Oakland

Stage listings

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

THEATER

OPENING

Frau Bachfeifengesicht’s Spectacle of Perfection Stage Werx Theatre, 533 Sutter; 1-800-838-3006, www.circusfinelli.com. $15-20. Opens Fri/2, 8pm. Runs Fri-Sun, 8pm. Through April 25. San Francisco’s all-women clown troupe, Circus Finelli, performs their comedy show inspired by European circus acts and American vaudeville.

Lady, Be Good! Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. $8-44. Previews Wed/31, 7pm; Thurs/1-Fri/2, 8pm. Opens Sat/3, 6pm. Runs Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm (also April 10, 1pm); Sun, 3pm. Through April 18. 42nd Street Moon presents George and Ira Gershwin’s madcap tale of a brother-sister vaudeville team in the 1920s.

Macho Bravado Thick House, 1695 18th St; http://machobravado.eventbee.com. $15-25. Previews Thurs/1-Fri/2, 8pm. Opens Sat/3, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm (no show April 4). Through April 24. Asian American Theater Company performs Alex Park’s drama about a Korean-American soldier dealing with life on the home front after fighting in the Middle East.

Scalpel! Brava Theater Center, 2781 24th St; 647-2822, www.brava.org. $20-35. Opens Wed/31, 8pm. Runs Thurs-Sat and April 5 and 14, 8pm; April 11, 3pm. Through April 17. Writer-director D’arcy Drollinger’s world premiere is a comedic rock thriller that satirizes the pursuit of plastic-surgery perfection.

BAY AREA

John Gabriel Borkman Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $34-55. Previews Fri/2-Sat/3 and April 7, 8pm; Sun/4, 2pm. Opens April 8, 8pm. Runs Tues and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 9. Aurora Theatre Company performs Henrik Ibsen’s pointed indictment of capitalism.

ONGOING

*…And Jesus Moonwalks the Mississippi Cutting Ball Theater, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Thurs-Sat, 8pm; Sun, 5pm. Through April 11. In this inspired poetical-historical counter-narrative from Bay Area playwright Marcus Gardley, Greek mythology, African American folklore, personal family history, and Christian theology are all drawn irresistibly along in a great sweep of wild and incisive humor, passion, pathos and rousing gospel music as buoyant and wide as the Mississippi — or rather Miss Sippi (the impressive Nicole C. Julien), personification of the mighty and flighty river. The Cutting Ball–Playwrights Foundation coproduction, lovingly directed by Amy Mueller, sports exquisite design touches from Cutting Ball regulars like Michael Locher, whose gorgeous plank-wood set serves as the ideal platform for a work both magnificently simple and eloquently evocative. (Avila)

Baby: A Musical Off-Market Theatres, 965 Mission; 1-800-838-3006, www.roltheatre.com. $20-32. Thurs-Sat, 8pm; Sun, 2pm. Through April 18. Ray of Light Theatre performs a comedy about pregnancy.

*Den of Thieves SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40. Tues, 7pm; Wed-Sat, 8pm (also Sat, 3pm). Through April 17. Stephen Adly Guirgis has been good to SF Playhouse. The company already scored big with two of the New Yorker’s gritty, dark and sharply funny plays, Our Lady of 121st Street and Jesus Hopped the ‘A’ Train. Director Susi Damilano continues the streak with SF Playhouse’s latest, the less heavy but very funny Den of Thieves, about an unlikely foursome of inept bandits caught trying to heist a Mafioso’s safe under a discotheque in Queens — a simple tale that gives plenty of scope to Guirgis’s muscular way with dialogue and the clash of characters. It’s a meaty comedy, and the exceptional cast sells the conceit so beautifully they make it a crime to miss. (Avila)

Desperate Affection Royce Gallery, 2901 Mariposa; www.expressionproductions.com. $28. Thurs-Sat, 8pm. Through April 10. Expression Productions presents a dark comedy by Bruce Graham.

The Diary of Anne Frank Next Stage, 1620 Gough; 1-800-838-3006, www.custommade.org. $10-28. Thurs-Sat, 8pm; Sun, 7pm. Through May 1. Custom Made performs Wendy Kesselman’s modern take on the classic.

Eat, Pray, Laugh! Off-Market Theaters, 965 Mission; www.brownpapertickets.com. $20. Wed, 8pm. Through April 28. Off-Market Theaters presents stand up comic and solo artist Alicia Dattner in her award-winning solo show.

An Enemy of the People Eureka Valley Recreation Center Auditorium, 100 Collingwood; http://sffct.wordpress.com. Free. Fri-Sat, 7:30pm; April 11, 3pm. Through April 11. San Francisco Free Civic Theatre performs Henrik Ibsen’s drama.

*Loveland The Marsh, 1074 Valencia; 826-5750, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through April 25. Starting May 8, runs Sat, 5pm and Sun, 2pm at the Marsh Berkeley, 2120 Allston, Berk. Through June 13. Los Angeles–based writer-performer Ann Randolph returns to the Marsh with a new solo play partly developed during last year’s Marsh run of her memorable Squeeze Box. Randolph plays loner Frannie Potts, a rambunctious, cranky, and libidinous individual of decidedly odd mien, who is flying back home to Ohio after the death of her beloved mother. The flight is occasion for Frannie’s own flights of memory, exotic behavior in the aisle, and unabashed advances toward the flight deck brought on by the seductively confident strains of the captain’s commentary. The singular personality and mother-daughter relationship that unfurls along the way is riotously demented and brilliantly humane. (Avila)

Othello African American Art and Culture Complex, 762 Fulton; 1-800-838-3006, www.african-americanshakes.org. $20-30. Wed-Thurs, 10am (school matinees); April 10 and 17, 8pm; Sat/3, April 11, and April 18, 3pm. Through April 18. African-American Shakespeare Company closes its 15th season with this adaptation of Shakespeare’s play, set during a modern-day military tribunal in Iraq.

Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Fri-Sat, 8pm; starting July 10, runs Sat, 8pm and Sun, 7pm. Extended through August 1. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

Ramble-Ations: A One D’Lo Show Brava Theater Center, 2781 24th St; 647-2822, www.brava.org. $10-25. Thurs/1-Sat/2, 8pm; Sun/3, 3pm. Performance artist D’Lo offers up a comedic solo show from a unique (gay, Hindi, Sri Lankan, SoCal, hip-hop) perspective.

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $18-50. Wed-Fri, 8pm (April 16, show at 9pm; starting April 24, no Fri shows except May 28, 8pm); Sat, 5pm; Sun, 3pm. Through May 30. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Shopping! The Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.brownpapertickets.com. $27-29. Fri-Sat, 8pm. Ongoing. The musical is now in its fifth year at Shelton Theater.

Suddenly Last Summer Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $15-35. Thurs-Sat, 8pm. Through April 10. Actors Theatre presents one of Tennessee Williams’ finest and most famous plays.

*The Sugar Witch New Conservatory Theatre Center, 25 Van Ness; 861-4914, www.nctcsf.org. Wed/31-Sat/3, 8 pm; Sun/4, 2pm. Sisser (A.J. Davenport) has eaten her way into a wheelchair on the front porch, where she keeps a collection of bugs she occasionally likes to smoosh and have buried in the yard by her doting younger brother Moses (Michael Phillis). In contrast to Sisser’s morbid streak (and it only gets worse), Moses Bean is a good guy, very much the exception to the cursed Bean household sitting ramshackle at the edge of the mud. Annabelle (Kendra Owens), last in an ancient line of African American "sugar witches," recounts how Moses was, like his namesake, snatched as a baby from a floating basket, impressing their already smitten guest, local undertaker and Moses’s love interest Hank (William Giammona). But when a rudely aggressive female suitor (Amelia Mulkey) with a mean grandpappy (Jay Smith) offends Sisser, that old Bean curse gets a new coat of red paint, putting happy endings in jeopardy. With The Sugar Witch, playwright Nathan Sanders continues the gothic saga he began Off-Broadway with first play The Sugar Bean Sisters, set in an imaginary Florida swamp town not far from Disney World. But if Sugar Bean is something of a low-rent magic kingdom, complete with flying cats and occult spells, here the history of racism and patriarchal tyranny tends to resurface like so many bodies imperfectly weighted down and fed to the swamp. That history/mystery adds a stark, potent dimension to an otherwise fitfully effective, somewhat sentimental dark comedy, gamely acted all around under Dennis Lickteig’s thoughtful direction. (Avila)

Truce Noh Space, 2840 Mariposa; 826-1958. $10-25. Wed/31-Sat/3, 8pm. Playwright-performer Marilee Talkington stars in Vanguardian Productions’ presentation of her autobiographical work about a woman struggling with impending blindness.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

*Concerning Strange Devices from the Distant West Roda Theatre, 2015 Addison, Berk; (510) 647-2949, berkeleyrep.org. $13.50-27. Wed and Sun, 7pm (also Sun, 2pm); Thurs-Sat, 8pm (also Sat and April 8, 2pm). Through April 11. That the camera always tells the truth is the biggest lie, as
any array of deliberately posed models and idealized landscapes can attest. Naomi Iizuka’s Concerning Strange Devices for the Distant West offers an intriguing glimpse behind the photographic façade from both sides of the lens. Using the medium of photography as its unifying thread, Strange Devices ties together two moments in time — the 19th century and the present — as a collector of rare Meiji-era photographs (Bruce McKenzie) comes to modern Yokohama to make a buy, eager to believe in the constructed reality their images represent. But as the tantalizing fragments of a mystery of birthright unfold within an elaborate web of forgery, fraud, and blackmail, so does the realization that, even posed, the truth of a photograph lies within the moment of time it captures, even when misinterpreted by the viewer. A spare set of sliding panels designed by Mimi Lien suggests both the interior of a camera and the secret sliding compartments of a Japanese puzzle box, and the intricate, interlocking tattoo art designed by costumer Annie Smart dazzles, as does the "camera-flash" lighting by Alexander V. Nichols. (Gluckstern)
*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-35. April 9, 16, 30, and May 7, 9pm; April 10, May 1, and May 8, 8pm; April 18 and 25, 2pm. Through May 8. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*A Seagull in the Hamptons Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $15-30. Wed, 7pm; Thurs-Sat, 8pm; Sun, 5pm. Through April 25. A fiery young man (Liam Callister) stages a beachfront play starring his equally ardent first love (Kelsey Venter) for the benefit of the familiar flock of seasonal neighbors out on Long Island — and the professional and spiritual punishment of his commercially successful and completely self-absorbed actress-mother (Trish Mulholland). Youthfully high-spirited and talented, the world (especially out here) might have proved his oyster, but things soon fall apart, disintegrating and melding again on the shoreline (handsomely evoked in Robert Broadfoot’s scenic design) as if he and the other nine characters in this shrewd, droll and melancholic play were so many sand castles. Emily Mann’s free adaptation of Chekhov’s Seagull captures the essence of his early "comedy" — very much a human comedy, brimming with pain, turmoil and tragedy in equal measure with laughter, love and folly — and yet manages to be completely of its own (our own) time and place, so effortlessly as to seem a little miraculous. It helps, naturally, that director Reid Davis has assembled a very solid and enjoyable ensemble cast for this wonderfully tailored Shotgun Players production. The opening play-within-a-play is apt several times over, but not least because this is a satisfying night of theater for anyone who loves theater, and anyone else who still doesn’t know it yet. (Avila)

PERFORMANCE/DANCE

BATS Improv Theatre Bayfront Theater, Fort Mason Center, Marina at Laguna; www.improv.org. Fri-Sat, 8pm. $17-20. This week: "Murder Mystery Friday" and "Theatresports Saturday."

"Cabaret Showcase Showdown" Martuni’s, Four Valencia; 241-0205, www.dragatmartunis.com. Sun, 7pm. As part of their ongoing competition, Katya Ludmilla Smirnoff-Skyy and Mrs. Trauma Flintstone search for the best R&B/urban pop singer.

"City Solo" Off-Market Theater, 965 Mission; www.brownpapertickets.com. Sun, 7pm. Through April 18. $15. This showcase highlights solo performers presenting excerpts from their full-length shows.

"Dance Monks Presents Body and Sound Improvisation Festival" Kunst-Stoff Arts, 929 Market; www.dancemonks.com. Fri, 6-9pm (continues first Friday of the month through October). $15-20. Dancers and musicians improvise together at performances and workshops.

