Parks

Endorsements 2012: San Francisco propositions

Andrew Lam
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Endorsements 2012: San Francisco propositions

PROPOSITION A

CITY COLLEGE PARCEL TAX

YES

The scathing accreditation report by the Western Association of Schools talks about governance problems at the San Francisco Community College District — a legitimate matter of concern. But most of what threatens the future of City College is a lack of money.

Check out the accreditation letter; it’s on the City College website. Much of what it says is that the school is trying to do too much with limited resources. There aren’t enough administrators; that’s because, facing 20 percent cuts to its operating budget, the college board decided to save front-line teaching jobs. Student support services are lacking; that’s because the district can barely afford to keep enough classes going to meet the needs of some 90,000 students. On the bigger picture, WASC and the state want City College to close campuses and concentrate on a core mission of offering two-year degrees and preparing students to transfer to four-year institutions. That’s because the state has refused to fund education at an adequate level, and there’s not enough money to both function as a traditional junior college and serve as the training center for San Francisco’s tech, hospitality and health-care industry, provide English as a second language classes to immigrants and offer new job skills and rehabilitation to the workforce of the future.

It’s fair to say that WASC would have found some problems at City College no matter what the financial situation (and we’ve found more — the nepotism and corruption under past boards has been atrocious). But the only way out of this mess is either to radically scale back the school’s mission — or to increase its resources. We support the latter alternative.

Prop. A is a modest parcel tax — $79 dollars a year on each property lot in the city. Parcel taxes are inherently unfair — a small house in Hunters Point pays as much as a mansion in Pacific Heights or a $500 million downtown office building. But that’s the result of Prop. 13, which leaves the city very few ways to raise taxes on real property. In the hierarchy of progressive tax options, parcel taxes are better than sales taxes. And the vast majority of San Francisco homeowners and commercial property owners get a huge benefit from Prop. 13; a $6 a month additional levy is hardly a killer.

The $16 million this tax would raise annually for the district isn’t enough to make up for the $25 million a year in state budget cuts. But at least the district would be able to make reasonable decisions about preserving most of its mission. This is one of the most important measures on the ballot; vote yes.

PROPOSITION B

PARKS BOND

YES

There are two questions facing the voters: Does the San Francisco Recreation and Parks Department need money to fix up badly decrepit, sometimes unsafe facilities, and build out new park areas, particularly in underserved neighborhoods? Has the current administration of the department so badly mismanaged Rec-Park, so radically undermined the basic concept of public access to public space, so utterly alienated neighborhoods and communities all over the city, that it shouldn’t be trusted with another penny?

And if your answer to both is yes, how the hell do you vote on Prop. B?

It’s a tough one for us. The Guardian has never, in 46 years, opposed a general obligation bond for anything except jail or prisons. Investing in public infrastructure is a good thing; if anything, the cautious folks at City Hall, who refuse to put new bonds on the ballot until old ones are paid off, are too cautious about it. Spending public money (paid by increased property taxes in a city where at least 90 percent of real estate is way under taxed thanks to Prop. 13) creates jobs. It’s an economic stimulus. It adds to the value of the city’s resources. In this case, it fixes up parks. All of that is good; it’s hard to find a credible case against it.

Except that for the past few years, under the administrations of Mayors Gavin Newsom and Ed Lee and the trusteeship of Rec-Park Directors Jared Blumenfeld and Phil Ginsburg, the city has gone 100 percent the wrong way. Parks are supposed to be public resources, open to all; instead, the department has begun charging fees for what used to be free, has been turning public facilities over to private interests (at times kicking the public out), and has generally looked at the commons as a source of revenue. It’s a horrible precedent. It makes us sick.

Ginsburg told us that he’s had no choice — deep budget cuts have forced him to look for money wherever he can find it, even if that means privatizing the parks. But Ginsburg also admitted to us that, even as chief of staff under Newsom, he never once came forward to push for higher taxes on the wealthy, never once suggested that progressive revenue sources might be an option. Nor did any of the hacks on the Rec-Park Commission. Instead, they’ve been busy spending tens of thousands of dollars on an insane legal battle to evict the Haight Ashbury Neighborhood Council’s recycling center — entirely because rich people in the Haight don’t want poor people coming through their elite neighborhood to cash in bottles and cans for a little money.

So now we’re supposed to cough up another $195 million to enable more of this?

Well, yes. We’re not happy to be endorsing Prop. B, but the bottom line is simple: The bond money will go for things that need to be done. There are, quite literally, parks in the city where kids are playing in unsafe and toxic conditions. There are rec centers that are pretty close to falling apart. Those improvements will last 50 years, well beyond the tenure of this mayor of Rec-Park director. For the long-term future of the park system, Prop. B makes sense.

If the measure fails, it may send Lee and Ginsburg a message. The fact that so many neighborhood leaders are opposing it has already been a signal — one that so far Ginsburg has ignored. We’re going Yes on B, with all due reservations. But this commission has to go, and the sooner the supervisors can craft a charter amendment to give the board a majority of the appointments to the panel the better.+

PROPOSITION C

AFFORDABLE HOUSING TRUST FUND

YES

This measure is about who gets to live in San Francisco and what kind of city this will be in 20 years. If we leave it up to market forces and the desires of developers, about 85 percent of the housing built in San Francisco will be affordable only by the rich, meaning the working class will be forced to live outside the city, clogging regional roadways and transit systems and draining San Francisco of its cultural diversity and vibrancy. And that process has been accelerated in recent years by the latest tech bubble, which city leaders have decided to subsidize with tax breaks, causing rents and home prices to skyrocket.

Mayor Ed Lee deserves credit for proposing this Housing Trust Fund to help offset some of that impact, even if it falls way short of the need identified in the city’s Housing Element, which calls for 60 percent of new housing construction to be affordable to prevent gentrification. We’re also not thrilled that Prop. C actually reduces the percentage of housing that developers must offer below market rates and prevents that 12 percent level from later being increased, that it devotes too much money to home ownership assistance at the expense of the renters who comprise the vast majority of city residents, and that it depends on the passage of Prop.E and would take $15 million from the increased business taxes from that measure, rather than restoring years of cuts to General Fund programs.

