues, in which his personal history comes to the fore. The play feels pat and a little lazy-sentimental in the end, but there’s no denying the entertainment afforded here, especially by the magnetic pairing of leads Swain and Gardner. (Avila)

Alerts

David Talbot
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news@sfbg.com

WEDNESDAY, OCT. 20

 

Oakland candidates forum

The Alameda County Democratic Lawyers Club hosts at forum featuring the candidates for Oakland mayor and Alameda County Superior Court judge. With the Oakland mayor’s race between well-funded favorite Don Perata and progressive challengers Rebecca Kaplan and Jean Quan heating up as it comes into the home stretch, this could be a fun one.

5–7 p.m., $25 for members, $30 for nonmembers

Everett & Jones BBQ Restaurant

126 Broadway, Oakl.

510-836-7563

demlawyers.org/events

THURSDAY, OCT. 21

 

Save the Dolphins

Earth Island Institute presents “From Flipper to The Cove to Blood Dolphin$: A Conversation with Ric O’Barry,” a plea to save dolphins for being slaughtered in Taiji, Japan. O’Barry, star of the Oscar-winning documentary The Cove and the Animal Planet TV miniseries Blood Dolphin$, will update his campaign with information and video footage from his recent trip to Japan.

7 p.m., $5–$20 sliding scale

The David Brower Center

2150 Allston Way, Berk.

510-859-9100

www.eii.org/events/dolphin

FRIDAY, OCT. 23

 

Ports blocked for Oscar Grant

The International Longshore and Warehouse Union Local 10 has called for a shutdown of Bay Area ports to call for justice in the case of Oscar Grant, who was fatally shot by BART police officer Johannes Mehserle on an Oakland train platform on New Year’s Day 2009. “Bay Area ports will shut down that day to stand with the black community and others against the scourge of police brutality,” said Jack Heyman, an executive board member for the union. Mehserle was convicted of involuntary manslaughter in July and is scheduled to be sentenced Nov. 5.

All day, free

Ports through the Bay Area

www.ilwu10.org

jackheyman@comcast.net

SUNDAY, OCT. 24

 

Sunday Streets

The final Sunday Streets car-free event of the season will for the first time travel through the streets of the Tenderloin and Civic Center area. Bicyclists, pedestrians, and skaters travel a route that passes City Hall, Boedekker Park, Tenderloin Recreation Center, and the Tenderloin National Forest in Cohen Alley, off Ellis near Leavenworth, featuring live performances, the Funkytown Roller Disco, and free bike rental and repair stations. This event also coincides with the second annual Tricycle Music Festival, with live music from 11 a.m. to 2 p.m. on the steps of the Main Library.

10 a.m.–3 p.m., free

Civic Center/Tenderloin

sundaystreets@gmail.com

415-344-0489. ext. 2

www.sundaystreetssf.com

MONDAY, OCT. 25

 

Earth-a-llujah Revival

Reverend Billy and the Church of Life After Shopping Choir returns to San Francisco as part of their Earth-a-llujah, Earth-a-llujah Revival Tour, bringing the environmentalist and anti-consumerist gospel to the Mission District. Fresh off of a run for the mayor of New York City and successful campaign to get Chase Manhattan Bank to disinvest in mountaintop removal coal mining, Rev. Billy (a.k.a. performance artist Billy Talen, who got his start here in SF) and his flock will fill you with the Holy Spirit and exorcise you of your credit cards. Hallelujah!

7 p.m., $12

Victoria Theater

2961 16th St., SF

(415) 863-7576

www.revbilly.com/events/cali-tour

www.brownpapertickets.com/event/133698

From here, cinema

Andrew Lam
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From here, cinema

I saw my first movie when I was four or five: it was a revival of 101 Dalmations (1961), and I liked it enough to ask my mother if we could sit through it a second time (we did). I saw my second first movie when I was 19: it was a nine-minute short by Bruce Baillie titled Valentin de las Sierras (1967), and after seeing it I knew film history must be full of secrets. It was only after moving to Berkeley a few years later that I began to contextualize Baillie’s tactile daydream of a Mexican village — a singular vision, to be sure, but one emblematic of a regional avant-garde as difficult to survey as San Francisco itself.

Here’s to trying: “Radical Light”‘s ambitious ecology of alternative film and video in the Bay Area encompasses an invaluable anthology of firsthand accounts, secondhand appreciations, and historical overviews; a film series with many artists-in-attendance and restored prints (through the winter at the Pacific Film Archive and various SF Cinematheque affiliates); and a gallery show of ephemera at the Berkeley Art Museum.

To first address the question underlying the whole series: why here? Some of the book’s contributors offer fanciful conjectures: it must be the ghost of Muybridge, an island ecology, a city that won’t hold a straight line, the quality of light, or, more realistically, the influence of the Beats’ vow of poverty. While I’m attracted to environmental speculations like these, it seems important not to let them overshadow the essential evidence of hard work without promise of financial compensation or art world status. This is clearest in the Bay Area’s rich tradition of artist-run, self-reliant screenings: museum takeovers, backyard hoedowns, and basement salons.

It would be difficult to overstate the importance of Frank Stauffacher’s post-World War II “Art in Cinema” series at the San Francisco Museum of Art (before it became “modern”) in establishing this climate of creative investment. Handsome as hell and himself a fine filmmaker, Stauffacher audaciously placed cinema in an art context, colliding European avant-gardes, Hollywood outliers, and homegrown talent in a museum setting a few decades ahead of schedule. In essence, he prepared the audience for what became known as independent filmmaking (before that term was commoditized). Which is more remarkable: that Stauffacher showed Christopher Maclaine’s still incendiary The End (1953), precipitating a chair-clearing uproar, or that he fronted Maclaine (a bagpipe-playing speed freak known as North Beach’s Antonin Artaud when there was plenty of competition) the funds to make this unsellable thing? Most of “Art in Cinema”‘s audience wasn’t ready for The End, but one young spectator found it a revelation: his name was Stan Brakhage.