"Everyone Intimate Alone Visibly" Z Space at Theater Artaud, 450 Florida; www.levydance.org. Thurs-Sat, 8pm (also Fri, 10pm). $20-25. LEVYdance presents its 2010 San Francisco home season.

"The Good Dance dakar/brooklyn" Yerba Buena Center for the Arts, Novellus Theater, 700 Howard; 978-ARTS, www.ybca.org. Thurs-Sat, 8pm, $30. This work is a collaboration between Brooklyn choreographer Reggie Wilson and Congolese choreographer Andreya Ouamba.

"Home Is That Way? And New Rituals for a Dangerous Era" CounterPULSE, 1310 Mission; 1-800-838-3006, www.counterpulse.org. Thurs-Sun, 8pm. $15-20. José Navarrete, Violeta Luna, and Kendra Kimbrough Barnes perform new works.

"Monday Night ForePlays" Studio 250 at Off-Market Theater, 965 Mission; www.pianofight.com. Mon, 8pm. Through April 26. $20. PianoFight presents this night of original sketches, dance numbers, and music, performed by an all-female troupe.

"New Tales of Mystery and Imagination" Dark Room, 2263 Mission; 401-7987, www.darkroomsf.com. Sat, 10pm. $8. Absurdist writer-performer Dan Carbone performs an evening of new works.

"The Romaine Event" Make-Out Room, 3225 22nd St; 647-2888, www.pacoromane.com. Wed, 7:30pm. $7. Paco Romaine hosts a night of comedians, including Will Franken, Brendan Lynch, and more.

"ShortLived 3.0" Studio250 at Off-Market Theater, 965 Mission; www.pianofight.com. Fri-Sat, 8pm. Through June 26. $20. PianoFight presents this audience-judged playwriting competition.

Tilted Frame Network Off-Market Theater, 965 Mission; www.combindedartform.com. Thurs, 8pm. Through May 13. $20. Through the magic of the internet, improv troupes from LA and SF perform together.

"Youth Speaks Teen Poetry Slam Grand Slam Finals" Warfield, 982 Market; www.youthspeaks.org. Sat, 7pm. $6-18. Teen poets compete.

Events listings

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Events listings are compiled by Paula Connelly. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THURSDAY 1

Last Gasp Anniversary Show 111 Minna Gallery, 111 Minna, SF; (415) 974-1719. 6pm, free. Celebrate the 40th anniversary of Last Gasp, publisher of underground books and comics, at this party and art show featuring art by Gary Baseman, Tim Biskup, Glenn Barr, Robert Crumb, and many more, and readings by local writers, including San Francisco Poet Laureate Diane di Prima.

St. Stupid’s Day Begins at Justin Herman Plaza, Embarcadero at Market, SF; www.saintstupid.com. Noon, free. Help bring color, music, and satire to the financial district’s "temples of the Free Market" at this parade featuring a "dead lottery ticket" offering at the Federal Reserve Bank headquarters, a penny toss at the "banker’s heart," a "sock exchange" at the old Pacific Stock Exchange building, and more. Brought to you by the First Church of the Last Laugh.

BAY AREA

"Book Smart" Oakland Public Library, Temescal Branch, 5205 Telegraph, Oak.; (510) 597-5049. Through April 30, free. Peruse the library while taking in a unique art exhibit of mixed-media paintings by Nancy Mizuno Elliott that will be scattered throughout the library to surprise people as they browse the stacks, exploring the interconnectedness of solitude and stimulation.

FRIDAY 2

Al-Mutanabbi Street San Francisco Zen Center, 300 Page, SF; (415) 255-6524. 7:30pm, free. Attend the first U.S. exhibition of the al-Mutanabbi Street Broadside Project, a collection of poetry and art commemorating the 2007 car bombing of Baghdad’s historic book-selling al-Mutanabbi Street, featuring a poetry reading by contributing authors. Donations will be accepted for Doctors Without Borders.

La Mesa Red Poppy Art House, 2698 Folsom, SF; (415) 826-2402. 8pm, free. Take part in this peer-to-peer salon featuring traditional musicians, dancers, and artists from the Alliance for California Traditional Arts (ACTA) Roundtable Series, which aims to strengthen Bay Area intercultural traditional arts networks and leadership.

SATURDAY 3

Big Idea Night Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. 9pm, free. RSVP recommended: www.ybcafree.org. Celebrate the role we all play in the underground arts community at this event put together by the Oakland based art collective The People featuring DJs, dance demonstrations, live painting, participatory art, live dance videography, a local Caribbean food vendor, extended hours for current exhibits, and more.

"Consumed" Femina Potens Art Gallery, 2199 Market, SF; (415) 864-1558. 7:30pm, free. Sate your artistic hunger at the opening of a month long exhibit titled, "Consumed – Affairs with the edible," featuring artwork by Maria Kretschmann, Malia Schlaefer, Liz Maher, and Francesca Berrini that address women’s complex relationship with food. Meet the artists, rub elbows with fellow foodies, and enjoy refreshments and snacks.

Exploratorium Film Collection Exploratorium, McBean Theater, 3601 Lyon, SF; (415) 561-0360. 2pm; included in the price of admission, $15. Watch contemporary film works alongside classic experimental, documentary, and science films from the Exploratorium’s 16 mm collection as part if their 40th anniversary Cinema Arts Program.

Healthy Saturdays Golden Gate Park, JFK Drive between Tea Garden and Transverse, SF; www.sfbike.org/?ggp. All day every Saturday from April thru September, free. Enjoy the kick off of the season of car-free Saturdays in Golden Gate park weather you’re a skater, bicyclist, pedestrian, or onlooker.

Skate this Art Gallery 28, 1228 Grant, SF; (415) 563-6965. 6pm, free. Learn more about the art of skateboarding at the opening of this annual exhibit while helping to raise money for the North Beach Citizens (NBC) center, an outreach program for the disabled and homeless of North Beach. Reception to feature skateboard art auction, raffles, film screenings, poetry readings, and more.

Starchild on Sit Lie Magnet, 4122 18th St., SF; (415) 581-1600. 7pm, free. Hear Starchild, a bisexual, libertarian, activist, sex worker, and supervisorial candidate, discuss the proposed Sit/Lie law with Jon Sugar. The law proposes to ban sitting and lying on sidewalks in SF and will soon be voted on by the Board of Supervisors. Live music to follow.

West Coast Live San Francisco Ferry Building, Port Commission Room, second floor, 101 Embarcadero, SF; (415) 433-9500. 10am, $18. Attend a live broadcast of West Coast Live hosted by Sedge Thomson with special guests Anchee Min, Walter Mosley, and Olympia Dukakis, and featuring music by Dana Cooper and the Exceptional Mike Greensill. West Coast Live broadcasts from locations that convey the culture and sounds of the West to listeners.

SUNDAY 4

Spring Celebration and Easter Parade Union Street, Gough to Fillmore, SF; www.unionstreetsf.com. 10am-5pm, free. Catch the 2pm Easter parade, enjoy outdoor dining at temporary sidewalk bistros, listen to live music, compete in the Easter bonnet contest, and take part in some of the family oriented activities being offered at this local celebration of Spring.

MONDAY 5

Film Arts Forum Mezzanine, 444 Jessie, SF; (415) 625-8880. 7pm, $8. Join the San Francisco Film Society (SFFS) for an arts forum titled, "Tales from Terror," an appreciation, dissection, and dismantling of the misunderstood horror genre and its ties to the Bay Area.

Live Shots: Air, Fox Theater, 03/26/2010

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It was the first time I traveled by myself. I was exploring Boston, meandering along the red line that winds its way from one historical site to another, while the discman in my purse blasted Air. The red line (aka The Freedom Trail) ends at Bunker Hill. The sun was brilliant on that June day and I lay in the grass, squinting up at the clouds. Cherry Blossom Girl started playing. I watched a little girl do somersaults in the grass and dance. Her tumbles were in perfect time with the soft rhythm of the song. The little girl was pure joyfulness. She found a feather in the grass and for some reason brought it over to me and said “This is for you.” Then her dad called to her, telling her it was time to go home.

That was seven years ago. I’ve written about this before, how music becomes so connected to moments in life, how songs can bring back smells and emotions that would otherwise be long lost in the tangled mess of experiences we have over a lifetime. The music by the French band Air is so fluid and hypnotic. It glues itself to beautiful moments that forever stay ingrained in our minds. Air performed this past Friday at the Fox Theater in Oakland, as part of a tour to debut their new album entitled Love 2. With their classic electronic beats against a trippy slide show backdrop, there wasn’t a single audience member whose eyes and ears weren’t completely super-glued to the stage. AM, opened for Air and played everything from classic rock to Brazilian classics — new album Future Sons and Daughters came out last month.

I still have that feather from the little girl on Bunker Hill. It reminds me of summer, sunshine, and that feeling of floating on air.

Can Newsom save SF parties?

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Why won’t Mayor Gavin Newsom save San Francisco’s nightlife and culture? That question was raised toward the end of this week’s cover story on party-crashing cops, but it’s worth highlighting here because Newsom seem uniquely suited to the task of mediating this damaging dispute.

Newsom owned a restaurant and bar before being elected mayor with the strong support of the San Francisco Police Officers Association. The business community is one of his key constituencies, and he constantly talking about the need to promote tourism, which relies on our cultural vitality. He’s the most natural, logical bridge for this divide.

That’s why attorney Mark Webb, who represents several clubs and individuals who have been harassed by SFPD Officer Larry Bertrand, has explicitly been calling for Newsom to get involved.

“I really believe his involvement could help us get to a place of calm,” Webb said. “We have to stop this petty infighting and we have to embrace the cause, which is to make San Francisco’s nightlife an inviting environment.”

DNA Lounge, which is not part of Webb’s lawsuit but has been fighting against harassment by Bertrand and the ABC, also wants to see Newsom broker some peace talks. 

“Absolutely, Gavin certainly has the juice to deal with this problem and we would welcome his involvement,” DNA general manager Barry Synoground told us. “We don’t know why there is such vehemence against nightlife and entertainment…What kills me is we have a large group of responsible purveyors, but we’re not being treated as such. We’re being treated like criminals.”

But Newsom has resisted the call, with his press secretary Tony Winnicker telling us, “I wouldn’t rule it out, but the mayor has department heads for that reason,” saying he preferred for Police Chief George Gascon to tell with it. But the problem is this isn’t a police issue, it’s a political one.

DNA Lounge (which has reguarly blogged the crackdown) has highlighted how SFPD Commander James Dudley sees nightlife in the city: as a nuisance to be abated, rather than an important culture to be embraced and celebrated. Winnicker claims that Newsom understands this: “The mayor understands the importance of a vibrant nightlife.”

But that understanding hasn’t translated into official city policy. Attorney Mark Rennie, who handles permitting and compliance issues for about 40 nightlife and culture clients, said that San Francisco has become notorious for making life difficult for club owners and other purveyors of fun. 

“The city has always had this love-hate relationship with nightclubs. But it’s really bad now,” Rennie said, noting how welcoming other local cities are toward nightclubs, which are important economic drivers. “Berkeley gets it. Oakland gets it. I don’t know why San Francisco doesn’t get it.”

Which is strange because, of all people, Newsom should get it. He should understand the natural tension between certain elements of both the police and nightlife communities and, valuing them both, try to find a way to solve this problem. So whatdaya say, Gavin? After you’re done try to clean up the mess you created with the labor unions, how about stepping in to address a problem that is closer to your sweet spot?

 

Image by Luke Thomas/Fog City Journal

Viva, chicas

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SUPER EGO Your kiki, cross-eyed club correspondent just returned, ass-tanned and full of mescal, from Mexico D.F. You’d think with all the lithe, young emo Altinos running around the bright and trash-strewn apocalyptic neighborhoods, their anime hair-spikes poking through the eye-level smog, there’d be a hopping alternaqueer club scene. But no — although Marrakech mixed in some thrashy Mexi-core with retro-electro hits and Tom’s Leather Bar (no leather, but lots of opera and a surprise Dutch blowjob — don’t ask) served up bored go-gos so over it they surely must have been parodying the concept of bored go-gos. Tal vez no pensaron en esto. And El Viena brought some boot-kicking banda, bringing to mind our own outstanding La Bota Loca party, Saturdays at Oakland’s Club 21 (www.club21oakland.com).