But Prop. C was a hard-won compromise, with the affordable housing folks at the table, and they got most of what they wanted. (Even the 12 percent has a long list of exceptions and thus won’t apply to a lot of new market-rate housing.) And it has more chance of actually passing than previous efforts that were opposed by the business community and Mayor’s Office. This measure would commit the city to spending $1.5 billion on affordable housing projects over the next 30 years, with an initial $20 million annual contribution steadily growing to more than $50 million annually by 2024, authorizing and funding the construction of 30,000 new rental units throughout the city. With the loss of redevelopment funds that were devoted to affordable housing, San Francisco is a city at risk, and passage of Prop. C is vital to ensuring that we all have a chance of remaining here. Vote yes.

PROPOSITION D

CONSOLIDATING ODD-YEAR LOCAL ELECTIONS

YES

There’s a lot of odd stuff in the San Francisco City Charter, and one of the twists is that two offices — the city attorney and the treasurer — are elected in an off-year when there’s nothing else on the ballot. There’s a quaint kind of charm to that, and some limited value — the city attorney is one of the most powerful officials in local government, and that race could get lost in an election where the mayor, sheriff, and district attorney are all on the ballot.

But seriously: The off-year elections have lower turnout, and cost the city money, and it’s pretty ridiculous that San Francisco still does it this way. The entire Board of Supervisors supports Prop. D. So do we. Vote yes.

PROPOSITION E

GROSS RECEIPTS TAX

YES

Over the past five years, Board of Supervisors President David Chiu estimates, San Francisco has cut about $1.5 billion from General Fund programs. It’s been bloody, nasty, awful. The budget reductions have thrown severely ill psych patients out of General Hospital and onto the streets. They’ve forced the Recreation and Parks Department to charge money for the use of public space. They’ve undermined everything from community policing to Muni maintenance.

And now, as the economy starts to stabilize a bit, the mayor wants to change the way businesses are taxed — and bring an additional $28.5 million into city coffers.

That’s right — we’ve cut $1.5 billion, and we’re raising taxes by $28.5 million. That’s less than 2 percent. It’s insane, it’s inexcusable, it’s utterly the wrong way to run a city in 2012. It might as well be Mitt Romney making the decision — 98 percent cuts, 2 percent tax hikes.

Nevertheless, that’s where we are today — and it’s sad to say this is an improvement from where the tax discussion started. At first, Mayor Lee didn’t want any tax increase at all; progressive leaders had to struggle to convince him to allow even a pittance in additional revenue.

The basic issue on the table is how San Francisco taxes businesses. Until the late 1990s, the city had a relatively rational system — businesses paid about 1.5 percent of their payroll or gross receipts, whichever was higher. Then 52 big corporations, including PG&E, Chevron, Bechtel, and the Gap, sued, arguing that the gross receipts part of the program was unfair. The supervisors caved in to the legal threat and repeal that part of the tax system — costing the city about $30 million a year. Oh, but then tech companies — which have high payrolls but often, at least at first, low gross receipts — didn’t want the payroll tax. The same players who opposed the other tax now called for its return, arguing that taxing payroll hurts job growth (which is untrue and unfounded, but this kind of dogma doesn’t get challenged in the press). So, after much discussion and debate, and legitimate community input, the supervisors unanimously approved Prop. E — which raises a little more money, but not even as much as the corporate lawsuit in the 1990s set the city back. It’s not a bad tax, better than the one we have now — it brings thousands of companies the previously paid no tax at all into the mix (sadly, some of them small businesses). It’s somewhat progressive — companies with higher receipts pay a higher rate. We can’t argue against it — the city will be better off under Prop. E than it is today. But we have to look around our battered, broke-ass city, shake our poor bewildered heads and say: Is this really the best San Francisco can do? Sure, vote yes on E. And ask yourself why one of the most liberal cities in America still lets Republican economic theory drive its tax policy.

PROPOSITION F

WATER AND ENVIRONMENT PLAN

NO, NO, NO

Reasonable people can disagree about whether San Francisco should have ever dammed the Tuolumne River in 1923, flooding the Hetch Hetchy Valley and creating an engineering marvel that has provided the city with a reliable source of renewable electricity and some of the best urban drinking water in the world ever since. The project broke the heart of famed naturalist John Muir and has caused generations since then to pine for the restoration of a valley that Muir saw as a twin to his beloved nearby Yosemite Valley.

But at a time when this country can’t find the resources to seriously address global warming (which will likely dry up the Sierra Nevada watershed at some point in the future), our deteriorating infrastructure, and myriad other pressing problems, it seems insane to even consider spending billions of dollars to drain this reservoir, restore the valley, and find replacement sources of clean water and power.

You can’t argue with the basic facts: There is no way San Francisco could replace all the water that comes in from Hetch Hetchy without relying on the already-fragile Delta. The dam also provides 1.7 billion kilowatt hours a year of electric power, enough to meet the needs of more than 400,000 homes. That power now runs everything from the lights at City Hall to Muni, at a cost of near zero. The city would lose 42 percent of its energy generation if the dam went away.

Besides, the dam was, and is, the lynchpin of what’s supposed to be a municipal power system in the city. As San Francisco, with Clean Power SF, moves ever close to public power, it’s insane to take away this critical element of any future system.

On its face, the measure merely requires the city to do an $8 million study of the proposal and then hold a binding vote in 2016 that would commit the city to a project estimated by the Controller’s Office to cost somewhere between $3 billion and $10 billion. Yet to even entertain that possibility would be a huge waste of time and money.

Prop. F is being pushed by a combination of wishful (although largely well-meaning) sentimentalists and disingenuous conservatives like Dan Lungren who simply want to fuck with San Francisco, but it’s being opposed by just about every public official in the city. Vote this down and let’s focus our attention on dealing with real environmental and social problems.

PROPOSITION G

CORPORATE PERSONHOOD

YES

If San Francisco voters pass Prop. G, it won’t put any law into effect. It’s simply a policy statement that sends a message: Corporations are not people, and it’s time for the federal government to tackle the overwhelming and deeply troubling control that wealthy corporations have over American politics.

Prop. G declares that money is not speech and that limits on political spending improve democratic processes. It urges a reversal of the notorious Citizens United vs. Federal Elections Commission Supreme Court decision.