Less than 10 years later, after Stauffacher’s tragic death in 1955, Baillie and his Canyon Cinema collaborators (notably, Chick Strand and Ernest Callenbach) came down from the hills over Oakland and expanded their bohemian screenings to include public production equipment, a journal, and the distribution co-op that is today run by filmmaker Dominic Angerame. The early Canyon group’s ambitions were local, but nonetheless represented an alternative cinema practice as profoundly liberating as that of their Nouvelle Vague contemporaries — one taken up by the dozen or so major series (e.g. No Nothing Cinema, Total Mobile Home, Other Cinema) and college film departments (especially San Francisco Art Institute and San Francisco State University) detailed in “Radical Light.”

Though wildly eclectic in form and content, the “Radical Light” films cohere around a widespread distrust of moral authority, whether political or aesthetic, as well as an abiding interest in the bending truths of portraiture, documentary, ethnography, and found footage. The anarchic and mystical are preferred modes, though not mutually exclusive ones. There is a long tradition of collaboration between filmmakers and, perhaps more strikingly, with poets, painters, and musicians. To cite but a few examples: Larry Jordan’s Visions of a City (1979, begun 1957) is drawn from material shot to accompany readings by Michael McClure and Philip Lamantia; Bruce Conner did lightshows at the old Avalon Ballroom before making music videos for Devo and documenting the Mabuhay Gardens punk scene; and Brakhage made In Between (1955) while living with Robert Duncan and Jess (and set the film to a John Cage composition). Early “Art in Cinema” habitués like Jordan Belson, Harry Smith, and James Broughton all approached film from different mediums, and later artists like Nathaniel Dorsky, Warren Sonbert, and Konrad Steiner explored the poetic or musical resonances of moving images. It runs the other way too — unsurprisingly, it takes someone like poet Bill Berkson to get Dorsky’s films in a (parenthetical) nutshell: “(Without being stupid about it, Dorsky really seems to put every conscious instant up against the growth chart of Eternity.)”

Indeed, all these films burn brightly as you watch. Witness all the different ways in which the makers seek to alter the cinematic experience, turning it into a Zen monastery (Dorsky), paranoid classroom (Craig Baldwin), troubled innerspace (Gunvor Nelson), innocent grindhouse (George and Mike Kuchar), confessional (Lynn Hershman Leeson), firing squad (Maclaine), astral plain (Belson), cross-examination (Trinh T. Minh-ha), beat street (Dion Vigne), all-night roadhouse (Conner), “unguided playground” (how Ernie Gehr described the images in his 1991 film, Side/Walk/Shuttle, two weeks ago), and on and on. If “Radical Light”‘s chronologically-based film programs serve an informative purpose similar to the well-labeled sectioning of a botanical garden, the thematic programs come off more as a noisy farmers market where the full variety of produce jams a narrow aisle. As always, the fruit tastes best when you know where it came from.

RADICAL LIGHT: ALTERNATIVE FILM AND VIDEO IN THE SAN FRANCISCO BAY AREA

Through April 30, 2011, $5.50–$10

(Book launch Fri/15, 7:30 p.m.)

Pacific Film Archive

2575 Bancroft, Berk.

Berkeley Art Museum

2626 Bancroft, Berk.

(510) 642-0808

bampfa.berkeley.edu/visit

Don Perata — lazy, corrupt and armed

Zelda Bronstein
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Don Perata — lazy, corrupt and armed

The East Bay Express, now in independent hands, is endorsing candidates — which is a very good thing in a community where the daily paper is marginal, at best — and the paper’s editors pretty much agreed with us in the Oakland mayor’s race. They endorsed both Rebecca Kaplan and Jean Quan (along with Joe Tuman), and made about the same arguments we did — Kaplan’s a visionary, Quan’s experienced, either would be fine — and Don Perata would be a disaster. In fact, my favorite part was their “anti-endorsement” — 25 reasons not to vote for Perata — which included some stuff I did know (“he’s lazy” and “he’s corrupt”) and some stuff I didn’t:


Perata has purposely fostered the image of a mobster. Friends and foes have called him “The Don,” he conspicuously carried a gun around with him, and he kept a life-size cutout of Tony Soprano in his senate office. He also posted a plaque in his office that read, “The Peratas,” written like the logo from The Sopranos with a handgun in the place of the “r.”


Don Perata, armed. That’s scary.

East Bay endorsements 2010

Andrew Lam
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31
East Bay endorsements 2010

BART BOARD DISTRICT 4

ROBERT RABURN

Incumbent Carole Ward Allen has been a disappointment, part of the moribund BART establishment that wastes money on pointless extensions, ignores urban cores, and can’t control its own police force. Robert Raburn, a bicycle activist with a PhD in transportation and urban geography, would be a great replacement. If he’s elected, and Bert Hill wins in San Francisco, BART will have two more progressive transit activists to join Tom Radulovich. Vote for Raburn.

 

BERKELEY CITY AUDITOR

ANN-MARIE HOGAN

Hogan’s running unopposed and we see no reason not to support her for another term.

 

BERKELEY CITY COUNCIL

DISTRICT 1

LINDA MAIO

Maio in the past has had a decent progressive track record, but lately she’s been something of a call-up vote for Mayor Tom Bates. We’re not thrilled with her more recent positions years (against raising condo conversion fees and for new high-rises downtown), but she has no strong credible opponents. Green Party Jasper Kingeter has never run for elective office before and needs more seasoning.

DISTRICT 4

JESSE ARREGUIN

Arreguin and Kriss Worthington hold down the progressive wing on the City Council. He’s pushed the Berkeley police to stop impounding the cars of undocumented immigrants and is a foe of the development-at-all costs mentality of the mayor.

DISTRICT 7

KRISS WORTHINGTON

It’s disappointing that Mayor Tom Bates and his allies are trying to get rid of Worthington, who by our estimation is the best, hardest-working, and most progressive member of the City Council. He’s been willing to stand up to the mayor when he’s wrong — and has managed to force developers to build more affordable housing. He’s against the mayor’s downtown plan, but sees a way forward to a compromise that includes all the positive elements without big high-rises. Vote for Worthington.