Otherwise, it was wall-to-wall Gaga. I blame NAFTA. Still, the drag saved it. The regal, bodystockinged reinas of Butterflies had me choking on my free peanuts, singing along to Celia Cruz, and the heartfelt, ramshackle performances at Oasis floated on a sea of waved white hankies and tossed carnations. But the most magical moment happened at Club 33. Mexico City nightlife is in turmoil at the moment — a recent spate of violence has forced bars to close earlier than usual. So, at precisely 2 a.m., to avoid police attention, we were locked inside the tiny, dark, hipster-strewn 33, speakeasy-like, while a dead-on drag impersonation of ranchera legend Paquita La Del Barrio (who recently said she’d rather see a child die than be adopted by a gay couple, que?) crooned us into ethereal swoons beneath a dinky mirrorball. D.F. I love you.

 

SWEDISH INVASION

OK, I’m officially weirded out that Swedes are everywhere again. But hey, if they can Nordic-track the hip and the hop like rhymesters Looptroop, Adam Tensta, and Timbuktu and Chords then I’m all blue-eyed with it. They’ll be showing off the multicultural side of state socialism, with hyper-eclectic styles and jokester flair.

Thu/25, 9 p.m., $10. Club Six, 66 Sixth St., SF. www.clubsix1.com

 

THE NEW 7TH HEAVEN ROLLER DISCO

Rollerskating parties — CELLSpace’s Black Rock Roller Disco and Mighty’s Roller Disco have tackled them, nightlife-wise, to insanely popular and hilariously hip-bruising effect. Now Mezzanine tosses its sequined fedora in the rink, with glittering DJs Conor, Chris Orr, BT Magnum, and Jordan. Crack that whip.

Thu/25, 9 p.m., $5 entry/$5 skate rental. Mezzanine, 444 Jessie, SF. www.mezzaninesf.com

 

MOSSMOSS

Local quality techno whiz Alland Byallo’s Nightlight Music label (www.nightlight-music.com) has been hosting a primo monthly throwdown every fourth Friday at 222 Hyde, and the goodies keep coming — this month features a two-hour set by local blorpy stabber Mossmoss, whose playful glitches always pep my roll.

Fri/26, 10 p.m., $5. 222 Hyde, SF. www.222hyde.com

 

PRINCE LANGUAGE

If you missed DJ Greg Wilson at Triple Crown last week, I weep for you. The tasty, spooky rare funk, disco, global, soul, and New Wave re-edit wave keeps rolling over us, however. New York hottie Prince Language keeps it tight, chopped, and almost familiar — from Sharon Redd to the Rapture, Ahmed Fakroun to the Droyds.

Fri/26, 10 p.m., $8. SOM, 2925 16th St., SF. www.som-bar.com

 

TRANNYSHACK DAVID BOWIE TRIBUTE

Yes, we may have seen it all from the Trannyshackers — but trash drag can never really jump the Trannyshark. It’s foolproof! One of the club’s bloody jewels in its crown of regular tribute nights is this stardust fete, featuring, like, 40 queens and DJ Omar. (Watch for my favorite thin white drag, Kiddie.)

Fri/26, 10 p.m., $12. DNA Lounge, 375 11th St., SF. www.dnalounge.com

 

OTTER POPS

Gays: they are animals. Yet they’re so full of benefits. Combine your love of skinny, hairy queers with your yearning for philanthropy at this fuzzy shindig. Lightly furred cuties take the stage for a “Hot Otter Contest” (hopefully manscape-free), while $10 beer bust proceeds go to benefit the Marine Mammal Center. DJ Bus Station John helps you lick down to the stick. Purposes for porpoises? Positively.

March 27, 9 p.m., free. Lone Star Saloon, 1354 Harrison, SF. www.lonestarsaloon.com

 

STARGATE

If you haven’t checked out Temple’s sci-fi warper “Stargate-Portal Room” designed by artist Xavi, then this hyperdimensional celebration is calling out to you across the galaxy. Get alien with tech-breaks, acid crunk psych-heroes an-ten-nae, Deru, Lotus Drops, Phalanx, Drag’nfly, and dozens others.

March 28, 10 p.m., $5. Temple, 540 Howard, SF. www.templesf.com

Following a Metric conversion — into metal?

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By Peter Galvin

The rise of Emily Haines, vocalist for Metric (who’ll be performing Wed/24 at the Fox), as an indie-rock diva is one of the more deserved success stories in recent years.

The Canadian band has toured relentlessly since the release of 2003’s Old World Underground, Where Are You Now,  and Haines never fails to steal the spotlight with her superhuman vitality and anxious dance moves, daring the crowd to keep up. Despite their new wave beginnings, Metric in 2010 embraces a guitar-driven sound that inspires a head bob more than all-out dancing. But at this point Haines’ fans are willing to follow whatever direction the band chooses. Though you can probably still expect a lot of double takes if Metric follows through on rumors that their next album is going metal.

METRIC

With Codeine Velvet Club and Nico Vega

Wed/24, 8:00 p.m., $25

Fox Theatre

1807 Telegraph, Oakland

(510) 548-3010

www.thefoxoakland.com/

Stage listings

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

THEATER

OPENING

The Diary of Anne Frank Next Stage, 1620 Gough; 1-800-838-3006, www.custommade.org. $10-28. Previews Fri/26-Sat/27, 8pm; Sun/28, 7pm. Opens Tues/30, 8pm. Runs Thurs-Sat, 8pm; Sun, 7pm. Through May 1. Custom Made performs Wendy Kesselman’s modern take on the classic.

An Enemy of the People Randall Museum Theatre, 199 Museum Wy; http://sffct.wordpress.com. Free. Opens Fri/26, 7:30pm. Runs Sat/28, 7:30pm; Sun/28, 3pm. Also: Eureka Valley Recreation Center Auditorium, 100 Collingwood. April 2-3 and 9-10, 7:30pm; April 11, 3pm. Through April 11. San Francisco Free Civic Theatre performs Henrik Ibsen’s drama.

Othello African American Art and Culture Complex, 762 Fulton; 1-800-838-3006, www.african-americanshakes.org. $20-30. Previews Thurs/25, 10am. Opens Fri/26, 8pm. Runs Wed-Thurs, 10am (school matinees); Sat/27, April 10, and April 17, 8pm; Sun/28, April 3, April 11, and April 18, 3pm. Through April 18. African-American Shakespeare Company closes its 15th season with this adaptation of Shakespeare’s play, set during a modern-day military tribunal in Iraq.

BAY AREA

A Seagull in the Hamptons Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $15-30. Previews Thurs/24-Fri/25, 8pm. Opens Sat/26, 8pm. Runs Wed, 7pm; Thurs-Sat, 8pm; Sun, 5pm. Through April 25. Shotgun Players perform Emily Mann’s fresh spin on Chekhov’s The Seagull.

ONGOING

*…And Jesus Moonwalks the Mississippi Cutting Ball Theater, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Thurs-Sat, 8pm; Sun, 5pm. Through April 11. Amid the tumult of the American Civil War, a former slave named Damascus (a subtle, commanding Aldo Billingslea) searches for his daughter, desperate to pass on his song to her lest it be forgotten. Plucked from a tree and a noose by a god moved to see him get a second chance, he searches on, now as a woman named Demeter, until he finds a white family called the Verses, served by a downhome Shakespearean schemer named Brer Bit (Martin F. Grizzell, Jr.) and headed by a bitter matriarch (Jeanette Harrison) in the absence of the paterfamilias (David Sinaiko), a deserter-turned-scavenger making his way back with a Yankee bugler (Zac Schuman) in tow. Twin daughters Blanche (Sarah Mitchell) and Free (Erika A. McCrary), meanwhile, are not so very identical, and Demeter suspects that Free — whose imaginary friend is an African American Jesus with a decidedly 20th-centruy mojo (played by a beautifully deadpan-beatific David Westley Skillman) — is actually his/her own kin. In this inspired poetical-historical counter-narrative from Bay Area playwright Marcus Gardley, Greek mythology, African American folklore, personal family history, and Christian theology are all drawn irresistibly along in a great sweep of wild and incisive humor, passion, pathos and rousing gospel music as buoyant and wide as the Mississippi — or rather Miss Sippi (the impressive Nicole C. Julien), personification of the mighty and flighty river, backed by a chorus of blue-gowned sisters (Rebecca Frank, Halili Knox, Erica Richardson). The Cutting Ball–Playwrights Foundation coproduction, lovingly directed by Amy Mueller, sports exquisite design touches from Cutting Ball regulars like Michael Locher, whose gorgeous plank-wood set serves as the ideal platform for a work both magnificently simple and eloquently evocative. (Avila)

Baby: A Musical Off-Market Theatres, 965 Mission; 1-800-838-3006, www.roltheatre.com. $20-32. Thurs-Sat, 8pm; Sun, 2pm. Through April 18. Ray of Light Theatre performs a comedy about pregnancy.

Caddyshack: Live! Dark Room, 2263 Mission; 401-7987, www.brownpapertickets.com/event/99361. $20. Fri/26-Sat/27, 8pm. The Dark Room presents Jim Fourniadis’ live adaptation of the iconic movie.

Death Play EXIT Theatre, 156 Eddy; 673-3847, www.theexit.org. $15-20. Thurs/25-Sat/27, 8pm. Thunderbird Theatre Company presents the third installment in the comedy series by Sang S. Kim.

*Den of Thieves SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40. Tues, 7pm; Wed-Sat, 8pm (also Sat, 3pm). Through April 17. Stephen Adly Guirgis has been good to SF Playhouse. The company already scored big with two of the New Yorker’s gritty, dark and sharply funny plays, Our Lady of 121st Street and Jesus Hopped the ‘A’ Train. Director Susi Damilano continues the streak with SF Playhouse’s latest, the less heavy but very funny Den of Thieves, about an unlikely foursome of inept bandits caught trying to heist a Mafioso’s safe under a discotheque in Queens — a simple tale that gives plenty of scope to Guirgis’s muscular way with dialogue and the clash of characters. The story opens on a depressed recovering kleptomaniac, Maggie (an affectingly understated Kathryn Tkel), and her 12-step sponsor Paul (the excellent Casey Jackson), a nerdy fast-talking mixed-race former safecracker, whose Jewish grandfather headed up a famous crime ring that robin-hooded their take to library construction for kids in the neighborhood. Enter Maggie’s former boyfriend, a Puerto Rican tough named Flaco (a hilariously spot-on Chad Deverman), with his new squeeze, erotic dancer Boochie (a deftly comic Corinne Proctor), and a lead on a large traceless sum of cash. Suddenly the smell of big money sends recovery out the window and makes uneasy bedfellows of the motley, hostile bunch. Enter angry but softhearted mobster Little Tuna (Ashkon Davaran), his sadistic sidekick Sal (Peter Ruocco), and big gun Big Tuna (Joe Madero). Facing mob vengeance, it’s time for some fast-talking and deal making among the mini-den, and all bets are off. The ending seems to have eluded Guirgis a little, but the way there makes for meaty comedy, while the exceptional cast sells the conceit so beautifully they make it a crime to miss. (Avila)

Desperate Affection Royce Gallery, 2901 Mariposa; www.expressionproductions.com. $28. Thurs-Sat, 8pm. Through April 10. Expression Productions presents a dark comedy by Bruce Graham.

Eat, Pray, Laugh! Off-Market Theaters, 965 Mission; www.brownpapertickets.com. $20. Wed, 8pm. Through April 28. Off-Market Theaters presents stand up comic and solo artist Alicia Dattner in her award-winning solo show.

KML Preaches to the Choir Jewish Theater, 470 Florida; www.killingmyblobster.com. $15-20. Thurs/25-Fri/26, 8pm; Sat/27, 7 and 10pm; Sun/28, 7pm. The award-winning sketch comedy group takes aim at the higher powers in this piece directed by Paco Romane.

*Loveland The Marsh, 1074 Valencia; 826-5750, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through April 25. Starting May 8, runs Sat, 5pm and Sun, 2pm at the Marsh Berkeley, 2120 Allston, Berk. Through June 13. Los Angeles–based writer-performer Ann Randolph returns to the Marsh with a new solo play partly developed during last year’s Marsh run of her memorable Squeeze Box. Randolph plays loner Frannie Potts, a rambunctious, cranky, and libidinous individual of decidedly odd mien, who is flying back home to Ohio after the death of her beloved mother. The flight is occasion for Frannie’s own flights of memory, exotic behavior in the aisle, and unabashed advances toward the flight deck brought on by the seductively confident strains of the captain’s commentary. The singular personality and mother-daughter relationship that unfurls along the way is riotously demented and brilliantly humane. (Avila)

Now and at the Hour EXIT Stage Left, 156 Eddy; 673-3847, www.theexit.org. $15-25. Fri/26-Sat/27, 8pm. EXIT presents the subtly unnerving show by theatrical magician Christian Cagigal.

Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Sat, 8pm; Sun, 7pm. Through April 24. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

Ramble-Ations: A One D’Lo Show Brava Theater Center, 2781 24th St; 647-2822, www.brava.org. $10-25. Thurs-Sat, 8pm; Sun, 3pm. Through April 3. Performance artist D’Lo offers up a comedic solo show from a unique (gay, Hindi, Sri Lankan, SoCal, hip-hop) perspective.

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $18-50. Wed-Fri, 8pm (April 16, show at 9pm; starting April 24, no Fri shows except May 28, 8pm); Sat, 5pm; Sun, 3pm. Through May 30. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Shopping! The Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.brownpapertickets.com. $27-29. Fri-Sat, 8pm. The musical is now in its fifth year at Shelton Theater.

Something You Might Want Stagewerx Theatre, 533 Sutter; www.catchynametheatre.org. $16. Fri/26-Sat/27, 8pm; Sun/28, 3pm. CatchyNameTheatre presents this dark comedy written and directed by Jim Strope.

Suddenly Last Summer Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $15-35. Thurs-Sat, 8pm. Through April 10. Actors Theatre presents one of Tennessee Williams’ finest and most famous plays.

The Sugar Witch New Conservatory Theatre Center, 25 Van Ness; 861-4914, www.nctcsf.org.

Wed-Sat, 8 pm; Sun, 2pm. Through April 4. NCTC presents the premiere of Nathan Sanders’ crime story.

Truce Noh Space, 2840 Mariposa; 826-1958. $10-25. Wed-Sat, 8pm. Through April 3. Playwright-performer Marilee Talkington stars in Vanguardian Productions’ presentation of her autobiographical work about a woman struggling with impending blindness.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Concerning Strange Devices from the Distant West Roda Theatre, 2015 Addison, Berk; (510) 647-2949, berkeleyrep.org. $13.50-27. Days and times vary. Through April 11. Berkeley Rep presents a sexy and intriguing new show from Naomi Iizuka.

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-35. Fri/26, April 9, 16, 30, and May 7, 9pm; Sun/28, 7pm; April 10, May 1, and May 8, 8pm; April 18 and 25, 2pm. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

Handless Central Stage, 5221 Central, Richmond; 1-800-838-3006, www.raggedwing.org. $15-30. Thurs/25-Sat/27, 8pm. Ragged Wing Ensemble presents Amy Sass’ re-invention of the folk-tale The Handless Maiden.

*Learn to be Latina La Val’s Subterranean, 1834 Euclid, Berk. impacttheatre.com. $10-20. Thurs/25-Sat/27, 8pm. Impact Theatre continues its 14th season with the world premiere of Enrique Urueta’s play.

PERFORMANCE

"Act Wright Performance" Bayanihan Community Center, 1010 Mission; 239-0249. Wed, 8pm. $10. Kularts presents this ensemble theater showcase directed by Anthem Salgado.

Alicia Dattner Off-Market Theatre, 965 Mission; 538-9232, www.cafearts.com. Wed, 8pm, $20. The comedian performs her solo show.

"Funny That Way" Actors’ Theatre, 855 Bush; www.brownpapertickets.com/event/102787. Sun, 7pm. $8. Bay Area comedians perform to raise money for anti-poverty organization Tripura Foundation.

"King Tut: The Boy Who Would Be King" Bayview Opera House, 4705 Third St; 824-0386. Fri-Sat, 8pm (also Sat, 2:30pm); Sun, 4pm. $10-20. Farah Dews’ play recreates King Tut’s coronation.

"Naked Comedy!" Clubhouse, 414 Mason, Ste 502; 921-2051. Sat, 9pm. $12-15. Will Franken headlines.

PianoFight Studio 250 at Off-Market, 965 Mission; www.pianofight.com. Mon, 8pm. $20. The female-driven variety show Monday Night ForePlays returns with brand-new sketches, dance numbers, and musical performances.

"Sheherezade X: A Year in Review (2009)" Phoenix Theatre, 414 Mason; 885-8526. Fri-Sat, 8pm. $25. Short plays by local writers take on topics as varied as Muni and Bernie Madoff.

Virgin Play Series Magic Theatre, Fort Mason Center, Bldg D, Marina at Laguna, SF; 240-4454, http://magictheatre.org. Mon, 6pm. Free (reservations recommended). Magic Theatre presents Martha Heasley Cox’s series of staged readings of works currently in development.

DANCE

"Dance Anywhere" Various locations; www.danceanywhere.org. Fri, noon. This worldwide conceptual art piece celebrates the power of dance. Check website for local events.

"ODC Pilot 56: My Young Nostalgic Life" ODC Dance Commons, Studio B, 351 Shotwell; 863-9834. Sat-Sun, 8pm (also Sun, 5pm). $12. Six emerging choreographers present new works.

BAY AREA

Ballet Folklórico de México de Amalia Fernandez Marin Center, 10 Avenue of the Flags, San Rafael; www.marincenter.rorg. Fri, 8pm. $25-65. The distinguished company performs traditional dance from Mexico.

Merce Cunningham Dance Company Zellerbach Hall, UC Berkeley, Bancroft at Telegraph, Berk; (510) 642-9988, www.calperformances.org. Fri-Sat, 8pm. $30-50. The company presents the late legend’s final work, Nearly 90².

Alerts

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alert@sfbg.com

WEDNESDAY, MARCH 24

"Lynching Then, and Lynching Now"


Attend this teach-in about the historic link between the death penalty and lynching in the U.S. Speakers include former and current death row prisoners, activists from the justice for Oscar Grant movement, a member of the Laney Black Student Union, and more.

7 p.m., free

Laney College

Room D200

900 Fallon, Oakl.

(510) 589-6820

Mammalian good


Train to become a volunteer at the Marine Mammal Center’s Education Department in the Marin Headlands in Sausalito. Learn how to greet visitors, talk to the public, and lead tours about the center’s seal and sea lion patients. Training consists of a series of Wednesday or Saturday four classes in April.

Wednesday classes 4/7, 4/14/ 4/ 21, and 4/28

Saturday classes 4/10, 4/17, 4/24, and 5/1

Fort Cronkhite

2000 Bunker Road, Sausalito

(415) 289-7361

FRIDAY, MARCH 26

Arundhati Roy


Attend this fundraiser for the International People’s Tribunal on Human Rights and Justice, based in Kashmir, India. Author and human rights activist Arundhati Roy reads from her latest collection of essays, Field Notes on Democracy: Listening to Grasshoppers. Roy will be introduced by Alice Walker.

7 p.m., $35

Mission High School

Auditorium

3750 18th St., SF

www.haymarketbooks.org

SATURDAY, MARCH 27

Immigration legal advice


Learn about the immigration services provided by API Legal Outreach from staff attorney Cindy Liou and get free legal advice on immigration questions such as petitioning for family members and how to naturalize (program in English and Mandarin Chinese).

2:30 p.m., free

Chinatown Branch Library

Community Meeting Room

1135 Powell, SF

(415) 355-2888

"Stand Against Sit-Lie"


Take part in this citywide celebration of public space and help stop SF Police Chief George Gascón’s proposal to criminalize sitting or lying on sidewalks. Just occupy a space on your nearest sidewalk and do what you love; barbecue, make music, do yoga, read, relax, make art, dance, play chess — anything!

Go to www.standagainstsitlie.org for information about how to educate others on the Sit/Lie Ordinance. Meet at 4 p.m. for an end of the day celebration at the Market/Castro plaza.

All day, free

A sidewalk near you

www.standagainstsitlie.org

SUNDAY, MARCH 28

Kids’ Clothing Swap


Exchange gently-used, unstained infant and toddler clothing for the size you need now and help support Help a Mother Out (HAMO), a local grassroots campaign to improve the lives of families in need, one diaper at a time.

2 p.m., $10 or a package of size 4–6 diapers or pull-up’s

Natural Resources

1367 Valencia, SF

www.helpamotherout.org

Uhuru Pies’ Delicious Revolution


Become a community organizer, baker, graphic artist, or socially conscious volunteer at this launch meeting for Uhuru Pies’ November 2010 bake sale fundraiser. The bake sale benefits the African People’s Education and Defense Fund, founded in Oakland in 1981.

10 a.m., free

World Ground Café

Backroom

3726 MacArthur, Oakl.

(510) 851-4492

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 255-8762; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Hot sex events this week: March 24-30

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Spring is in the air — how else to explain the uptick in the moods of our neighborhood flyboys and meter maids? Not to mention those high-waisted short-shorts the young people are sporting. I say, since May through July’s gonna be foggy anyways, let’s call it summer. So let’s get to lovin’ people, people. Here’s your sex events to-do list this week.

“Marks” by Aaron Nagel

Ironic as though it may sound, pedophilic priests have dealt the Catholic church a massive blow when it comes to its relationship with sexy imagery. But were we to move past their nefarious dealings, we would remember that the blood, the stylistic posings, the virgin/slut paradox — these things are hot. Aaron Nagel recalls the fact with his current exhibition, comprised of brooding female nudes ensconced in saint-like, archery themed poses. 

Through Sat/27, free

Shooting Gallery 

839 Larkin, SF

(415) 931-8035

www.shootinggallery.com

————————-

Quest for the Crown

The East Bay Kings put on this vamp-a-rama, which features the best of the girls who would be boys onstage talent this side of Tuesday. New performances (and performers) every week, guaranteed to get your Jacuzzi bubbling.

Wed/24 9:30 p.m., $5

White Horse Inn

6551 Telegraph, Oakland

(510) 652-3820

————————-

Deep Throat and the Art of Oral Sex

Has he been a good boy recently? Reward him with your attendance at this workshop, where Madison Young will go beyond the whole shtick with the banana to teach you how to politely decline that pesky gag reflex- plus ways in which fellatio can be just as fun for the partner that’s down on their knees.

Wed/24 8-10 p.m., $25-30

Good Vibrations 

603 Valencia, SF

(415) 522-5460

www.goodvibes.com

————————-

“Keep your Relationship Spark Alive”

God bless the Gay Couples Institute for giving homosexuals the chance to get as neurotic as straights- under professional supervision, of course. In addition to their regular therapeutic services programming, they’re sponsoring this couple’s “date night” who those who want to reinvigorate- and spice up- their bond. Plus, adult refreshments on the house. Advance registration recommended. 

Sat/27 5-6:30 p.m., free 

Pisco Latin Lounge

1815 Market, SF

(415) 552-4451

www.gaycouplesinstitute.org

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Intergenerational Story Circle: “Gender Identity and Roles in a Changing World”

Leave it to the Unitarians to throw together an all-inclusive ponder session on the state of our social-sexual psyches today. This month’s story circle focuses on how we’re defining gender these days- what it means to be a “man,” a “woman,” or a “transsexual” and how/if that’s different from our ideal roles. Feel free to use air quotations and the word “paradigm.”

Sun/28 12:30- 1:45 p.m., free

Berkeley Fellowship of Unitarian Universalists

1924 Cedar, Berkeley

(510) 841-4824

www.bfuu.org

————————-

Alice in Wonderland

Besides being a big, voluptuous romp in the mind of Lewis Carroll/Disney/Tim Burton (can you imagine a more twisted wonderland?), this Alice oozes sexual innuendo. She escapes the embarrassingly vanilla fumbles of her would-be fiancée to strike up an is-it-real frisson with her “friend,” Johnny Depp’s Mad Hatter. To show an actual affair between the two would be literary infidelity- and crazy! But we’re all mad here… 

In various Bay area theaters

————————-

Boots

Nothing like a man who can really stomp around. This continuation of the legendary leather bar’s legacy throws a fab fete for the underclothed burlies, with a bootblack on duty, of course. It’s sponsored by Stompers Boots, SF’s- no, make that America’s- sexiest bootery. Love the shop local spirit. Get you down to Folsom Street, young stud.

Sat/27 10 p.m. (go-go studs start @ 11:30 p.m.), free

Chaps II

1225 Folsom

(415) 225-CHAP

www.chapsbarsanfrancisco.com

 

Jerry Brown’s inner populist emerges

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In the 1990s, when Jerry Brown ran for president against Bill Clinton, his whole persona had a populist streak. He crashed with supporters instead of staying in fancy hotels; he raised money with an 800 number (the precursor to netroots fundraising); he railed against big-money interests. He even once put the future president of the United States on hold while he took another phone call. (Clinton gave up after waiting about ten minutes and disconnected.) 