A constitutional amendment, and any legal messing with free speech, has serious potential problems. If corporations are limited from spending money on politics, could the same apply to unions or nonprofits? Could such an amendment be used to stop a community organization from spending money to print flyers with political opinions?

But it’s a discussion that the nation needs to have, and Prop. G is a modest start. Vote yes.

Stage Listings

Andrew Lam
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0

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

THEATER

OPENING

The Fifth Element: Live! Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. Opens Fri/5. Runs Fri-Sat, 8pm. Through Oct 27. Comedic adaptation of the 1997 Luc Besson sci-fi epic.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $30-100. Opens Sat/6, 8pm. Runs Sat, 8pm; Sun, 7pm. Through Nov 18. Geoff Hoyle’s popular solo show about aging returns.

Of Thee I Sing Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Previews Wed/3, 7pm; Thu/4-Fri/5, 8pm. Opens Sat/6, 6pm. Runs Wed, 7pm; Thu-Fri, 8pm; Sat, 6pm (also Oct 13, 1pm); Sun, 3pm. Through Oct 21. 42nd Street Moon performs George and Ira Gershwin’s classic political satire.

BAY AREA

Acid Test: The Many Incarnations of Ram Dass Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Opens Thu/4, 8pm. Runs Thu-Fri, 8pm; Sat, 5pm. Through Nov 24. Lynne Kaufman’s new play stars Warren David Keith as the noted spiritual figure.

Sex, Slugs and Accordion Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $10. Opens Wed/3, 8pm. Runs Wed, 8pm. Through Nov 14. Jetty Swart, a.k.a. Jet Black Pearl, stars in this “wild and exotic evening of song.”

33 Variations TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $23-73. Previews Wed/3-Fri/5, 8pm. Opens Sat/6, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Oct 28. TheatreWorks performs Moisés Kaufman’s drama about a contemporary musicologist struggling to solve one of Beethoven’s greatest mysteries, and a connecting story about the composer himself.

The World’s Funniest Bubble Show Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $8-50. Opens Sun/7, 11am. Runs Sun, 11am; Nov 23-25, 11am. Through Nov 25. Louis “The Amazing Bubble Man” Pearl brings his lighter-than-air show back to the Marsh.

ONGOING

Elect to Laugh Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

Family Programming: An Evening of Short Comedic Plays Shelton Theater, 533 Sutter, SF; www.brownpapertickets.com. $20. Thu-Sat, 8pm. Through Oct 13. Left Coast Theatre Company performs short plays about gay and alternative families.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $30-34. Previews Fri/5, 8pm. Opens Sat/6, 8pm. Runs Fri-Sat, 8pm (no show Nov 17). Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Normal Heart American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $25-95. Wed/3-Sat/6, 8pm (also Sat/6, 2pm); Sun/7, 2pm. Three decades after the onset of the AIDS epidemic — today affecting and killing millions across the globe — playwright and ACT UP founder Larry Kramer’s 1985 autobiographical docudrama of the first years and victims of the crisis in New York City proves still relevant and powerful in this spirited 2011 Tony Award–winning Broadway revival, under direction by George C. Wolfe, now up at American Conservatory Theater in an ACT-Arena Stage co-presentation. Centering on the grassroots response to official inaction amid the homophobic status quo — in particular, the founding of a small but determined HIV advocacy group by Ned Weeks (Kramer’s stand-in, played brilliantly by Patrick Breen) and others — The Normal Heart also roots itself in a set of characters and fraught personal relationships as Weeks’s brash, confrontational style progressively alienates him from his brethren and more accommodating (or closeted) allies. It’s a play that really shouldn’t work so well, given its message-driven and inevitably self-serving structure, but it nevertheless does — in part because the urgency behind it remains, and the eerie confusion and unforgivable official neglect of those early years carry even more weight with tragedy-laden hindsight. Kramer also crafts some affecting scenes and some rousingly fiery monologues (not just for Weeks, and all expertly delivered by the sharp cast) that underscore a time when history, as it is wont to do, put forward fervent loudmouths and nonconformists as the necessary agents of resistance and change. (Avila)

The Other Place Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $22-62. Wed/3-Sat/6, 8pm (also Wed/3, 2:30pm); Sun/7, 7pm. A middle-aged scientist named Juliana (Henny Russell) finds herself marooned inside her own rapidly unraveling mind in the West Coast premiere of this occasionally intriguing but finally unconvincing psychological drama of madness and grief by Sharr White (Annapurna). Describing an “episode” she suffered while presenting a major new dementia treatment to an audience of doctors and sales reps in the Bahamas, Juliana soon proves an unreliable narrator, as estranged husband Ian (Donald Sage Mackay) challenges her on some basic facts — including her claim to be in phone contact with their long-lost daughter (Carrie Paff) and Juliana’s disgraced former post-doc (Patrick Russell). The mystery here has to do with another “episode” altogether, one that took place at the couple’s Cape Cod summer home years before, which has left Juliana and Ian bereft and now on the verge of divorce. As Juliana slides back and away to “the other place,” we understand the mistakes this supposedly brilliant but also flawed woman has made, and the emotional logic of her mind’s drift. Not a bad premise, but it also feels contrived, with dialogue straining after tension and wit that are too often not there. Helmed by artistic director Loretta Greco, the action unfolds at almost too regular a clip, leaving little room for rumination — no doubt a stylistic choice but one which undercuts what modest force there is in the play’s dynamics, which anyway serve a rather sentimental storyline about loss and forgiveness. (Avila)

The Real Americans Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Fri, 8pm; Sat, 8:30pm. Extended through Oct 27. Dan Hoyle’s hit show, inspired by the people and places he encountered during his 100-day road trip across America in 2009, continues.

Roseanne: Live! Rebel, 1760 Market, SF; www.brownpapertickets.com. $25. Wed, 7 and 9pm (no shows Oct 31). Through Nov 14. Lady Bear, Heklina, D’Arcy Drollinger, and more star in this tribute to the long-running sitcom.

Shocktoberfest 13: The Bride of Death Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Thu-Sat, 8pm. Through Nov 17. Thrillpeddlers’ annual Halloween horror extravaganza features a classic Grand Guignol one-act and two world premiere one-acts, plus a blackout spook show finale.