DISTRICT 8

STEWART JONES

Gordon Wozniak, the incumbent, is the most conservative member of the City Council and has been a bad vote on almost everything. He’s going to be tough to beat in this district, but we’re giving the nod to Jones, a teacher, Green Party member, and neighborhood activist. He lacks experience, but almost anyone would be better than Wozniak.

 

BERKELEY RENT BOARD

ASA DODWORTH

LISA STEPHENS

JESSE TOWNLEY

PAM WEBSTER

DAVE BLAKE

KATHERINE HARR

There’s a six-person tenant slate running, with endorsements from Worthington, Arreguin, and other progressive leaders. The members couldn’t find an easy mnemonic, so they’ve used the last letters of their last names, which, in the right order, add up to SHERRY. We’ve listed them in the order they’ll appear on the ballot.

 

OAKLAND CITY AUDITOR

COURTNEY RUBY

Ruby’s moved the office forward a bit, and we don’t see any argument to replace her.

 

OAKLAND MAYOR

1. REBECCA KAPLAN

2. JEAN QUAN

The danger in this race is Don Perata, the former state Senate president, longtime power broker, and friend of developers who has, at the very least, a checkered ethical record that led at one point to a five-year federal corruption investigation (the investigation ended with no charges filed). Perata wants to use the mayor’s office to continue his role as a regional kingpin, and he has the support of Pacific Gas and Electric Co. and the big developers. No thanks.

Two strong progressive challengers are taking him on. Our first choice is Rebecca Kaplan, an at-large City Council member who is full of great, innovative ideas for Oakland. She wants to enforce an Oakland-first hiring law, work on transit-oriented development, and encourage small businesses that can attract some of the $2 billion a year Oakland loses in retail sales from local residents who shop out of town.

Kaplan told us she thinks that if Proposition 19 passes and local government has the right to regulate legal marijuana, Oakland is perfectly situated to take advantage of the new law. By combining pot sales and possibly on-site consumption with new restaurants, bike lanes, and street-level amenities, the city could revitalize neighborhoods and bring in significant new tax revenue.

She’s a big bicycle advocate, would consider a progressive city income tax, and is a strong supporter of public power. She also has a practical sense of how to solve problems.

Jean Quan has been active in Oakland politics for decades. She served 12 years on the school board, eight on the City Council, and has the experience, skills, and vision to run the city. She’s also almost tied in the polls with Perata, despite being outspent dramatically (and being the subject of some nasty, inaccurate Perata hit pieces). She told us she wants to be a cheerleader for the public schools, to work with local businesses, expand the high school internship program, and add city wrap-around services to public schools. She’s had a long, impressive record on environmental issues (she worked with San Francisco on a plastic bag ban and wrote Oakland’s Styrofoam ban). She recognizes that much of the city’s budget problem comes from the police department and police pensions. But she’s a little less aggressive than Kaplan about raising new revenue, and while she fully supports Prop. 19 and the Oakland plan for allowing commercial marijuana operations, she is, in her own words, “relatively conservative” on how far Oakland should go to allow sales and use in the city.

Kaplan’s got more of the cutting-edge progressive vision. Quan’s got more experience and a longer track record. They’re the two choices to beat Perata and save Oakland’s future, and we’re happy that ranked-choice voting allows us to endorse them both.

 

OAKLAND CITY COUNCIL

DISTRICT 2

JENNIFER PAE

Patricia Kernighan is among the most conservative votes on the council. She’s also representing a wealthy, conservative hills district and will be hard to beat. We’re endorsing Jennifer Pae, community outreach director for the East Bay Voter Education Consortium. She has the backing of progressives like Supervisor Keith Carson and Berkeley City Council Member Kriss Worthington (as well as the Alameda County Green Party). She’s a long shot, but better than the incumbent.

DISTRICT 4

DANIEL SWAFFORD

The front-runners in this race are probably Libby Schaaf, a former aide to Ignacio de la Fuente; Melanie Shelby, a small business owner; and Daniel Swafford, a business consultant. Schaaf is too close to her old boss. We liked Shelby, but she’s awfully vague on solutions to Oakland’s problems — and she voted for Prop. 8. She now says her position on same-sex marriage is “evolving,” and she supports equal rights for all couples. But that’s an awfully big issue to have taken an awfully wrong stand on just two years ago.

This leaves Swafford, a neighborhood activist who grew up in Oakland and was City Council Member Jean Quan’s appointee to the Neighborhood Crime Prevention Council and is a strong advocate of community policing. He gets the nod.

DISTRICT 6

JOSE DORADO

Conventional wisdom says Desley Brooks is almost certain to get reelected to this seat. Her only competition comes from Nancy Sidebotham, whose platform is all cops all the time, and Jose Dorado, a bookkeeper with little political experience. Brooks is a fierce advocate for her district and has been tough on banks and good on pushing local hiring, but has too many ethical problems to merit our endorsement. She has never denied that she kept her boyfriend’s daughter on as a $5,000-a-month aide while the young woman was a full-time student at Syracuse University in New York. When San Francisco Chronicle columnist Chip Johnson challenged some of her ethical lapses, she sued him for libel (the case was dismissed).

Dorado is a neighborhood activist who is running a grassroots campaign and, while he needs more experience, he’s raising good issues (like public financing of elections). And unlike Sidebotham, he’s supporting the revenue measures on the ballot.

 

East Bay Ballot Measures

BERKELEY MEASURE H

SCHOOL FACILITIES TAX

YES

The East Bay cities have done a much better job than San Francisco at using parcel taxes — a poor substitute for property taxes but still a relatively progressive form of revenue — to support schools and other public services. Measure H would continue an existing tax on residential and commercial buildings — 6.3 cents per square foot on residences and 9.4 cents on businesses — to pay for maintenance on public school buildings. Vote yes.

 

BERKELEY MEASURE I

SCHOOL BONDS

YES

Measure I is a $210 million bond act to expand and upgrade the public schools. Vote yes.

 

BERKELEY MEASURE T

CANNABIS PERMITS

YES

Measure T is on the ballot as part of Berkeley’s effort to implement Prop. 19, the statewide pot-legalization measure. Berkeley and Oakland are both ahead of San Francisco in planning for legal marijuana. Prop. T would allow six medical cannabis clinics with cultivation permits, but restrict future industrial pot uses to industrial districts. Vote yes.