But then he became mayor of Oakland and turned into a friend of developers, a tough-on-crime hardass and a promoter of military school. And he ran for attorney general as that Jerry Brown, not the old one.


So I’m glad to see some of his populism starting to re-emerge, not that I really think it’s going to stick (he’s still against raising taxes on the rich), but because it’s the only way he’s going to beat Meg Whitman.


Meg’s got a problem — the incumbent Republican is now rated as the worst governor ever, with the lowest popularity ratings in history. So Brown’s going to be running against the party that, by almost all accounts, wrecked California — and Whitman will have to run like hell away from the titular head of her own party in this state.


Brown also has the advantage, if he wants to take it, of being able to rail against the very types of financial institutions that Whitman and her anti-regulation platform represents. If he can make this about Wall Street, he wins, going away.


 


Cinnamon buns: your gateway drug to hardcore vegan sweets?

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By Robyn Johnson

For all you vegan sweet snackum lovers — and curious crumb-lappers — the ladies behind Fat Bottom Bakery and Cinnaholic have a sale on Sat/20 that you just might egg-free love.

They’ll be hosting the second East Bay Vegan Bakesale, right outside of Issues (‘Magazines and More!”) on Glen Avenue in North Oakland. Personally, I’ve had a rocky relationship with vegan baked foods, but these Cinnaholic cinnamon buns might finally be the gateway pastry to bring me over to the animal product-free side, at least for frequent visits:

Proceeds go to the Haitian Emergency Relief Fund and Animal Place, a farm animal sanctuary.

Vegan Bake Sale
Sat/20, 11am-4pm
Issues
20 Glen Avenue, Oakl.
510-652-5700
www.issuesshop.com

Prop 17 discourages going car-free

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Efforts to encourage car-sharing and ways of getting around that don’t involve owning a car would be undermined by Proposition 17, a June ballot measure that I wrote about in this week’s cover story. While I didn’t mention that impact in the story, it is of real concern to people like me who don’t own cars and encourage others to try the car-free lifestyle on for size.

The measure, sponsored by Mercury Insurance, allows companies to substantially increase monthly premiums on customers who haven’t had continuous insurance coverage. That would be one more barrier to people making the leap of faith to give up their cars and rely on bicycles or public transit, a switch that ought to be encouraged in increasingly traffic-congested cities such as San Francisco.

As I wrote about in another cover story last year, I made the decision several years ago to give up my car, although I still sometimes rent cars to visit my children. Consumer advocates say the cost of renting cars or using car-sharing services – particularly locally owned companies that can’t self-insure like the corporate behemoths – could increase and there would be a disincentive to consider trying it.

 “Anyone who has used car sharing (or for that matter rental cars) as their means of transportation would almost certainly not be considered continuously insured and would face the Prop 17 surcharge if they had to go back to private insurance at some point,” Doug Heller, an insurance expert with Consumer Watchdog, told me.

Currently, the law allows insurance companies to issue discounts to those who have maintained continuous policies with them (Prop. 17 would expand that to allow drivers to change companies and keep their discounts, which would be offset by surcharges on customers who were new or had a lapse in their coverage), and those companies use that discount to actively try to discourage people from experimenting with car-free lifestyles.

Brian Smith, who works for an environmental nonprofit in Oakland, recalls getting that kind of hard sell when he made the leap and got rid of his car.

 “When I cancelled my car insurance, AAA warned me not to. They said, ‘We will make it much more expensive when you come back.’ I said, ‘I sold my car, I don’t need car insurance.’ They said ‘We are just giving you a warning, Sir.’ I said, ‘Cancel it you fucking bastards. I’m never coming back.’ That was 10 years ago.’” Smith wrote to me about the issue.

Proponents of the measure say it would save some drivers $250 per year, while opponents (citing data from Mercury) say the surcharges for everyone else would be about $1,000 per year. So for the soldiers who go off to boot camp, the college students who get an internship in a city with good public transit or bikeways, unemployed individuals who need to trim expenses, or people who want to experiment with going car-free, they would all pay for more for insurance if they went back to driving a car than those who continuously maintained a car-dependent existence.

So, add this to the list of good reasons – and there are many of them in this week’s cover story — to oppose Prop. 17. 

Google sez bike this way

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Just in time for the sun’s critically acclaimed debut, the Internets has once again plotted to increase our digital dependence. Google Maps now has a bicycling option!

If you’re a biker in San Francisco or Oakland, you don’t need me to tell you that you gotta pick your routes around these cities. One false move and you’re falling into the ruts of MUNI train tracks or on a freeway on-ramp (don’t laugh, it happens… to me). But no longer, or at least less often, will you have to deal with these small catastrophes.

Just type in your start and finish and the Goog has your most two wheel friendly route between A and B sorted. Sure, it’s basically an algorithm that connects the marked paths and wide shoulders easily visible on your SF Bike Map– Google’s still at beta when it comes to the ins and outs of our city’s considerable altitude changes, or our multi-tiered, if not hierarchical ways of getting the bridge and tunnelers in and out of here. A quick search for the route between my pad and my night job advised me to head up Eddy Street, which my quads tend to eschew for the less demarcated, but more planar blocks of Turk and Golden Gate. And tell the site you’re headed for a wild night out from SF to East Bay to see that new William T. Wiley showing at UC Berkeley and the site will recommend pedaling across the Bay Bridge- via the Ferry Building. But they’re trying, goddammit.

At least now your out of town houseguests won’t wind up hyperventilating on Van Ness Avenue on that loaner cruiser bike anymore. So for today, digital corporate megalith, you get golf claps- you are one step closer to becoming the website I go to for everything, all the time, always.

Joyful noise

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Even if Music by Prudence’s recent Oscar win for Best Documentary Short is currently garnering more blog pixels for its producer’s Kanye-like acceptance speech takedown, African music is experiencing an upsurge in attention these days. We could all use some uplift every now and again, and artists from the developing world, many of them singing through years of conflict and soul crushing poverty, somehow make that missed bus- even that found pink slip- seem like less of an end game.

Plus, some of them sing with the conviction and force of angels.

I’d like to introduce you to the Soweto Gospel Choir. A 26 singer strong troupe of some of the best singers in South Africa, the Grammy award winning Choir performs in big bright dashikis an interesting blend of traditional Zulu songs and “Many Rivers to Cross,” a combination that when stirred together in an exuberant pot yields African gospel. They’re coming to the Paramount Theater (Sat/27), and the show should be great. Their music gets soaring, it gets heartfelt, it gets jazzy- it’s an epic listening experience that recalls what it means when the people you’re watching onstage are singing to carry out their mission on earth.

So what is that mission? Well, besides to have what looks to be a grand old time dancing and singing with their bandmates in front of audiences that have included Nelson Mandela, Archbishop Desmond Tutu (the group’s “patron”) and Oprah, the aim of the Soweto Gospel Choir is to give back to the community that birthed them.

Children in South Africa nosh down thanks to Soweto Gospel Choir

South Africa has the highest amount of children left without parents from AIDS in Africa- 1.4 million by 2007 estimates- a cloudy future for the country’s next generation. Every performance by the Soweto Gospel Choir sends 50% of their net earnings towards helping these overlooked victims of the AIDS epidemic.

In 2003, the group created Nkosi’s Haven Vukani, a long term residential care center that provides safe shelter for infected mothers and their children, shelter that remains available to the children in the event that the mother passes away. So far, the group’s ecstatic sounds have garnered over $3 million for Nkosi’s- helping to feed over 9,000 kids.

Which means that watching the troupe rock and roll through their soul clapping renditions of “Amazing Grace” and “O Nkosi Yam” might get a ‘hallejuah’ out of even the nonbelievers in the stands. 

Soweto Gospel Choir

8 p.m., $25-$65

Paramount Theatre

2025 Broadway, Oakland

(415) 575-6100

www.ciis.edu

Thrifting for the the perfect song with tUnE-yArDs

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The deep piles of used goods can be a bit daunting at some of the best thrift stores, but when you find that shimmering prize, the fuzzy feeling is relative to winning a race or seeing your worst enemy trip into a puddle. For the sole member of tUnE-yArDs, musician Merrill Garbus— playing Sat/20 at Bottom of the Hill— her ultimate find was a white purse with row after row of luscious beads.

“I was in high school, living in Connecticut and we’d take trips into New York City to shop at thrift stores,” she recalls, talking to me over the phone while walking in her Oakland neighborhood. “I used to collect purses, even though I never used them.”
Recently she bought up a desk and an entire wardrobe of tour clothes, all without spending more than 20 bucks. Garbus says she uses thrift stores as a way to try on different personalities and I’m guessing she finds a little inspiration in there, too.

Plainly stated, Garbus’ music is lo-fi, indie-folk, but beneath the glorious yodeling and ukulele strumming are lyrical melodies, strong heart beats and interesting percussion made from banging and clanking on found objects. Her latest album, BiRd-BrAiNs (Marriage, 2009) was recorded through a hand-held voice recorder and mixed on her laptop— total DIY style.

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

Dig through her multitude of songs and you’ll find outside sounds, children talking about fruit and all sorts of one-of-a-kind clips that wear just like your favorite Goodwill-adopted sweatshirt. She’s a one-woman version of Yeasayer and you can hear Garbus’ love of African music, more specifically notes borrowed from her visit to Swahili.

As I talked to her, Garbus was getting ready for the launch of the tour— the car needed an oil change and she needed to get rid of a nasty cold.

“I’m struggling with being human right now— sick, tired and overworked,” she said with a cough. “But I think I’ll be fine and remarkably, my singing voice comes from a different place.”

Still thinking about thrifting and the old white purse, I wondered if Garbus had ever thought about who was the bag’s previous owner. I like to imagine who bought the item new and I always hope to channel some sort of energy through the garment– to see if I can stake out any secrets from its past life. I asked Garbus if she puts subliminal messages into her music for a similar effect.

“I don’t think so,” she laughs. “But maybe a really cheesy message of love? These songs take time and sort of fold and unfold, exposing miniature worlds inside each of them. They’re a labor of love and I guess that’s the message. Yes, love…. Sorry to cheese out.”

tUne-yArDs w/Xiu Xiu
Sat/20, 8:30pm, $12
Bottom of the Hill
1233 17th Street, SF
www.bottomofthehill.com

A lost San Francisco saga

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arts@sfbg.com

MUSIC “There are great artists and musicians who will never be discovered,” says Herman Eberitzsch Jr. III “That’s the way it is,” he reasons. “There’s only so much room at the top.”

That’s why you’ve most likely never heard of Eberitzsch (pronounced “eh-bur-itch”) despite his remarkable music talent. He has a name straight out of a gothic fairy tale — far from the iconic, slick-sounding syllables associated with San Francisco’s psychedelic soul renaissance during the late 1960s and ’70s. Yet his recordings hold up to the best of them. “We had a strong conviction that we were the next big thing,” Eberitzsch says. “But we weren’t.”

Each generation harbors a certain aesthetic mood that mutates and evolves under the prescient vision of a limited number of innovators. Their fresh styles, resonant at first, then become formulated and stagnant, disseminated in the norm. We then await the next genius, or at least a movement of collective creativity, to shake things up. But what attunes us to one artistic strand, pregnant with a world of open-ended meaning and feeling, rather than another with just as much potential richness? How do we come to discern between the vanguard and the wayward? And what if we miss something in the process?

Eberitzsch’s unlikely story might just read like a rediscovery of what we overlooked. He recorded hours of bluesy soul fueled by free-form jazz throughout the ’70s that never saw commercial release. He arranged, wrote, sang, and funkified the keys on dozens of songs with mainstays of Santana’s circuit (Coke Escovedo, Linda Tillery), Lee Oskar of War, and Sly Stone’s drummer, Greg Errico, among many others. Most of the musicians who recorded on Eberitzsch’s own arrangements were, by and large, no-namers, yet it’s their music which now stands out.

Eberitzsch’s songs leap and wander. They gracefully move the spirit while grounding the body in rich, earthy grooves. They are a naive and inspiringly audacious attempt at channeling the sort of raw expression that challenges, mesmerizes, fights, and loves. In the midst of so much experimental and groundbreaking sound, Eberitzsch’s music either missed the ears of the right A&R rep or was just not the right kind of different.