The Strange Case of Citizen de la Cruz Bindlestiff Studio, 185 Sixth St, SF; www.bindlestiffstudio.org. Thu-Sat, 8pm; Sun/7, 2pm. Through Oct 13. Bindlestiff Studio presents Luis Francia’s political thriller.

Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Fri/5-Sun/7 and Oct 13, 5:30pm. After spending the summer on Angel Island with their epic-scale production of The Odyssey, the We Players have scaled back with a lo-key rendition of Shakespeare’s Twelfth Night on Hyde Street Pier. Of course when it comes to the We Players, “scaled-back” still means a two-and-a-half hour long participatory jaunt taking place mainly along the length of the pier and aboard the historic ferryboat, the Eureka, which serves primarily as the residence of the grieving Illyrian Countess, Olivia (Clara Kamunde) around whose favors much of the plot revolves. Highlights of the experience include the opportunity to visit historic Hyde Street Pier, a gypsy-jazzy score directed by Charlie Gurke (who also plays the lovelorn Duke Orsino), and the rascally quartet of the prankish Maria (Caroline Parsons), jocular drunk Toby Belch (Dhira Rauch), clueless doofus Andrew Augecheek (Benjamin Stowe), and wise fool Feste (John Hadden). But as We Players productions go, this one feels less inspired in its staging, and much of the action merely shuffles back and forth on the Eureka without incorporating many of the intriguing nooks and views the Hyde Street Pier offers, despite a promising opening scene involving a beach and a rowboat. Also, uncharacteristically for We, the comic timing seemed to be off the evening I saw it, although both Stowe and Hadden ably conveyed their wit without a flaw. Dress warmly, carry a big flask, and you’ll be fine. (Gluckstern)

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

BAY AREA

Assassins Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Previews Wed/3-Thu/4, 7pm. Opens Fri/5, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 11. Shotgun Players performs the Sondheim musical about John Wilkes Booth, Lee Harvey Oswald, and other famous Presidential killers (and would-be killers).

Chinglish Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-99. Wed/3 and Sun/7, 7pm (also Sun/7, 2pm); Thu/4 and Sat/6, 2 and 8pm. Tony Award-winning playwright David Henry Hwang (M. Butterfly) delivers this inconsistent but generally lively and fascinatingly au courant comedy about a down-on-his-luck American businessman (Alex Moggridge) who visits China hoping to win a contract for English-language signage. Hiring a British expat (Brian Nishii) to smooth the way for him, he enters negotiations with a local official (Larry Lei Zhang). Although things seem to be going well (across some hilarious scenes of half-assed simultaneous translation), he finds the deal running inexplicably aground, then finds unexpected help from a hard-nosed, initially hostile, and beautiful Party official (a standout Michelle Krusiec), with whom he soon begins an extramarital affair. But the American (who has a past of his own that eventually comes to light with surprising consequences) has no idea of the machinations taking place behind the formal business meetings and other confused cross-cultural encounters. What unfolds is a sometimes stretched but generally shrewd and laugh-out-loud funny assessment of has-been American delusions through the prism of rising Chinese ambitions and clout, cultural and otherwise. If the central dynamic between the lovers is not always convincing on the individual or metaphorical level, Leigh Silverman directs for Berkeley Rep a super slick production, complete with rotating sets and precisely timed entrances, featuring an enjoyable cast rounded out by Vivian Chiu, Celeste Den, and Austin Ku. (Avila)

Hamlet Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-71. Tue-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 4pm. Through Oct 14. Liesl Tommy directs this season closer for Cal Shakes, a decidedly uneven and overall surprisingly bland production of one of Shakespeare’s most fascinating, affecting, and endlessly rich works. The best part of Tommy’s less-than-inspired hodgepodge production (summed up by the dry and cluttered swimming-pool set, albeit very nicely designed by Clint Ramos) is lead Leroy McClain, whose Hamlet is a vibrantly intelligent and charismatic force most of the time. He gets some fine support from Dan Hiatt as a comically pedantic but still sympathetically paternal Polonius, but there is precious little chemistry with either Ophelia (a nonetheless striking Zainab Jah) or faithless queen mother Gertrude (Julie Eccles). The rest of the cast is rarely more than dutiful. Meanwhile, the staging comes laden with some awkward and/or tired conceits: a small fish tank-like landscape inset into the back wall for an unraveling Ophelia; a gore-covered zombie-esque ghost (a flat Adrian Roberts, who also plays Claudius); or guards sporting submachine guns, which always looks ridiculous. Moreover, the language comes awkwardly modernized in places —substituting “dagger” for “bodkin” in a rather famous soliloquy, for example, seems unnecessary and is definitely distracting. Why not “submachine gun”? (Avila)

The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through Oct 14. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Topdog/Underdog Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $36-57. Tue and Thu-Sat, 8pm (also Sat/6 and Oct 20, 2pm; Oct 11, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Oct 21. Marin Theatre Company performs Suzan-Lori Parks’ Pulitzer Prize winner about a contentious pair of brothers.

PERFORMANCE/DANCE

“Comedy Bodega” Esta Noche Nightclub, 3079 16th St, SF; www.comedybodega.com. Thu, 8pm. Ongoing. No cover (one drink minumum). Stand-up comedy.

“Comedy Returns to El Rio” El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon/8, 8pm. $7-20. With Maureen Langan, Sammy Obeid, Dhaya Lakshminarayanan, Bobby Golden, and guest host Nick Leonard.

Dance Elixir Kunst-Stoff Arts, One Grove, SF; www.danceelixirlive.org. Thu/4-Sat/6, 8:30pm. $10. Performing Destroy// with Tiberius and Ava Mendoza.

“Hot Mess 3: Third Time, No Charm” New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. Thu/4-Sat/6, 8pm. $15. San Francisco’s newest sketch comedy group performs.

Shazia Mirza Punchline, 444 Battery, SF; www.punchlinecomedyclub.com. Wed/3, 8pm. $15. The British comedian performs, with opening acts Kevin Camia and Samson Koletkar.