 

OAKLAND MEASURE L

SCHOOL TAX

YES

Another parcel tax for schools, this one $195 a year for 10 years, essentially to offset state cuts. There’s an exemption for low-income taxpayers. Vote yes.

 

OAKLAND MEASURE V

CANNABIS TAXES

YES

If Oakland goes ahead with its plans to allow large-scale cultivation and passes this tax hike on pot sales (to $50 per $1,000 of gross revenue for medical pot and $100 per $1,000 for recreational pot) the city could take in as much as $30 million a year — almost enough to offset the budget deficit. Vote yes.

 

OAKLAND MEASURE W

PHONE LINE TAX

YES

Another creative — if imperfect — way to raise some revenue, Measure W puts a modest $1.99 a month tax on phone lines to raise money for the general fund. Vote yes.

 

OAKLAND MEASURE X

POLICE PARCEL TAX

NO

We typically support any reasonable tax on property to pay for public services, but we can’t back this one. Measure X would impose a fairly high ($360 a year) parcel tax on single-family homes — entirely to pay for cops. The police union has been intractable, refusing to give back any of its generous pension benefits to help solve the budget deficit. We can’t see raising taxes for that department alone when so much of Oakland is hurting for money.

 

OAKLAND MEASURE BB

POLICE FUNDING

YES

Measure BB would allow Oakland to continue collecting violence-prevention money under a previous ballot measure even if the police department falls below a mandated staffing level. It would give the City Council more flexibility in addressing public safety. Vote yes.

 

>>VIEW OUR COMPLETE ENDORSEMENTS FOR THE 2010 ELECTION

Stage listings

David Talbot
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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. 

THEATER

OPENING

Habibi Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. $15-25. Previews Thurs/14-Sun/17, 8pm. Opens Mon/18, 8pm. Runs Thurs-Sun, 8pm. Through Nov 7. Intersection for the Arts and Campo Santo present the world premiere of a play by Sharif Abu-Hamdeh.

Nina and the Monsters Shotwell Studios, 3252A 19th; 509-8656, 509-8656. $10-15. Opens Fri/15, 8pm. Runs Fri-Sat, 8pm (also Sun/17 and Oct 24, 2pm). Ninjaz of Drama with Footloose present a modern-day fairy tale.

Proof Exit Stage Left Theatre, 156 Eddy; www.belljartheatre.com. $20. Opens Fri/15, 8pm. Runs Fri-Sat, 8pm. Through Oct 30. Bell Jar Theatre presents David Auburn’s award-winning play.

Susie Butler Sings the Sarah Vaughan Songbook Exit Theater Cafe, 156 Eddy; (510) 860-0997, www.brownpapertickets.com. $15-20. Opens Sat/16, 8:30pm. Runs Sat, 8:30pm. Through Nov 20. Local actress and singer Susie Butler takes on the Sassy songbook.

 

ONGOING

Absolutely San Francisco Phoenix Theatre, Stage 2, 414 Mason; 433-1235, www.absolutelysanfrancisco.com. $20-25. Fri-Sat, 8pm. Through Oct 23. A one-woman musical starring Karen Hirst, with book and music by Anne Doherty.

Anita Bryant Died For Your Sins New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Oct 24. New Conservatory Theatre Center presents a show by Brian Christopher Williams.

*The Brothers Size Magic Theatre, Bldg D, Fort Mason Center; 441-8822, www.magictheatre.org. $20-60. Dates and times vary. Through Sun/17. Magic Theatre presents the West Coast premiere of Tarell Alvin McCraney’s play, directed by Octavio Solis.

Cat on a Hot Tin Roof Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Oct 22. Actors Theatre presents Tennessee Williams’ sultry, sweltering tale of a Mississippi family, directed by Keith Phillips.

Christian Cagigal’s Obscura: A Magic Show EXIT Cafe, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $15-25. Thurs-Sat, 8pm. Through Dec 18. Magician Christian Cagigal presents a mix of magic, fairy tales, and dark fables.

Disoriented Off-Market Theater, 960 Mission; (800) 838-3006, www.brownpapertickets.com. $20. Sun, 7pm. Through Oct 17. A trio of solo performances by Asian-American women.

A Funny Thing Happened on the Way to the Forum Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm (also Sat/16, 1pm). Through Oct 24. 42nd Street Moon presents the Sondheim musical farce, starring Megan Cavanagh.

Futurestyle ’79 Off-Market Theater, Studio 250, 965 Mission; (800) 838-3006, www.brownpapertickets.com. $15-20. Wed, 8pm. Through Oct 27. A fully improvised episodic comedy played against the backdrop of SF in 1979.

Hamlet Alcatraz Island; 547-0189, www.weplayers.org. By donation. Sat-Sun, times vary. Through Nov 21. Outside of an actual castle, it would hard to say what could serve as a more appropriate stand-in for Kronborg castle of Helsingør—also known as Elsinore—than the isolated fortress of Alcatraz Island, where WE Players are presenting Hamlet in all its tragic majesty. As audience members tramp along stony paths and through prison corridors from one scene to the next, the brooding tension the site alone creates is palpable, and the very walls impart a sense of character, as opposed to window-dressing. Deftly leaping around rubble and rock, a hardy troupe of thespians and musicians execute the three-hour production with neat precision, guiding the audience to parts of the island and prison edifice that aren’t usually part of the standard Alcatraz tour package. Incorporating movement, mime, live music, and carefully-engineered use of space, the Players turn Alcatraz into Denmark, as their physical bodies meld into Alcatraz. Casting actress Andrus Nichols as the discontent prince of Denmark is an incongruity that works, her passions’ sharp as her swordplay, the close-knit family unit of Laertes, Ophelia, and Polonius are emphatically human (Benjamin Stowe, Misti Boettiger, Jack Halton), and Scott D. Phillips plays the appropriately militaristic and ego-driven Claudius with a cold steel edge. (Gluckstern)

IPH… Brava Theater, 2781 24th St, 647-2822, www.brava.org. $15-35. Thurs-Sat, 8pm. Through Sat/16. Brava Theatre and African-American Shakespeare Company present the US premiere of an adaptation of Iphigenia at Aulis.