 

A CHANCE REDISCOVERY

Now Eberitzsch is sitting across from me in a café near his former Potrero district home, excited to tell his story. He greets me as Allen Ginsberg (my look-alike visage intact, masked in dark beard and glasses), and I feign appreciation for the well-meaning reference, knowing that although Ginsberg had quite a poetic sharpness, he wasn’t the best-looking fellow. But Eberitzsch’s generous charm and earnest happiness with the course his life has taken, despite the disappointments, quickly win me over. Waves of amiable energy overtake the slightly weathered rasp in his voice. A youthful, idealistic Eberitzsch naturally emerges in the course of minutes. In a way, he’s been waiting for this interview for 40 years.

“Atlantic told me, ‘We don’t hear it at this time,'<0x2009>” Eberitzsch says, highlighting the elusive way a record company executive might elongate time, stretching the curt word like a worn rubber band. “But when you invest your life and your heart and soul into a project of your own creation, your own little children of songs, you don’t throw them away. You don’t send them down the River Styx,” he says, laughing. “So I put ’em in the basement.”

That’s where record collector Daniel Borine mistakenly found the two-inch apex tapes, 35 years later, while doing photo research for a reissue project on lost Bay Area modern soul. What those tapes hid — a dusty time capsule of relentless insight and vigor — amazed Borine. In a move away from the prideful hoarding that typically characterizes collectors, Borine wanted to share the tapes with a larger audience and finally do justice to Eberitzsch’s music. He pursued the new and quickly growing business of recorded music archaeology and preservation, an endeavor that mirrors what so many archivists have done already for literature, film, and visual art. Borine had the tapes mastered and organized the tracks into coherent volumes. He plans to put out four full-length records of Eberitzsch’s brilliant efforts, titled the HE3 Project, over the coming years on his own upstart Family Groove Records.

The first chapter of the compilation is set for release on March 30. It focuses on Eberitzsch’s trailblazing efforts from three distinct recording sessions between 1971 and 1974. These recordings capture Eberitzsch’s far-reaching artistry — a grounded and soulful angle on space-jazz psychedelia, informed as much by Weather Report as by Robert Johnson. This is the story of the man behind the HE3 Project.

 

ORIGINS OF A WOULD-BE TRAILBLAZER

Herman Eberitzsch Jr. III was born in San Francisco’s colorful Portola neighborhood in 1947. He grew up in a German household, where he learned to play the classical composers — Mozart, Bach, Beethoven, and Brahms — at a young age. But somewhere along the way Eberitzsch caught the funk and couldn’t let go. “In my room I listened to James Brown,” he recalls. “When I grooved and played the boogie, I had a powerful left foot that shook the ground. My left foot took down the house, so I eventually had to move out.”

Eberitzsch conjured doo-wop on the corner with the young funky drummer Greg Errico, who lived down the street. He was enraptured by the blues in Oakland, danced to jazzy R&B grooves in San Francisco, and witnessed the emergence of a new psychedelic sound at the Fillmore and in the streets. Immersed in the Bay Area’s magnetic music community, he naturally gravitated to the keys again. “I figured out how to play funky style clavinet and piano,” Eberitzsch says. “They called me Funky Knuckles for short.”

At 21, the freshly-dubbed Funky Knuckles joined a band with Boots Hughston called Sword and the Stone, and was booked by Bill Graham to perform at the Fillmore. The outfit transitioned into a quartet, Shane, with Santana’s David Brown on bass. They hustled around the city making $10 an hour and all the beer they could drink. The city bubbled over with an unparalleled creative force. The time was electric.

That same year — 1968 — Eberitzsch attended UC Berkeley to study psychiatry. But he quit after one semester to pursue music as a career, preferring the organic therapeutic powers of rhythm and melody to the structured treatment of question and answer. “Music is a much more pure form of psychiatry. It has two potentials: it either incites you to create, or it soothes the savage beast,” he says. “I became a knowledgeable person of people through music.” And cyclically, Eberitzsch’s improvisational music erupted from kinetic relationships with people.

Read part two of “A lost San Francisco saga” here.

From Beijing to Oakland

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arts@sfbg.com

LIT In 2005, after dropping out of a PhD program in immunology, Chinese writer Yiyun Li debuted her first book of fiction, A Thousand Years of Good Prayers. A collection of stories exploring the aftershock of the Cultural Revolution on mainland and overseas Chinese, it won the Frank O’Connor International Short Story Award, PEN/Hemingway Award, Guardian First Book Award, and California Book Award. Li’s story “Immorality” won the Paris Review Plimpton Prize.

Afterward, Li’s green card application was rejected by the U.S. Citizenship and Immigration Services — twice. Her “extraordinary ability” as an artist (Title 8, Code of Federal Regulations, Part 204.5) could not be proven until she won, on top of those accolades, a Pulitzer Prize.

Fortunately for the status of fiction in America, Li’s extraordinary ability was finally recognized in 2007, 11 years after her arrival to the United States. In a journey that has taken her from Beijing to Iowa, Li now resides in Oakland with her family. Li left China in 1996 to pursue a doctorate in immunology at the University of Iowa. Living in China, she had no interest in writing fiction, and her natural affinity and aptitude for telling stories in English took her by surprise. Her second language in speaking, she discovered, was really a “first language in creating and thinking.”

Li has a scientist’s eye toward precision and a gifted storyteller’s ability to extract meaning from the mad fracas of human circumstance. Last year, she published a well-received first novel called The Vagrants. Set in China during 1979, in a fictional provincial city called Muddy River, the novel provides an unflinching view into the era’s brutality and violence. The novel also reveals, carefully and without sentiment, the unexpected moments of transcendence that result when love, empathy, and human emotions bloom in the harshest of environments.

Li spoke with the SFBG about The Vagrants, released in paperback by Random House a few weeks ago.

SFBG You write in English, which you learned as an adult. Does this have to do with any innate differences linguistic between English and Chinese? Does it have anything to do with your associations with China?

YIYUN LI I wasn’t trained as a writer in China, and even though I widely read Chinese literature when I was in China, I never had the urge to write in Chinese until I came to America, picked up English, and felt it a natural way to express myself. I think it is a more personal decision than I may have indicated, though honestly I myself sometimes feel mystified by this switch of languages too. I feel much more like myself when I write in English, which is to say English is really my first language in creating and thinking. In a way I do censor myself less when I write in English — again, that censoring is not from others, but from myself.

SFBG Do you think in Chinese?

YL I no longer think in Chinese. Of course as my mother tongue, Chinese is still used in my everyday life — I still count and do my math in Chinese, but when I think about literature, art and philosophy I think in English.

SFBG As an international student, your decision to forgo a promising medical career and become a writer was extremely brave. During the process of writing your first book, did you experience great anxiety or doubt? Were you ever tempted to give up and go back to medicine?

YL I didn’t feel self-doubt — I think by the time I gave up my immunology career, I was certain I wouldn’t go back. There was a certain level of anxiety but I would say at the time it was minimal. I probably just lived with a tunnel vision and all I thought about was to write, and write well. I was certain that I needed some time to improve myself, so it did not occur to me to give up.

SFBG When you write, do you find you draw any lessons from your experiences studying medicine?

YL Medical knowledge, like any kind of knowledge, is helpful and useful for a fiction writer. I think my training perhaps helps me look at the world and its many violences without being sentimental.

SFBG In The Vagrants, even small children in Muddy River are completely unmoved by public executions. This strikes me as devastating and true. My mother told me that when she was growing up in China during the early 1970s, she saw a man bleed to death on the side of the road. The real horror of the experience didn’t dawn on her until decades later. You were seven years old in 1979, the year in which The Vagrants takes place. Writing about violence from the perspective of children, do you recall events from your own childhood in China?

YL Your mother’s experience was quite close to my own experience, and indeed for most children, empathy and sympathy come not naturally, but with some help from grownups and education. When violence is prevalent, as one sometimes finds in life, not only children but adults too stop questioning the injustice. I did draw from my own memories of the time, but like your mother, I had to look back as a different person to understand the tie.

SFBG Have you gone back to China since you’ve left? How are you received?

YL Yes, I have been back visiting. I keep a very low profile when I visit China. so there is not much trouble for me.

SFBG You’ve mentioned that your biggest literary influence is William Trevor. You’ve named Chekhov, Tolstoy, and Greene as influences, too. Do you draw any influences from Chinese literature?

YL My favorite Chinese author — Shen Congwen — influenced me a lot, not in the way of how he wrote stories and how he used language but how he looked at the world as a storyteller.

SFBG Speaking of Chinese novels, some of your characters in The Vagrants, like Teacher Gu, are quite literary. I enjoyed that Kai and Kialin hold their clandestine meetings in the library. I also liked that Jialin’s mother steals books for him from the shelves she’s supposed to guard. What books are these characters reading? If you could pick a book for each Gu, Kai, and Jialin, what might be a book that affected the way each viewed the world at that time?

YL This is a great question. For Jialin and Kai, I imagine they would be reading Gadfly, a little-known novel in the West but a hugely popular novel in China (and Soviet Union) written by the Irish author Ethel Voynich. I also thought Jialin might be interested in reading French authors. For Teacher Gu, I would imagine he would read Tolstoy.

Stage listings

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

THEATER

OPENING

Baby: A Musical Off-Market Theatres, 965 Mission; 1-800-838-3006, www.roltheatre.com. $20-32. Previews Thurs/18, 8pm. Opens Fri/19, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through April 18. Ray of Light Theatre performs a comedy about pregnancy.

Ramble-Ations: A One D’Lo Show Brava Theater Center, 2781 24th St; 647-2822, www.brava.org. $10-25. Opens Wed/17, 8pm. Runs Thurs-Sat, 8pm; Sun, 3pm. Through April 3. Performance artist D’Lo offers up a comedic solo show from a unique (gay, Hindi, Sri Lankan, SoCal, hip-hop) perspective.

Truce Noh Space, 2840 Mariposa; 826-1958. $10-25. Previews Wed/17, 8pm. Opens Thurs/18, 8pm. Runs Wed-Sat, 8pm. Through April 3. Playwright-performer Marilee Talkington stars in Vanguardian Productions’ presentation of her autobiographical work about a woman struggling with impending blindness.

ONGOING

…And Jesus Moonwalks the Mississippi Cutting Ball Theater, 277 Taylor; 1-800-838-3006, www.cuttingball.com. $15-30. Opens Fri/19, 8pm. Runs Thurs-Sat, 8pm; Sun, 5pm. Through April 11. Cutting Ball presents this deeply personal fantasy play inspired by the myth of Demeter and Persephone and directed by Amy Mueller.

Caddyshack: Live! Dark Room, 2263 Mission; 401-7987, www.brownpapertickets.com/event/99361. $20. Fri-Sat, 8pm. Through March 27. The Dark Room presents Jim Fourniadis’ live adaptation of the iconic movie.

Death Play EXIT Theatre, 156 Eddy; 673-3847, www.theexit.org. $15-20. Thurs-Sat, 8pm. Through March 27. Thunderbird Theatre Company presents the third installment in the comedy series by Sang S. Kim.

*Den of Thieves SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $40. Tues, 7pm; Wed-Sat, 8pm (also Sat, 3pm). Through April 17. Stephen Adly Guirgis has been good to SF Playhouse. The company already scored big with two of the New Yorker’s gritty, dark and sharply funny plays, Our Lady of 121st Street and Jesus Hopped the ‘A’ Train. Director Susi Damilano continues the streak with SF Playhouse’s latest, the less heavy but very funny Den of Thieves, about an unlikely foursome of inept bandits caught trying to heist a Mafioso’s safe under a discotheque in Queens — a simple tale that gives plenty of scope to Guirgis’s muscular way with dialogue and the clash of characters. The story opens on a depressed recovering kleptomaniac, Maggie (an affectingly understated Kathryn Tkel), and her 12-step sponsor Paul (the excellent Casey Jackson), a nerdy fast-talking mixed-race former safecracker, whose Jewish grandfather headed up a famous crime ring that robin-hooded their take to library construction for kids in the neighborhood. Enter Maggie’s former boyfriend, a Puerto Rican tough named Flaco (a hilariously spot-on Chad Deverman), with his new squeeze, erotic dancer Boochie (a deftly comic Corinne Proctor), and a lead on a large traceless sum of cash. Suddenly the smell of big money sends recovery out the window and makes uneasy bedfellows of the motley, hostile bunch. Enter angry but softhearted mobster Little Tuna (Ashkon Davaran), his sadistic sidekick Sal (Peter Ruocco), and big gun Big Tuna (Joe Madero). Facing mob vengeance, it’s time for some fast-talking and deal making among the mini-den, and all bets are off. The ending seems to have eluded Guirgis a little, but the way there makes for meaty comedy, while the exceptional cast sells the conceit so beautifully they make it a crime to miss. (Avila)

Desperate Affection Royce Gallery, 2901 Mariposa; www.expressionproductions.com. $28. Thurs-Sat, 8pm. Through April 10. Expression Productions presents a dark comedy by Bruce Graham.