Smuin Ballet Palace of Fine Arts Theatre, 3301 Lyon, SF; www.smuinballet.org. Fri/5-Sat/6 and Oct 11-13, 8pm (also Oct 13, 2pm); Oct 14, 2pm. $25-65. The company performs its fall program, including West Coast premiere Cold Virtues.

“Spaceholder Festival” ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/5-Sat/6, 8pm; Sun/7, 7pm. $25-45. Choreographer Morgan Thorson spearheads this evening-length performance that transforms the stage into “an archeological dig, an auction block, and a museum.”

“The Spooky Cabaret” Stage Werx, 446 Valencia, SF; www.wilywestproductions.com. Sun/7, 5:30pm; Oct 8-10, 7:30pm. $10. ‘Tis the season for this fest of three full-length and five one-act plays with horror themes.

“Theatecture on UN Plaza” Civic Center, UN Plaza, Seventh St at Market, SF; www.ftloose.org. Tue, noon-2pm. Through Oct 16. Free. Outdoor performance of Mary Alice Fry’s Honeycomb Zone as part of the “24 Days of Central Market Arts Festival.”

Stage Listings

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

THEATER

OPENING

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $30-34. Previews Fri/28-Sat/29 and Oct 5, 8pm. Opens Oct 6, 8pm. Runs Fri-Sat, 8pm (no show Nov 17). Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Roseanne: Live! Rebel, 1760 Market, SF; www.brownpapertickets.com. $25. Opens Wed/26, 7 and 9pm. Rns Wed, 7 and 9pm (no shows Oct 31). Lady Bear, Heklina, D’Arcy Drollinger, and more star in this tribute to the long-running sitcom.

Shocktoberfest 13: The Bride of Death Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Opens Thu/27, 8pm. Runs Thu-Sat, 8pm. Through Nov 17. Thrillpeddlers’ annual Halloween horror extravaganza features a classic Grand Guignol one-act and two world premiere one-acts, plus a blackout spook show finale.

"The Strange Case of Citizen de la Cruz" Bindlestiff Studio, 185 Sixth St, SF; www.bindlestiffstudio.org. Opens Sat/29, 8pm. Runs Thu-Sat, 8pm; Oct 7, 2pm. Through Oct 13. Bindlestiff Studio presents Luis Francia’s political thriller.

BAY AREA

Assassins Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Previews Wed/26-Thu/27 and Oct 3-4, 7pm; Fri/28-Sat/29, 8pm; Sun/30, 5pm. Opens Oct 5, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 11. Shotgun Players performs the Sondheim musical about John Wilkes Booth, Lee Harvey Oswald, and other famous Presidential killers (and would-be killers).

Topdog/Underdog Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $36-57. Previews Thu/27-Sat/29, 8pm; Sun/30, 7pm. Opens Tue/2, 8pm. Runs Tue and Thu-Sat, 8pm (also Oct 6 and 20, 2pm; Oct 11, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Oct 21. Marin Theatre Company performs Suzan-Lori Parks’ Pulitzer Prize winner about a contentious pair of brothers.

ONGOING

Asteroids: Live! Dark Room Theater, 2263 Mission, SF; (415) 401-7987. $20. Fri/28-Sat/29, 8pm. Interstellar comedy "based very, very loosely on the arcade game."

Family Programming: An Evening of Short Comedic Plays Shelton Theater, 533 Sutter, SF; www.brownpapertickets.com. $20. Thu-Sat, 8pm. Through Oct 13. Left Coast Theatre Company performs short plays about gay and alternative families.

Fuck My Life (FML)/Homo File CounterPULSE, 1310 Mission, SF; www.counterpulse.org. $20-30. Thu/27-Sun/30, 8pm. To paraphrase Freud, sometimes a bottle of Tapatío salsa is just a bottle of Tapatío salsa. But definitely not this time. This time it’s a fornicating phallus of foodie fetishism with a Latina edge — and a Latina target, which writer-performer Xandra Ibarra (a.k.a. La Chica Boom) sets about to both embody and deconstruct, and somehow rescue. On a smart-looking bathroom set, with its loving altar to Mexican movie star Lupe Vélez (designed by Richie Israel) rising ominously and significantly over the commode, Ibarra’s sharp and raunchy political burlesque channels rage and despair, dejection and defiance, from within concentric circles of representation, both social and aesthetic. With astute direction by Evan Johnson, Fuck My Life (FML), the culmination of Ibarra’s CounterPULSE residency, unfolds some lovely set pieces and magic moments, made highly persuasive by Ibarra’s sure and formidable skill and presence as a performer. A scene in which she shovels earth into a bathtub, for instance, proves an evocative, eerily beautiful and potent image. But there’s a lot here to unpack, thematically and politically, and in truth the short arc of the show only goes so far, and in ways that remain solidly within established traditions of Latino/a performance from Culture Clash to Guillermo Gomez-Peña. The exceptional charisma of La Chica Boom herself, however, remains a force and focus in its own right, and from there it’s easy to imagine much more to come. On the bill with FML is a work-in-progress performance of Homo File, writer-designer-director Seth Eisen’s multi-media and cross-disciplinary show. It already sports a formidable narrative arc and aesthetic vision as it explores the life of Samuel Steward (1909–1993), an amazingly well, um, connected English professor, writer of homoerotic fiction, famous tattoo artist, and sexual rebel. The 30-odd minutes of material on display delivers a strong sense of this fascinating figure (played by Ned Brauer, with occasional and evocative recourse to some aerial straps), who kept elaborate record of his astounding range of sexual conquests and liaisons in what he called his "stud files," a concatenation that forms a backbone to the story of a life told from the vantage of final days. Meanwhile, Eisen and his winning cast place Steward in a mise-en-scène equally as promiscuous, ranging over dramatic scenes, aerial acrobatics, shadow puppetry, and even a hilariously lewd application of the old teacher’s standby, the overhead projector. (Avila)