*Jerry Springer the Opera Victoria Theatre, 2961 16th; www.jerrysf.com. $20-36. Wed-Sat, 8pm. Through Sat/16. Highbrow meets low in one big, boisterous mono-brow middle as one of the baser of daytime talk-show hosts meets his audience and maker—or anyway Jesus and Satan—in a TV show purgatory that really is purgatory. The form is operatic, the subject matter the stuff of soap, and the resulting tawdry spectacle all but irresistible in Ray of Light Theatre’s production of the 2003 British musical by Richard Thomas (music, book and lyrics) and Stewart Lee (book and lyrics). If the conceit feels a bit one-note, it’s a note taken very cleverly and ably for all its worth. A smart, smarmy and dyspeptic Patrick Michael Dukeman excels in the title role, as the chorus, meanwhile, comprised of Jerry’s rabid studio audience, puts the unbridled hooligan glee in glee club, lending Wagnerian weight to such key phrases as “step-dad” or “chick with a dick.” The grand and just slightly sleazy Victoria Theatre makes the perfect venue for this fine irreverence, filling it charmingly with rafter-shaking vulgarity and mayhem.

Kiss of Blood Hypnodrome Theatre, 575 10th; (800) 838-3006, www.brownpapertickets.com. $25-35. Thurs-Fri, 8pm. Through Nov 19. Thrillpeddlers’ seasonal slice of eyeball is comprised of three playlets variously splattered with platelets, all directed by Russell Blackwood and bridged by a rousing burst of bawdy song from the full cast. Rob Keefe’s Lips of the Damned (after La Veuve by Eugene Heros and Leon Abric) takes place in a rat-infested museum of atrocities just before the fumigating starts, as an adulterous couple—comprised of a kinky married lady (a vivacious Kara Emry) and a naïve hunk from the loading dock (Daniel Bakken)—get their kicks around the guillotine display, and their comeuppance from the jilted proprietor (Flynn DeMarco). Keefe’s delightfully off-the-wall if also somewhat off-kilter Empress of Colma posits three druggy queens in grandma’s basement, where they practice and primp for their chance at drag greatness, and where newly crowned Crystal (a gloriously beaming Blackwood) lords it over resentful and suspicious first-runner-up Patty Himst (Eric Tyson Wertz) and obliviously cheerful, non-sequiturial Sunny (Birdie-Bob Watt). When fag hag Marcie (Emry) arrives with a little sodium pentothal snatched from dental school, the truth will out every tiny closeted secret, and at least one big hairy one. Kiss of Blood, the 1929 Grand Guignol classic, wraps things up with botched brain surgery and a nicely mysterious tale of a haunted and agonized man (Wertz) desperate to have Paris’s preeminent surgeon (DeMarco) cut off the seemingly normal finger driving him into paroxysms of pain and panic. Well-acted in the preposterously melodramatic style of the gory genre, the play (among one or two other things) comes off in a most satisfying fashion. (Avila)

Last Days of Judas Iscariot Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.CustomMade.org. $10-30. Thurs-Sat, 8pm; Sun, 7pm. Through Oct 30. Custom Made Theatre Company presents the 2005 play by New York’s Stephen Adly Guirgis (Our Lady of 121st Street, Jesus Hopped the A Train), which places purgatorial Judas (Kristoffer Alberto Barrera) on trial to determine his deserved fate for dropping a dime on Jesus and all that jazz. Flamboyant, sycophantic and horny prosecutor El-Fayoumy (Ben Ortega) and defense attorney Loretta (Amelia Avila) call between them a series of brow-raising witnesses—including Mother Teresa (Brandy Leggett), Sigmund Freud (Catz Forsman), and Satan (Richard Wenzel)—as Judas (seated on the upper tier of Sarah Phykitt’s suitably imposing split-level set) stares stoically in relative silence or appears in a series of childhood flashbacks. Characteristically funny and streetwise, as well as versed in the Catholic rigmarole as filtered through a NYC-boroughs sensibility, Guirgis’s play is also unusually tedious in its jokey, poky unfolding since—offering not much more than a cipher in the largely mute Iscariot—the proceedings lack a strong sense of dramatic stakes. It feels more like a revue than a play, or like an unnecessarily long-winded excuse for the final, well-turned concluding monologue by a heretofore marginal character (a speech delivered with admirable understatement by director Brian Katz). (Avila)

Love Song Exit Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $20. Thurs-Fri, 8pm; Sat, 3 and 8pm. Through Oct 23. An offbeat comedy by John Kolvenbach, directed by Loretta Janca.

Mary Stuart The Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $15-30. Thurs-Sat, 8pm; Sun, 5pm. (also Oct 20, Oct 27, Nov 3; 7pm). Through Nov 7. Shotgun Players presents Friedrich Schiller’s historical drama, directed by Mark Jackson.

*The Real Americans The Marsh MainStage, 1062 Valencia; (800) 838-3006; www.themarsh.org. $20-50. Wed-Fri, 8pm; Sun, 5pm. Through Nov 6. The fifth extension of Dan Hoyle’s acclaimed show, directed by Charlie Varon.

*Scapin American Conservatory Theatre, 415 Geary; 749-2228, www.act-sf.org. $10-90. Tues-Sun, times vary. Through Oct 23. Bill Irwin, the innovative former Pickle Family clown and neo-vaudevillian turned Broadway star, makes a San Francisco return at the helm—and in the title role—of American Conservatory Theater’s production of Moliere’s classic farce. It’s an excuse for some arch meta-theatrical high jinx as well as expert clowning, a love fest really, with many fine moments amid a general font of fun whose heady purity seems like it should fall under some FDA regulation or other—clearly, somebody has paid someone to look the other way, and for once the corruption is unreservedly welcome. Joining the fun is Irwin’s old comrade-in-arms and, here, sacks, Geoff Hoyle, as miserly and dyspeptic daddy Geronte. Other ACT regulars and veterans flesh out a winning cast, among them the ever versatile and inimitable Gregory Wallace as Octave, a flouncing Steven Anthony Jones as put-out patriarch Argante, René Augesen as boisterously unlikely “virgin” Zerbinette, and a wonderfully adept and scene-stealing Judd Williford in the role of Scapin sidekick Sylvestre. As for Irwin, his comedic sensibility shows itself scrupulously apt and timeless at once, and his sure, lithesome performance intoxicating and age-defying. As a director, moreover, he gives as generously to each of his fellow performers as he does to his adoring, lovingly tousled audience. (Avila)

The Shining: Live The Dark Room, 2263 Mission; 401-77891, www.darkroomsf.com. $7-10. Fri-Sat, 8pm. Through Oct 23. The Dark Room becomes the Overlook Hotel in this stage production of the horror classic.