Eat, Pray, Laugh! Off-Market Theaters, 965 Mission; www.brownpapertickets.com. $20. Wed, 8pm. Through April 28. Off-Market Theaters presents stand up comic and solo artist Alicia Dattner in her award-winning solo show.

*Juliet Little Theatre, Creative Arts Bldg, San Francisco State University, 1600 Holloway; http://creativearts.sfsu.edu/events/1412/juliet. $8-12. Thurs/18-Sat/20, 8pm; Sun/21, 2pm. Can a cast of seven Juliets a Romeo and Juliet make? Very much so. In fact, this devised work, directed by Mark Jackson and beautifully brought to life by an exceptional student cast from SF State’s theater department, conveys not just the poetry but the sheer energy, surprise, and shock of living — at the very heart of the work — better than any recent straight-ahead production in recent memory. This vibrant, movement-based, and repeatedly stunning postmodern Juliet retains the dramatic arc of Shakespeare’s tragedy, yet runs another parallel arc of its own, exploring the perspective of Juliet as an extremely intelligent, vital and growing young woman by ingeniously refracting her through the lives and memories of seven actors, six female (Arisa Bega, Charlotte Gulezian, Meredith, Frannie Morrison, Megan Trout, Mai Kou Vang) and one male (Dara Yazdani). The results are not to be missed, providing something truly unique as well as one of the most compelling ways into a text that refuses to die despite a million bad productions. Excellent scenic and lighting designs (by Hannah Murray and Clyde Sheets, respectively) and a truly outstanding sound design by Matt Stines offer fine mood-casting support throughout. (Avila)

KML Preaches to the Choir Jewish Theater, 470 Florida; www.killingmyblobster.com. $15-20. Thurs-Fri, 8pm; Sat, 7 and 10pm; Sun, 7pm. Through March 28. The award-winning sketch comedy group takes aim at the higher powers in this piece directed by Paco Romane.

*Loveland The Marsh, 1074 Valencia; 826-5750, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through April 11. Los Angeles–based writer-performer Ann Randolph returns to the Marsh with a new solo play partly developed during last year’s Marsh run of her memorable Squeeze Box. Randolph plays loner Frannie Potts, a rambunctious, cranky, and libidinous individual of decidedly odd mien, who is flying back home to Ohio after the death of her beloved mother. The flight is occasion for Frannie’s own flights of memory, exotic behavior in the aisle, and unabashed advances toward the flight deck brought on by the seductively confident strains of the captain’s commentary. The singular personality and mother-daughter relationship that unfurls along the way is riotously demented and brilliantly humane. (Avila)

*Mirrors In Every Corner Intersection for the Arts, 446 Valencia; 626-2787, www.theintersection.org. $15-25. Thurs/18-Sun/21, 8pm. Try to ask someone who’s ever felt marked by the color (any color) of their skin if they believe in a post-racial society, and see what kind of a response you elicit. That there is no tidy answer to this potentially messy question is a conundrum well-illustrated by playwrite Chinaka Hodge’s hypothetical fable of a white-skinned baby born into an African-American family. Each member of the family has a different reaction to and relationship with the mysterious blonde-haired changeling Miranda, dubbed "Random". Her father, who dies when she is young, is reported to have hated her. Her oldest brother Watts (Daveed Diggs) claims to understand her best, but in trying to get her to unravel what it means to be "black" vs. "white", reveals himself to be as confused as anyone by the lack of a single definition. Her mother Willie—played tough and no-nonsense by Margo Hall (who also plays the teenaged Miranda)—loves her unconditionally, yet ultimately sacrifices her for the well-being of the greater family unit. Hodge’s first full-length play, Mirrors succeeds in strong performance, warm humor, and crackling, poetic dialogue, but fails to adequately resolve how it is that the otherwise uncompromising Willie lets the low card of an unfortunate accident trump her otherwise strong hand of "colorblind" maternal loyalty. With Dwight Huntsman and Traci Tolmaire. (Gluckstern)

Now and at the Hour EXIT Stage Left, 156 Eddy; 673-3847, www.theexit.org. $15-25. Fri-Sat, 8pm. Through March 27. EXIT presents the subtly unnerving show by theatrical magician Christian Cagigal.

Pearls Over Shanghai Hypnodrome, 575 Tenth St.; 1-800-838-3006, www.thrillpeddlers.com. $30-69. Sat, 8pm; Sun, 7pm. Through April 24. Thrillpeddlers presents this revival of the legendary Cockettes’ 1970 musical extravaganza.

The Real Americans The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $18-50. Wed-Fri, 8pm (April 16, show at 9pm; starting April 24, no Fri shows except May 28, 8pm); Sat, 5pm; Sun, 3pm. Through May 30. The Marsh presents the world premiere of Dan Hoyle’s new solo show.

Shopping! The Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.brownpapertickets.com. $27-29. Fri-Sat, 8pm. The musical is now in its fifth year at Shelton Theater.

Something You Might Want Stagewerx Theatre, 533 Sutter; www.catchynametheatre.org. $16. Fri-Sat, 8pm; Sun, 3pm. Through March 28. CatchyNameTheatre presents this dark comedy written and directed by Jim Strope.

Suddenly Last Summer Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $15-35. Thurs-Sat, 8pm. Through March 27. Actors Theatre presents one of Tennessee Williams’ finest and most famous plays.

The Sugar Witch New Conservatory Theatre Center, 25 Van Ness; 861-4914, www.nctcsf.org.

Wed-Sat, 8 pm; Sun, 2pm. Through April 4. NCTC presents the premiere of Nathan Sanders’ crime story.

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through July 30. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Concerning Strange Devices from the Distant West Roda Theatre, 2015 Addison, Berk; (510) 647-2949, berkeleyrep.org. $13.50-27. Days and times vary. Through April 11. Berkeley Rep presents a sexy and intriguing new show from Naomi Iizuka.

*East 14th Laney College Theatre, 900 Fallon St, Oakl; www.east14thoak.eventbrite.com. $10-50. Fri-Sat, 8:30pm. Through March 28. Also at the the Marsh Berkeley in March. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

Handless Central Stage, 5221 Central, Richmond; 1-800-838-3006, www.raggedwing.org. $15-30. Thurs-Sat, 8pm. Through March 27. Ragged Wing Ensemble presents Amy Sass’ re-invention of the folk-tale The Handless Maiden.

*Learn to be Latina La Val’s Subterranean, 1834 Euclid, Berk. impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through March 27. Impact Theatre continues its 14th season with the world premiere of Enrique Urueta’s play.

Singin’ in the Rain Julia Morgan Center for the Arts, 2640 College, Berk; (510) 665-5565, www.berkeleyplayhouse.org. $19-28. Fri/19, 7:30pm; Sat/20, 2 and 7pm; Sun/21, 1 and 6pm. Berkeley Playhouse presents this classic musical.

PERFORMANCE

"All Star Magic & More" SF Playhouse, Stage Two, 533 Sutter; 646-0776, www.comedyonthesquare.com. Sun, 7pm. Ongoing. $20. Magician RJ Owens hosts the longest running magic show in San Francisco.

"Bananaritis!" CounterPULSE, 1310 Mission; 1-800-838-3006, www.brownpapertickets.com. Sat, 8pm. $20. Tim Rubel Human Shakes presents a performance piece that examines queer relationships.

BATS Improv Theatre Bayfront Theater, Fort Mason Center, B350 Fort Mason; 474-6776, www.improv.org. Fri-Sat, 8pm. $17-20. The Theatresports show format treats audiences to an entertaining and engaging night of theater and comedy presented as a competition.

"The Cat’s Pajamas" Make-Out Room, 3225 22nd St; www.makeoutroom.com. Mon, 8pm. $5. This month’s installment of the performance series hosts the Revolutionary Poets Brigade, among other acts.

"HyperReal" Yerba Buena Center for the Arts Forum, 701 Mission; 978-ARTS, www.ybca.org. Thurs-Sat, 8pm. $25. Bay Area artist Sara Kraft debuts her tech-vs-mind exploration, a fusion of text, song, sound, movement, and video.

PianoFight Studio 250 at Off-Market, 965 Mission; www.pianofight.com. Mon, 8pm. Through March 29. $20. The female-driven variety show Monday Night ForePlays returns with brand-new sketches, dance numbers, and musical performances.

"Sheherezade X: A Year in Review (2009)" Phoenix Theatre, 414 Mason; 885-8526. Fri-Sat, 8pm. Through March 27. $25. Short plays by local writers take on topics as varied as Muni and Bernie Madoff.

"Two on a Party" Artaud Theater, 450 Florida; 1-800-838-3006. Sat-Sun, 8pm. $18-20. Word for Word performs the Tennessee Williams work before they head off to present it in France.

VergeFest Garage, 975 Howard; 885-4006. Fri-Sun, 8pm. $10-20. Featuring contemporary dance, improvisation, and performance.

Virgin Play Series Magic Theatre, Fort Mason Center, Bldg D, Marina at Laguna, SF; 240-4454, http://magictheatre.org. Mon, 6pm. Free (reservations recommended). Through March 29. Magic Theatre presents Martha Heasley Cox’s series of staged readings of works currently in development. This week: Ryan Purcell’s Brazilian musical Marinheiro.

Oakland’s Camaron Ochs may inspire folk-pop Barbie

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Big blonde hair, rosy cheeks, and an adorable little frame … folk-pop songstress Camaron Ochs — who’ll be performing Wed/17 at Cafe Du Nord — is a doll. Coincidentally, she is also being stalked by one— the Oakland singer-songwriter has seen quite a lot of Barbie in the past year, the long plastic limbs have been spotted at two East Bay venues where Ochs took the stage: the Stork Club, where the bar is decorated with stacks of cased holiday Barbies and Mama Buzz, the coffee shop/art gallery that hosted an art exhibit of the dolls in adult-style dioramas.

 

“There’s a Bat Girl Barbie at the Stork Club and I want it,” she says with a warm smile. “And I really liked the Barbie on the unicorn at Mama Buzz.”

Besides the constant grin, Ochs has nothing in common with her 11.5-inch stalker. An extensive travel record and a day job as a lab manager for emotion research means this pretty lady’s personality is far from plastic. Ochs’ brand of folk-pop is light and sweet, with genuine lyrics that ask listeners to live with their “heartforward”; a term Ochs coins as her philosophy on life and the title of her debut album. 

 

“I came up with the term when I was living in Nepal. I was learning all about the seven chakras— the heart is the fourth,” she explains at a coffee shop in her sunny Temescal neighborhood. Skipping a few details, Ochs summarizes that being ‘heart forward’ literally means setting yourself up to take in the endless possibilities that surround us. “It’s about putting yourself out there, not just in a romantic sense, but in a life-sense.”

 

Bright guitar strums and a beautiful, rich voice flutter throughout Ochs’ songs, lyrics exploring relationships and offering insightful snapshots into lessons she’s learned while visiting cities around the world. Inspiration stems from other indie-folk blends, like The Weepies and yet also carry a more country tone, like that of her other favorite artist, Patsy Cline. There’s an audible optimistic bliss in her music and an honest indication that the woman behind the strings is a solid, well-rounded being. 

 

Born a California girl, Ochs grew up with an interest in music, taking notes from her grandparent’s love of classic country and learning to sing in multiple languages. In college Ochs started her own A Cappella group, but it wasn’t until her study abroad experience in the Netherlands that she picked up a guitar. 

 

“I decided to do the college thing— get a guitar. But I wasn’t any good at it. I would play on the streets of Amsterdam and then I even tried to sell it on the street, but no one wanted it.”

 

Eventually she gave it to a boyfriend and headed back home. A few months later, Ochs realized she missed her box of strings. 