Invasion! Boxcar Playhouse, 505 Natoma, SF; crowdedfire.dreamhosters.com. $20-35. Wed/26-Sat/29, 8pm. Crowded Fire mounts the West Coast premiere of Swedish-born playwright Jonas Hassen Khemiri’s postmodern dark comedy, a deconstruction of language and power in an American culture of perpetual war, which made a well-received New York debut last year. Translated from the Swedish by Rachel Willson-Broyles, and directed by Evren Odcikin, the play immediately subverts the usual multi-culti narrative of otherness and tolerance with a po-faced feint (featuring ensemble members Lawrence Radecker and Olivia Rosaldo-Pratt) that ends with a boisterous disruption of the proceedings from unexpected quarters (courtesy of ensemble members George Psarras and Wiley Naman Strasser). From there, we get a series of interrelated largely comical scenes, wherein — in shades of Martin Crimp’s Attempts on Her Life — a certain figure by the name of Abulkasem dissolves into the ultimate cipher, tied to everything from terror to pick-up lines in bars, and meaning absolutely anything and nothing. Nevertheless, in the interstices of language lurks real power — as the play implies most overly in a scene of intentional mistranslation, which twists a hapless and bemused immigrant’s tale into line with the war-on-terror mythos. In the end, the complexity the play adds does not completely dissolve that liberal narrative skewered at the outset, and its efforts remain only half-convincing. The problem may lie partly in the production’s inconsistent, often sluggish pace, as well as a tendency toward didacticism in director Odcikin’s staging. The material of this sardonic play doesn’t support too literal or even empathetic a reading, but rather seems best translated as a raucous premonition, dream, or intimation of our own guilty seduction by the sadistic, totalizing power of such stories. (Avila)

Kiss of the Spider Woman Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-35. Thu/27-Sat/29, 8pm. Second Wind presents Manuel Puig’s acclaimed drama about cellmates in a Buenos Aires jail.

Lorraine Olsen Is Figuratively Speaking SF Playhouse, 533 Sutter, SF; www.theatrevalentine.com. $25. Thu-27-Sat/29, 8pm. The artist model speaks in writer-performer Lorraine Olsen’s new solo show, in which the Bay Area actress recounts her experience as a longtime dues-paying member of the Bay Area Model’s Guild, founded in 1946 by model par excellence, as well as civil rights and labor activist and columnist, Flo Allen (who appears as a character and inspiration here throughout). Audience members are invited to pick up a drawing book and a pencil before taking their seats, as Olsen, her exposed back to the audience, poses pre-show on a tall stool. The narrative opens with a peep inside the thoughts of the model before the classroom (banal ruminations, perhaps unsurprisingly, from the work-a-day world of the professional muse), before moving more substantively into Olsen’s own careening career through art, family trauma, and alcoholism — not all as grim as it sounds, but charged with real emotion just the same. All the while, Olsen, a frank and sympathetic presence, moves in and out of her robe and various poses as she describes a sometimes-chaotic life in which her career as a model provides an unexpected anchor and education. The show, directed by Val Hendrickson, could use further shaping. Several possible framing devices — including one in which the audience comprises a room full of new models — compete here in a way that undermines the coherence of the piece, although the subject in general offers an undeniably interesting perspective on the artistic process. (Avila)

My Fair Lady SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $30-70. Wed/26-Thu/27, 7pm; Fri/28-Sat/29, 8pm (also Sat/29, 3pm). SF Playhouse and artistic director Bill English (who helms) offer a swift, agreeable production of the Alan Jay Lerner and Frederick Loewe musical, based on George Bernard Shaw’s Pygmalion. The iconic class-conscious storyline revolves around a cocky linguist named Higgins (Johnny Moreno) who bets colleague Colonel Pickering (Richard Frederick) he can transform an irritable flower girl, Eliza Doolittle (Monique Hafen), into a "lady" and pass her off in high society. A battle of wills and wits ensues — interlarded with the "tragedy" of Alfred Doolittle (a shrewd and gleaming Charles Dean) and his reluctant upward fall into respectability — and love (at least in the musical version) triumphs. The songs ("Wouldn’t It Be Loverly," "I Could Have Danced All Night," "Get Me to the Church on Time," and the rest) remain evergreen in the cast’s spirited performances, supported by two offstage pianos (brought to life by David Dobrusky and musical director Greg Mason) and nimble choreography from Kimberly Richards. Hafen’s Eliza is especially admirable, projecting in dialogue and song a winning combination of childlike innocence and feminine potency. Moreno’s Higgins is also good, unusually virile yet heady too, a convincingly flawed if charming egotist. And Frederick, who adds a passing hint of homoerotic energy to his portrayal of the devoted Pickering, is gently funny and wholly sympathetic. (Avila)

The Normal Heart American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $25-95. Tue, 7pm; Wed-Sun, 8pm (also Sat, 2pm); Sun, 2pm. Through Oct 7. Larry Kramer’s groundbreaking 1985 drama about the AIDS epidemic — winner of a 2011 Tony for Best Revival of a Play — has a limited run at ACT.

The Other Place Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $22-62. Tue, 7pm; Wed-Sat, 8pm (also Oct 3, 2:30pm); Sun, 2:30 (Oct 7 show at 7pm instead). Through Oct 7. Sharr White’s plot-twisty thriller has its West Coast premiere at Magic Theatre.

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $25-50. Fri/28, 8pm; Sat/29, 8:30pm. Dan Hoyle’s hit show about his trip across America returns.

Rigoletto War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. $10-340. Sun/30, 2pm. "Fidelity is for weaklings!" Despite this rousing cry from its philandering villain, SF Opera opens its 90th season with a faithful and winsome double-cast production of Giuseppe Verdi’s immortal Rigoletto. Based on a play by Victor Hugo, the story concerns the titular court jester and hunchback (played opening night by the imposing Serbian baritone Zeljko Lucic, who alternates nights with Italian Marco Vratogna) whose attempt to revenge himself on the goatish Duke of Mantua (Sardinian tenor Francesco Demuro, alternating with Mexican tenor Arturo Chacón-Cruz) for seducing his beautiful daughter, Gilda (the thoroughly enchanting Polish soprano Aleksandra Kurzak, alternating with Russian coloratura soprano Albina Shagimuratova), backfires with tragic consequences. The production includes free simulcast presentations at AT&T Ballpark on consecutive weekends for those more inclined to recline, especially in the fresh free air, but either way the show’s a little staid but charming and the music, under SF Opera’s Nicola Luisotti, utterly transporting. (Avila)