Sunset Limited SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3 and 8pm. Through Nov 6. This 2006 play by Cormac McCarthy exhibits some of the best and worst of the celebrated author, but significantly more of the latter. It sets an aging white academic and failed suicide (Charles Dean) in a room with his rescuer and would-be savior, a poor black social worker (Carl Lumbly), who has just snatched him from a railway platform ahead of a tête-à-tête with a train called the Sunset Limited. Both characters remain nameless, emphasizing the abstract pseudo-Socratic dimensions attendant on the dialogue-driven realism here (staged with a knowing wink in director Bill English’s scenic design, a partially walled wood-framed shack with see-through slits between the thin horizontal planking). The black man is a born-again Christian and ex-con convinced Jesus has just given him a major assignment. His dogmatic certainty is matched by the white man’s nihilism and despair. “I believe in the primacy of the intellect,” the miserable prof tells his host, who’s locked the door on his self-destructive guest in an effort to buy time to change his mind. Leaving aside the historically clichéd, problematic and baggage-heavy dynamic of a poor black American devoted to the welfare of a rich white one, neither man moves from his respective position one inch (at least until perhaps and partially at the very end), which constrains the dramatic development. Moreover, both sides argue feebly, mainly by gainsaying whatever it is the other one says, making this not a great intellectual debate either. SF Playhouse’s production sets two fine actors at this heavy-handed twofer, but little can be done to redeem so static and arid an exercise. (Avila)

Superior Donuts TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro; (650) 463-1960, www.theatreworks.org. $19-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Oct 31. TheatreWorks presents Tracy Letts’ tale of friendship and redemption in a Chicago donut dispensary.

Zombie Town Stage Werx Theatre, 533 Sutter; www.stagewerx.org. (800) 838-3006, www.brownpapertickets.com. $24. Thurs-Sat, 8pm (also Oct 31, 5pm). Through Oct 31. Catharsis Theatre Collective presents a documentary play about zombie attacks in Texas.

 

BAY AREA

Angels in America, Part One Pear Avenue Theatre, 1220 Pear, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2pm. Through Sat/16. Pear Avenue Theatre kicks off its fall “Americana” program with the Tony Kushner play.

*Compulsion Berkeley Repertory Theatre, Thrust Stage, 2025 Addison; (510) 647-2949, www.berkeleyrep.org. $29-85. Dates and times vary. Through Oct 31. Director Oscar Eustis of New York’s Public Theater marks a Bay Area return with an imaginatively layered staging of Rinne Groff’s stimulating new play. Compulsion locates the momentous yet dauntingly complex cultural-political outcomes of the Holocaust in the career of a provocative Jewish American character, Sid Silver, driven by real horror, sometimes-specious paranoia, and unbounded ego in his battle for control over the staging of Anne Frank’s Diary. A commandingly intense and fascinatingly nuanced Mandy Patinkin plays the brash, litigious Silver, based on real-life writer Meyer Levin, a best-selling author who obsessively pursued rights to stage his own version of Anne Frank’s story. The forces competing for ownership of, and identification with, Anne Frank and her hugely influential diary extend far beyond her father Otto, Silver, or the diary’s publishers at Doubleday (represented here by a smooth Matte Osian in a variety of parts; and a vital Hannah Cabell, who doubles as Silver’s increasingly alarmed and alienated French wife). But the power of Groff’s play lies in grounding the deeply convoluted and compromised history of that text and, by extension, the memory and meanings of the Holocaust itself, in a small set of forceful characters—augmented by astute use of marionettes (designed by Matt Acheson) and the words of Anne Frank herself (partially projected in Jeff Sugg’s impressive video design). The productive dramatic tension doesn’t let up, even after the seeming grace of the last-line, which relieves Silver of worldly burdens but leaves us brooding on their shifting meanings and ends. (Avila)

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Nov 21. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*Loveland The Marsh Berkeley, 2120 Allston Way; (800) 838-3006, www.brownpapertickets.com. $20-50. Fri, 7pm; Sat, 5pm. Through Nov 13. Ann Randolph’s acclaimed one-woman comic show about grief returns for its sixth sold-out extension.

Waiting to inhale

Andrew Lam
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Waiting to inhale

news@sfbg.com

Much of the controversy around Proposition 19, which would legalize marijuana in California for even nonmedical uses, involves speculation about what comes next. Hash bars on Market Street? Packs of joints next to the cigarettes in Mission District bodegas? Bags of green buds available with the bongs for sale on Haight Street? They are questions that have yet to get serious consideration in the city where the medical marijuana movement was launched.

The measure would give local governments almost complete control over how to regulate recreational-use cannabis sales in much the same way that cities set their own standards for medical marijuana dispensaries, a realm in which San Francisco has shown real leadership and created a well-functioning, successful, and legitimate industry (see “Marijuana goes mainstream,” Jan. 27).

But San Franciscans have been slow to prepare for the post-Prop. 19 world, with some other Bay Area cities leaving it in the dust on these issues. Oakland City Council Member Rebecca Kaplan, who is now running for mayor, not only spearheaded that city’s ballot measures on taxing recreational pot sales and permitting large scale growing operations, she’s actively talking using the Amsterdam model to revitalize the city’s downtown business district.

“[Hash bars] absolutely potentially would be part of the mix,” Kaplan told us when we asked about the issue during her mayoral endorsement interview, seeing it as part of a multipronged economic development strategy.