 

“So I borrowed a backpacker, basically just the neck of a guitar without the body, and brought it with me into the mountains of Nepal.” The trip included a flight over Kathmandu, a six-hour bus ride, five hours in a taxi and a ten-hour walk straight up into the mountain to where she would take residency for the next six weeks. 

 

A girl on her own in a foreign land, Ochs had no choice but to keep an open mind and her ‘heartforward.’

 

“The first two weeks, I cried and cried. All I could focus on was how much different everything was there,” she says recalling the trip. “And then I realized that when you strip away everything you’ve ever had in your entire life, that’s when you see what you really are and who you really want to be.”

 

She met a couple of traveling Canadians and together they would play music, battling the inconsistent electricity with late night guitar parties. Building on that experience and developing her own relationship with the instrument once she returned home, Ochs is now playing confidently and taking on stages across the Bay with a full band. She couldn’t have been happier when her CD release party sold out. 

 

“I think I’m really lucky. But I’m working really hard, so I guess it’s really not luck afterall.”

 

Camaron Ochs

Wed/17, 8:30pm, $12

Café Du Nord

2170 Market, SF

www.cafedunord.com

 

Music for all those left behind by SXSW

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The rapture that is South By Southwest has taken all that’s good and pure to Texas for Austin’s week of non-stop music, showcasing bands that have descended from the heavens themselves. Reading this post means you too have been left behind, your friends, family, music store clerks and critics disappeared over the weekend and didn’t even bother to leave you a mix-tape. Thou shall not fear, my friends. Austin may be wining and dining some of your favorite bands this week, or maybe each and every goddamned one, but thank the Lord San Francisco has your best interests at heart with plentiful options for entertainment.


Cheer up, my child and in the name of SXSW, expand your horizons and enjoy a new genre each night of this week. Amen.

MON/15
Get Hustle
Passionately chaotic, Portland’s Get Hustle lets their guitars run wild, tearing up the neighborhood with sharp, scissor-like vocals, psychedelic keys and erratic percussion. They are slightly scary, possibly foaming from the mouth, and definitely ready to bite. 9pm, $10, Elbo Room

TUES/16
Shotgun Wedding Quintet
This week’s Jazz Mafia night at Coda features The Shotgun Wedding Quintet, a 5-piece blend of jazz and rap that pays homage to the art of improvisation and the days when San Francisco was Mob-run and wild. 9pm, $7, Coda

WED/ 17
Madam and the Ants
The night is intended to be a salute to Irish Bands of the ‘80s and this San Francisco Adam and the Ants tribute band will bring you right back to the new-wave, post-punk era with a sassy front woman and band of fury. 7:30, $5, Make-Out Room

THUR/18
My Barbarian
Somehow this L.A.-based band promises a rock opera of choreographed dances and finely tuned numbers about cross-dressing sailors, mermen, pagan rites in the desert, and all kinds of politics with flamboyant flair. 9pm, free with museum admission, SFMOMA

FRI/19
Groove Armada
An electronic music duo that isn’t afraid to mix in a little funk. It’s been over a decade for the UK DJs and they’re still hard set on making you dance in slow-motion form. 9pm, $30, Fillmore

SAT/20
Rosin Coven
Rosin Coven are the ‘World’s Premier Pagan Lounge Ensemble” hailing from Oakland with a small string orchestra, a few horns, lots of hats, great mustaches, and feather embellishments. A carnival full of kink. 9pm, $15, Café Du Nord

SUN/21
Marabelle Phoenix
Marabelle Phoenix strums light and sets the perfect Sunday night mood with rusty tones and porch-friendly lyrics. 9pm, Bluesix Acoustic Room

Elusive finger-picker Ed Masuga reappears with five shows

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By Chloe Roth

For the past four years, Ed Masuga has consistently delivered pure folk music. His dichotomously sharp finger-picking guitar and soft melodies make for easy, pleasing listening, and if you close your eyes you might find yourself transported to a Dust Bowl-era railway car. Steeped heavily in the folk tradition, his songs are simultaneously old-fashioned, timeless, and timely. With the bare minimum of Internet presence, the elusive San Francisco-based songster, though he can’t be called a Bay Area “native,” maintains a mysterious backwoodsman identity. The almost literary stories of his youth seem to come straight out of a Dickens novel. I caught up with Mr. Masuga (that has a nice ring to it!) to ask him how his itinerant childhood has informed his work.

The youngest of 10 children, Masuga lived a rootless childhood, constantly drifting with his large family from shack to motel to forest to casino, usually around the San Bernadino Mountains and Big Bear Lake. Returning from the hospital with a birth tag on his wrist that read “Boy Masuga,” and for lack of a chosen name, his family referred to him as “Boy” for the first few years of his life. “When people started calling me Danny, my actual name,” Masuga says, “I refused, preferring to go by my middle name Eddie, after the ’70s country singer Eddie Rabbit.” Masuga grew up around music, his folks and family always singing together wherever they went. Masuga says that his father, who came from a polka-singing Polish family, “has always seemed somehow to know every song out there,” which probably helped him win a trip to Puerto Rico on an episode of “Name That Tune” when Ed was “just a tyke.” And his mother’s traveling occupation, as a cook in bar kitchens, exposed him to a whole world of juke box country music.

Out of all the places Masuga has lived over the years (the East Coast, Alaska, Ohio, Oregon, Colorado, Arizona, and Montana), he says that the Bay Area, especially the trees and hills of the East Bay, “has something special that always brings me back.” Of Berkeley in particular, where he has lived sporadically since 1999, Masuga says “it’s kind of like a second home for me in a way. Or a third or fourth.”

Both his 2006 self-titled debut and his 2008 sophomore record Lonely Dog consisted solely of Masuga’s unadorned voice and guitar. His new record, Let Me Tune My Heartstrings, breaks away from the sparseness of the first two albums. Female vocal harmonies by Ed’s “longtime best friend-extraordinaire Kate Grindlay” meld flawlessly with his voice to create a new fullness, rich and soulful. Flying solo in the past, his live performance has recently evolved into a group project with Grindlay on accompanying vocals, Ethan Lee on bass, and Mike Carreira on drums.

If you check his MySpace page every now and again like I do, hoping to see a local show listed, you’ll oft be disappointed. But Ed Masuga has made a sudden reappearance in the Bay Area, with five shows scheduled over the next two months in San Francisco, Berkeley, Oakland, and Bolinas. Jump on the bandwagon quickly, for with Ed’s wandering ways, who knows when you’ll catch him in the Bay again.

Snapshots

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City of Life and Death (Lu Chuan, China, 2009) There have been a number of recent works about the "rape of Nanking," but perhaps none tackles the brutal nature of Nanjing’s fall with as much beauty as City of Life and Death. Shot in striking black and white, the film depicts the invasion of China’s capital by Japanese forces from a number of points of view, including that of a Japanese soldier. It can be difficult at times to become emotionally attached to characters within such a restless narrative, but the structure goes a long way toward keeping the proceedings balanced. The stunningly elaborate sets and cinematography alone are worth the price of admission, and it’s amazing that such detail was achieved with a budge of less than $12 million. But it is the unflinching catalog of the some 300,000 murders and rapes that took place between 1937 and 1938 in Nanjing that will remain with you long after watching. (Peter Galvin) Fri/12, 6:30 p.m., Sundance Kabuki; Sat/13, 8 p.m., PFA.

The Forbidden Door (Joko Anwar, Indonesia, 2009) This year’s midnight screening at SFIAAFF is The Forbidden Door, a surreal genre throwback from Indonesia. It’s hard to describe exactly what this film is about beyond basic character descriptions — it concerns Gambir, a sculptor of pregnant female figures and doormat for his friends and family. Less clear are matters like why Gambir inserts aborted babies into his sculptures, or the significance of his wife’s secret room in the basement. As inorganic as some of the plot points feel initially, the tangential nature of the film is leading somewhere. Joko Anwar has succeeded in shaking the loose and shaggy nature that plagued his 2007 breakthrough Dead Time, and The Forbidden Door is a sturdy showcase for the director’s ambition. His keen handle on the film’s eerie Jakartan atmosphere and his follow-though in the riveting, bloody climax should be enough to secure The Forbidden Door a place in cult cinema. Still, it’s ultimately apparent that the film’s standout moments are a sign that Anwar’s best work is yet to come. (Galvin) Fri/12, 11:59 p.m., Clay; March 19, 9:10 p.m., PFA; March 21, 7 p.m., Camera 12.

Aoki (Mike Cheng and Ben Wang, USA, 2009) This stirring, dynamic portrait of Black Panther Party founding member Richard Aoki makes use not only of historical footage from his rabble-rousing days, but also of blunt and hilarious speeches and interviews conducted during the last five years of his life (he died at last year at age 70). After being held in an internment camp during World War II, Aoki’s family returned to the Bay Area; soon, as he recalls, the teenage Aoki "got the reputation as the baddest Oriental to come out of West Oakland." He enlisted in the Army at 17, but became disenchanted with the military due to the Vietnam War. He was already well on his way toward becoming a radical when he befriended Huey Newton and Bobby Seale at Merritt College; post-Panthers, he remained an activist and charismatic community leader. Directors Mike Cheng and Ben Wang do an admirable job condensing such a full life into 90 educational, entertaining, and enlightening minutes. (Cheryl Eddy) Sat/13, 3:30 p.m., Viz; March 17, 9:30 p.m., Sundance Kabuki; March 20, 3 p.m., Camera 12.

A Moment in Time (Ruby Yang, USA, 2009) The decline of the filmgoing experience is one of the more depressing cinematic developments of the past decade. There was a time when going to the movies was a momentous event — and it is this era that A Moment in Time captures, from the unique perspective of the residents of San Francisco’s Chinatown. Accompanied by great period footage and rare film clips, the doc features interviews with a number of local figures who were raised in a Chinatown that at one time had as many as five movie theaters. What began as a source of pride in the 1930s soon proved to have far-reaching effects in shaping the identities of those who grew up in the neighborhood. It’s appropriate that A Moment in Time (directed by Ruby Yang, who won an Oscar for her 2006 short doc, The Blood of Yingzhou District) is showing at a festival, perhaps the last of the true film-going experiences. (Galvin) Sat/13, 7 p.m., Sundance Kabuki; Tues/16, 5 p.m., Sundance Kabuki.

The Oak Park Story (Valerie Soe, USA, 2010) The Oak Park Story is a nice piece of local interest, a document of the struggle by an Oakland apartment community to improve their living conditions. As a piece of film, Valerie Soe’s short film is a little rough around the edges, but it feels like such a deeply personal undertaking that it’s easy to get caught up in the lives of its deeply-bonded residents. At a scant 22 minutes, The Oak Park Story is the perfect length, and the gamut of emotions the filmmakers are able elicit in such a short amount of time is impressive. But should you find yourself interested in hearing more, just ask, since director Soe is expected to appear in person. The film screens with the feature-length Manilatown is in the Heart: Time Travels With Al Robles. (Galvin) Sun/14, 2 p.m., Sundance Kabuki; Mon/15, 7 p.m., Sundance Kabuki.
Lessons of the Blood (James T. Hong and Yin-Ju Chen, USA, 2010) The latest experimental work from sometimes San Francisco resident James T. Hong is his first feature-length documentary. It’s also his most accessible film to date, which is not to say that Hong’s unconventional style, bold opinions, and fascination with controversial subject matter have been dulled in the slightest. Codirected by Hong’s frequent collaborator (and wife) Yin-Ju Chen, Lessons of the Blood uses archival clips, old educational films, current interviews, and not a small amount of hidden-camera footage to explore the topic of revisionist history, specifically as it relates to Japanese cruelty in China circa World War II. Stark, artful visuals — plus a grim travelogue’s worth of shots taken at significant sites, including Japan’s Yasukuni Shrine, the northeastern Chinese city of Harbin (once occupied by the Japanese), and the Nanjing Massacre Memorial — contrast with a curious, furious tone. Lessons‘ lessons are harrowing, and unforgettable. (Eddy) Sun/14, 3 p.m., PFA; Tues/16, 7 p.m., Sundance Kabuki. *

The 28th San Francisco International Asian American Film Festival runs March 11–21 at the Castro, 429 Castro, SF; Sundance Kabuki, 1881 Post, SF; Viz Cinema, 1746 Post, SF; Clay, 2261 Fillmore, SF; Pacific Film Archive, 2575 Bancroft, Berk.; and Camera 12 Cinemas, 201 South Second St., San Jose. Tickets (most shows $12) available at www.asianamericanmedia.org.