Strange Travel Suggestions MainStage, Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-50. Sat/29, 8:30pm. Author and Ethical Traveler founder Jeff Greenwald (Shopping for Buddhas, Snake Lake) has done his solo show Strange Travel Suggestions dozens if not hundreds of times and still has no idea where it’s going. No wonder he and his audience keep coming back for more. The unknown, an aphrodisiac to the traveler, also makes great catnip for the storyteller. Still, there are consistent elements. There is no need to reinvent the wheel — or the impressive Wheel of Fortune that sits just off center stage, painted with a map of the globe and ringed with symbols abstract and evocative enough to conjure up myriad adventures, peak experiences, and humbling encounters from the vivid grab-bag memory of an accomplished travel writer and inveterate globetrotter. There’s also a real grab bag, just in case, and an oversize tarot card, a sort of visual aid cum talisman sporting a classic image of the Fool, patron saint of the traveler’s heedless leaps of faith. Greenwald’s stories possess a fine sense of humor and a knack for the shrewd detail and telling observation. They also contain a Zen-inflected homespun wisdom no doubt born of leaving home on a regular basis. If slightly self-conscious at times, these tales are always genuine and appealing. In the end, Greenwald’s show, as reliable as it is unpredictable, mimics a genie-from-a-bottle experience: What you get is three spins, three stories, and a lot of unexpected truth. Note: capsule condensed from 2008 feature review of this production. (Avila)

Tripping on the Tipping Point Stagewerx, 446 Valencia, SF; (707) 322-5731. $15-20. Thu/27-Sat/29, 8pm. Human Nature performs a new comedy about global warming.

Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Fri-Sun, 5:30pm (also Sat-Sun, noon; no performances Sun/29; evening performances only Oct 6-7). Through Oct 7. After spending the summer on Angel Island with their epic-scale production of The Odyssey, the We Players have scaled back with a lo-key rendition of Shakespeare’s Twelfth Night on Hyde Street Pier. Of course when it comes to the We Players, "scaled-back" still means a two-and-a-half hour long participatory jaunt taking place mainly along the length of the pier and aboard the historic ferryboat, the Eureka, which serves primarily as the residence of the grieving Illyrian Countess, Olivia (Clara Kamunde) around whose favors much of the plot revolves. Highlights of the experience include the opportunity to visit historic Hyde Street Pier, a gypsy-jazzy score directed by Charlie Gurke (who also plays the lovelorn Duke Orsino), and the rascally quartet of the prankish Maria (Caroline Parsons), jocular drunk Toby Belch (Dhira Rauch), clueless doofus Andrew Augecheek (Benjamin Stowe), and wise fool Feste (John Hadden). But as We Players productions go, this one feels less inspired in its staging, and much of the action merely shuffles back and forth on the Eureka without incorporating many of the intriguing nooks and views the Hyde Street Pier offers, despite a promising opening scene involving a beach and a rowboat. Also, uncharacteristically for We, the comic timing seemed to be off the evening I saw it, although both Stowe and Hadden ably conveyed their wit without a flaw. Dress warmly, carry a big flask, and you’ll be fine. (Gluckstern)

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu/27-Fri/28, 8pm; Sat/29, 5pm. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events` in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Chinglish Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-99. Tue and Thu-Sat, 8pm (also Sat, 2pm; additional 2pm show Oct 4; no show Oct 5); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 7. Tony Award-winning playwright David Henry Hwang (M. Butterfly) delivers this inconsistent but generally lively and fascinatingly au courant comedy about a down-on-his-luck American businessman (Alex Moggridge) who visits China hoping to win a contract for English-language signage. Hiring a British expat (Brian Nishii) to smooth the way for him, he enters negotiations with a local official (Larry Lei Zhang). Although things seem to be going well (across some hilarious scenes of half-assed simultaneous translation), he finds the deal running inexplicably aground, then finds unexpected help from a hard-nosed, initially hostile, and beautiful Party official (a standout Michelle Krusiec), with whom he soon begins an extramarital affair. But the American (who has a past of his own that eventually comes to light with surprising consequences) has no idea of the machinations taking place behind the formal business meetings and other confused cross-cultural encounters. What unfolds is a sometimes stretched but generally shrewd and laugh-out-loud funny assessment of has-been American delusions through the prism of rising Chinese ambitions and clout, cultural and otherwise. If the central dynamic between the lovers is not always convincing on the individual or metaphorical level, Leigh Silverman directs for Berkeley Rep a super slick production, complete with rotating sets and precisely timed entrances, featuring an enjoyable cast rounded out by Vivian Chiu, Celeste Den, and Austin Ku. (Avila)

The Elaborate Entrance of Chad Deity Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $32-60. Wed/26-Sat/29, 8pm; Sun/30, 2 and 7pm. Playwright Kristoffer Diaz, a self-professed fan of the aggressively-theatrical spectacle that is professional wrestling, delivers much more than a "wrestling 101" primer for the uninitiated with The Elaborate Entrance of Chad Deity. Beneath the razzle-dazzle of the arena lighting (Kurt Landisman), the gaudy costuming (Maggie Whitaker) and the giant televised image of a hot bikini babe (Elizabeth Cadd, video by Jim Gross) lies the trampled luster of an American Dream. The dreamer, Macedonio "The Mace" Guerra (Tony Sancho), a wiry fall guy for THE Wrestling, wrestles not for money or glory (he is rarely privy to either), but for his love of the strange ballet that occurs in the ring. Guerra’s job is to make his opponents look good, including the pec-flexing, bling-booted Chad Deity (Beethovan Oden), leaving him to wrestle alone with the identity politics of being a marginalized but fully capable warrior battling perennially stacked odds. Willing suspension of disbelief does get stretched pretty thin when the character Vigneshwar Paduar, a smooth-talking hustler chance-met on the basketball courts of Brooklyn, rises to championship levels in record-breaking time as the truly cringe-worthy persona known as "The Fundamentalist," but Nasser Khan’s skillfully self-possessed performance as Paduar makes it impossible not to root for him all the way. Rod Gnapp as foul-mouthed bossman "EKO" and fight director Dave Maier as a whole squadron of hapless B-list wrestlers round out the excellent cast. (Gluckstern)