When asked if Oakland should have places where people could go to blaze legally, something Oakland doesn’t allow in its medical marijuana dispensaries, Kaplan said, “Yes. Oh yeah, we’re definitely gonna have those. The only question is gonna be whether the consumption facilities are separate from [those for] sales,” or if they’re under the same roof.

Kaplan thinks this will be part of the winning strategy that takes cannabis use off street corners while acknowledging its appeal to visitors and “synergy with the restaurants. When I talk about wanting to replicate the Amsterdam model in Oakland … it doesn’t just mean that you have … a regulated cannabis facility. You also have restaurants, shops, pedestrian safety, nice lighting, patio dining, musicians, artists.”

She points out that although an Oakland-regulated cannabis industry may use current alcohol regulation as a template, the two substances would not be sold alongside each other. “Frankly, ABC [California Department of Alcoholic Beverage Control) will freak out.” That means, at least in Oakland, you won’t be able to purchase cannabis at bars, liquor, or grocery stores.

On this side of the bay, Sup. Ross Mirkarimi — who wrote the regulations on the city’s medical marijuana facilities — says it is “extremely premature” to contemplate Amsterdam-esque hash bars. “That would have to occur within a strong regulatory framework,” he said, one the Board of Supervisors has yet to envision. San Francisco attorney David Owen, who has helped advise some medical marijuana purveyors, said some dispensaries currently allow on-site medication, and San Francisco might legislate to extend the practice to bars.

Meanwhile other California cities such as Berkeley and Oakland are anticipating Prop. 19’s passage much more proactively. Berkeley’s Measure S would tax cannabis businesses, applying different rates to for profit med-use cannabis businesses, nonprofit med-use businesses, and rec-use businesses (which won’t exist unless Prop 19 passes). The measure would secure medical-use cannabis for low-income patients and tighten regulations on Berkeley’s current med-use dispensaries and cultivators regardless of how Prop. 19 fares. There’s also a Measure T on the ballot that would establish a new committee that, in the event that Prop. 19 passes, would advise city officials on how to implement it.

Berkeley City Council Member Kriss Worthington said planning for the post-Prop. 19 world is smart to “synchronize a forward movement on the state and local level” and to “hit the ground running,” a sentiment that Kaplan also voiced for Oakland and one shared by other cities.

Stockton’s Measure I would tax rec-use cannabis businesses at a higher rate than med-use businesses. Sacramento’s Measure C is similar, containing a provision for a rec-use tax range if Prop. 19 passes. Richmond’s Measure V would tax 5 percent of gross sales of cannabis, and could apply to rec-use businesses too. Oakland’s Measure V would add a 5 percent tax to other taxes already on med-use cannabis, and put a 10 percent sales tax on rec-use cannabis. Measure H, on Rancho Cordova’s ballot, would tax personal cultivation at a higher tax on any square footage beyond the 25 square feet that Prop 19 specifies. Long Beach’s Measure B would establish a business license tax on the city’s potential recreational cannabis businesses. Even Albany, which has no dispensaries, would tax for-profit and nonprofit dispensaries differently through its Measure Q.

But Mirkarimi said he would like to tax marijuana cultivation, and has even voiced support for med-use cannabis dispensaries working directly with SF General Hospital to provide to patients, “thereby segregating a special use” and keeping cannabis prices low or nonexistent based on patient needs.

So if Prop. 19 passes, where will San Franciscans be able to purchase rec-use cannabis? Current med-use dispensaries may be a logical choice. “We already have the infrastructure,” said SF dispensary Medithrive co-owner Daniel Bornstein.

Whereas alcohol purveyors are accustomed to providing one barrier to purchase (when they card the buyer), dispensaries such as Medithrive offer many. “We already card and only accept patronage from those with a valid doctor recommendation. We also require he/she become a member of the dispensary and limit to one visit per day.”

When he contemplates whether Medithrive might provide rec-use cannabis in the future, Bornstein says “If [the city adopts] a responsible statute that’s fair, we would welcome the opportunity to offer a broadened service to more people.”

That avenue troubles Mirkarimi. “I don’t know how that works,” he said. Rec-use cannabis purchase would require no doctor’s notes and could occur within a for-profit business model. How would dispensaries legally reconcile making money under their nonprofit status? “I don’t want to put that burden on them,” Mirkarimi said.

Prop. 19 offers other potential implementation conundrums. For example, the measure will only give local governments the option to legalize the limited cultivation/sale of cannabis. Legalization won’t be compulsory. Therefore, it is likely that a post-Prop. 19-approved California will become a patchwork of alternating “dry” and “wet” municipalities.

So let’s say you’re on a road trip and you pass through many cities that all treat cannabis differently. Bornstein and his Medithrive partner Misha Breyburg worry about such a “patchwork of legal complexity.” But Prop. 19 provides for the legal transport of cannabis through cities that prohibit its sale, and California Assemblymember Tom Ammiano has already proposed legislation to smooth out the rough spots in Prop. 19 and answer open questions.

So for now, everyone is just waiting to see what state voters do.

 

Chick Corea at Yoshi’s in Oakland

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Chick Corea at Yoshi’s in Oakland

Sixteen-time Grammy winner Chick Corea will convene an all-star trio this fall, with Christian McBride, the most acclaimed bassist of his generation, and drummer extraordinaire Brian Blade, a longtime member of the Grammy-winning Wayne Shorter Quartet. The Chick Corea trio plays the renowned Yoshi’s in Oakland, starting on the 11th of October.

“It’s in this arrangement — piano, bass and drums — that Mr. Corea seems most at ease, free to dig furrows into a standard repertory or put novel twists on rhythm and form. ” – The New York Times

WIN! a pair of tickets by sending an email to promos@sfbg.com (subject line: Chick Corea at Yoshi’s) by Wednesday, October 13th.

City bid to bring vendors into Dolores Parks causes an uproar

Sasha Cuttler
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12
City bid to bring vendors into Dolores Parks causes an uproar

Officials with the SF Recreation and Parks Department are attempting to quell the mounting frustrations of some Mission District merchants and residents who feel that the city shouldn’t allow private companies to operate in a public park, as the department is seeking to do. Even those who don’t necessarily have a problem with inviting more commerce into Dolores Park say the process should have been more open and transparent.

“I like pushcarts,” said Rachel Herbert, owner of Dolores Park Café. “I think they add flavor to San Francisco.” But Herbert is also allowing opponents of the department’s request for proposals (RFP) to set up shop in her store and gather signatures for a petition to “stop the commercialization of Dolores Park.” Herbert, who lives in the neighborhood, said she is helping the effort because “It’s about the process and Rec and Park not really thinking things through and doing whatever they want.”

Mike McConnell, the man behind the petition, holds a similar viewpoint. “I don’t feel that it was adequate outreach before this.” They’re not alone. McConnell currently has petitions in three stores – including his own store, Fayes Video – each with around 100 signatures, along with 700 online petition signatures.

While the controversy is recent, the RFP for the permits was issued in September last year. The proposal stated: “Before entering into permit agreement for the operation of a pushcart in any neighborhood park, the Department will conduct a community outreach process to determine the appropriateness of such a use in the park.”

It’s unclear how much outreach there was beyond a request for applicants posted in the July 31 issue of the San Francisco Chronicle. However, according to Mission Local, department spokesman Elton Pon sent them an email stating that the department mailed out “an announcement of the opportunity to more than 1,000 potential applicants.”

Regina Dick-Endrizzi, director of the SF Office of Small Business, said much of the demand for the permits has come from small time vendors. “Part of this has been an organic growing up of the vendors themselves,” Dick-Endrizzi said. “The mobile food folks have been coming and working and urging us to open up more space.”

Dick-Endrizzi helped vet the applicants in the panel that included members of department and the Mayor’s Office of Economic Development. “I can attest as being part of the committee that they were very careful in making their decision,” she said.

However one recipient of the permits, Oakland-based Blue Bottle Coffee, has received criticisms that it isn’t local enough – city policies encourage contracting with San Francisco small businesses. Blue Bottle is also backed by venture capital firm Kohlberg Ventures.

Its founder recently issued a public letter explaining his position: “I had assumed that since there were published articles in The Chronicle, the Examiner, and the SF Weekly in November of 2009, and January 2010, that the community around Dolores Park was well informed. So it pained me to hear that many of our (hopefully) future neighbors were upset that more outreach had not been done.”

This isn’t the first time a vendor has been allowed to operate in city parks. Nor are they the first merchant with questionable local status. Last August RPD commission voted 6-1 to replace long-time Stow Lake vendor with an out of state suitor. The Chronicle reported “the corporation, which has owned and operated the 1940s-era boathouse for 67 years, couldn’t compete with New Mexico-based Ortega Family Enterprises, which pledged to complete $233,000 worth of improvements to the well-worn building and buy a brand-new fleet of boats.”

Dolores has become a haven for unlicensed vendors selling items such as beer, hot dogs, ice cream, and even pot-laced brownies and truffles. What will become of them? “You pay thousands and thousands for your trailer and for permits and this guy comes around with his little cart and is selling coffee for 50 cents less, what are you going to do? You’re going to call the fucking cops and say get this scumbag out of here,” said local impresario Chicken John.

Dolores Park has traditionally been regarded with a kind of laissez faire attitude by many San Francisco residents. On a warm day it’s not uncommon to see hundreds of chic to cheap layabouts basking on its hills, beer and bowl in hand, without worry in mind. And many-a-cop has seen them too, but rarely do they intervene – and all was well. Maybe that’s another reason why there has been such uproar over the proposed introduction of pushcarts into the park.

Since the uproar, both Blue Bottle Coffee and the other potential vendor nonprofit Cocina have been put in limbo. La Cocina’s executive director, Caleb Zigas, told Mission Local that “he had expected to roll into the park this week and is disappointed by the delay. In the past four months he’s poured $28,000 in grant money into La Cocina’s food trailer, which is now sitting in storage.”

But how long will the pushcarts (they’re actually trailers powered by generators) gather dust in a garage? “For most types of appeals there is a 15-day window after the permit was issued,” said Cynthia Goldstein, executive director of the SF Board of Appeals. However it isn’t a concrete rule. “On rare instances the board will extend the window when there is evidence that the city did something wrong.” In addition, according to Goldstein, there is usually a 15-20 day window between when an appeal is filled and when it is reviewed by the Board. In short, the dilemma may not be quashed by the meeting this evening that the department is holding on the controversy.

The extension would bode well for any NIMBYs since Cocina’s and Blue Bottle’s permits were granted on April 15, 2010 and Sept 2, 2010, respectively.

RecPark was expecting a 12 percent cut on the pushcart profits and hoped to net around $70,000 annually. The pushcarts are just one of the many revenue generating ideas that are currently floating around. RecPark – under its new department head, Phil Ginsburg, who was previously chief of staff to Mayor Gavin Newsom – recently created a partnerships and revenue generating division with the purpose of capitalizing on many of the cities assets.

At the Jan 21, 2010 Recreation and Parks Commission meeting, pushcarts were discussed as a way to ostensibly keep city employees from getting laid off. Other ideas that were tossed out included hosting a production of Peter Pan, renting out parking places for car shares, and an adopt-a-park program; an adopt-a-gardener program was even suggested. The city was broke and was searching for a way to close huge General Fund deficits.

The idea of pushcarts was discussed again at the Feb 18 meeting. Nick Kinsey from the property division of RecPark, told the commission, “We received 18 responses to the RFP and we actually brought six of them in for interviews. As part of the interviews we met with the respondents, we evaluated their qualifications, evaluated their operation plans – in terms of where they wanted to be in each of the parks, in each of the proposed parks, how that would interact with residents and other park users use of the park space and if there would be any conflict there.”

Kinsey continued, “We’re also accepting application on a rolling basis right now. So if anyone is watching and interested in submitting an application for pushcarts, we are accepting pushcarts. Some of our location are maxed out we wouldn’t accept anyone else. But we have plenty of other park spaces where we think this is an appropriate use.”

The meeting of the issue is today (Thurs/7) at 4 p.m. in City Hall Room 416

 

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