The Fisherman’s Wife La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu/27-Sat/29, 8pm. The latest from playwright Steve Yockey (Bellwether, Skin) is an exercise in pure pleasure, not least for the devious sea creatures preying lustily and unashamedly on the hapless human flesh of a small coastal town. There, in cracked fairytale fashion, an unsuccessful fisherman named Cooper Minnow (an endearingly nerdy but passionate Maro Guevara) is preparing to set out to sea, leaving at home frustrated wife Vanessa (a wonderfully, volcanically bitchy yet complex Eliza Leoni) and their sinking marriage, when he meets an oddly brazen pair of sexy, sassy bathers in old-fashioned beach attire (the swimmingly synchronized duo of Sarah Coykendall and Roy Landaverde). At more or less the same moment, a devilishly dashing yet prim traveling salesman (poised, nicely offbeat Adrian Anchondo) is offering a clearly aroused Vanessa an erotic woodcut featuring monstrous tentacles groping human victims at a very familiar-looking dock. Will she take the woodcut? Will she ever! And later she’ll defend her husband’s honor and swap places with him too, much to the commercial advantage of the ever-accommodating salesman who — like Yockey’s smart and sure sex farce — has a little something for everyone. Directed with smooth precision by Ben Randle for Berkeley’s Impact Theatre, The Fisherman’s Wife again finds Yockey playing productively with the fine fuzzy line separating human nature from nature at large (as in Large Animal Games, the winning 2009 co-production from Impact and Dad’s Garage). The animals come through for playwright and company once more, with a thoroughly enjoyable comedy whose borrowed maritime mythos has just enough metaphorical pull to lead those so inclined out beyond the shallow waters. (Avila)

Hamlet Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-71. Tue-Thu, 7:30pm; Fri-Sat, 8pm (also Sat/29, 2pm); Sun, 4pm. Through Oct 14. California Shakespeare Theater performs a modernized version of the Bard’s classic drama.

Keith Moon/The Real Me TheaterStage at the March Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Thu/27, 8pm. Mike Berry workshops his new musical, featuring ten classic Who songs performed with a live band.

The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through Oct 14. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

A Midsummer Night’s Dream Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Fri/28-Sat/29, 8pm; Sun/30, 4pm. Marin Shakespeare Company performs the Bard’s classic, transported to the shores of Hawaii.

PERFORMANCE/DANCE

"Bay Area Flamenco Festival" Palace of Fine Arts, 3301 Lyon, SF; www.festivalflamencogitano.com. Thu/27 and Sun/30, 7pm; Fri/28, 8pm. $30-125. With ¡Fiesta Jerez! Flamenco All-Stars (Thu/27); José Mercé (Fri/28); and Farruco Family (Sun/30). Visit website for information on workshops and related flamenco events.

"Elect to Laugh" Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race "so you don’t have to." No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

Keith Hennessy/Circo Zero Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Thu/27-Sat/29, 8pm. $15-25. The company performs Turbulence (a dance about the economy).

"Naked Girls Reading: Banned Books!" Stage Werx Theatre, 446 Valencia, SF; www.nakedgirlsreading.com. Tue/2, 8pm. $20. The name doesn’t lie: this is a reading series featuring naked ladies (Kristine Wilson, Ophelia Coeur de Noir, Carol Queen, and Twilight Vixen Revue performers).

"Niagara Falling" West wall of the Renoir Hotel, Seventh St at Market, SF; www.flyawayproductions.com. Wed/26-Sat/29, 8:30 and 9:30pm. Free. Flyaway Productions and Dancers’ Group/Onsite present the world premiere of choreographer Jo Kreiter and video artists David and Hi-Jin Hodge’s aerial dance, set on the outside of the Renoir Hotel.

"Picklewater Clown Cabaret Benefit for Paoli Lacy" Stage Werx Theatre, 446 Valencia, SF; picklewaterclowncabaret.bpt.me. Mon/1, 7 and 9pm. $15. Circus extravaganza to help performer and cancer patient Paoli Lacy with her medical bills.

Sandy Perez y Su Lade Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Sat/29, 8pm. $20. Afro-Cuban music and dance.

"Squeeze Box" Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. Sun/30, 5pm. $50-500. Benefit performance of Ann Randolph’s solo Off-Broadway hit.

"Theatecture on UN Plaza" Civic Center, UN Plaza, Seventh St at Market, SF; www.ftloose.org. Tue, noon-2pm. Through Oct 16. Free. Outdoor performance of Mary Alice Fry’s Honeycomb Zone as part of the "24 Days of Central Market Arts Festival."

"Tiara Sensation Pageant" Rickshaw Stop, 155 Fell, SF; www.rickshawstop.com. Sat/29, 9pm. $20. The Club Something Team (Vivvyanne Forevermore, Glamamore, and DJ Down-e) present "SF’s only non-gender-specific drag performance."

Zhukov Dance Theatre Z Space, 450 Florida, SF; www.zhukovdance.org. Thu/27-Sat/29, 8pm. $30-50. The company performs its fifth annual season, "Product 05," with a preogram that includes the world premiere of Yuri Zhukov’s Coin/C/Dance.

BAY AREA

"Access to Oddities" Central Stage, 5221 Central Ave. A-1, Richmond; www.brianscottproductions.com. Sat/29, 2 and 7:30pm. $12-20. Magic and comedy show presented in a family-friendly matinee and a later show not recommended for children under 8.

"Bay Area Flamenco Festival" Yoshi’s Oakland, 510 Embarcadero West, Jack London Square, Oakl; www.festivalflamencogitano.com. Wed/26, 8pm. $30. Gypsy flamenco guitar with Diego Del Morao.

"Empower: Master of the Three Rings" Chabot College Theater, 25555 Hesperian, Hayward; www.soulciety.org. Sat/29, 1 and 6pm. $20. Also Oct 27, 6pm, Herbst Theater, 401 Van Ness, SF. Soulciety performs a theatrical production that combines spoken word, urban acrobatics, and more.

"Fall Free for All" Various locations, UC Berkeley, Berk; www.calperformances.org. Sun/30, 11am. Free. Cal Performances’ annual free open house features performances across campus from Kronos Quartet, Shogun Players, Gamelan Sekar Jaya, and many more.

"Flamenco Passion!" Bankhead Theater, 2400 First St, Livermore; ww.mylvpac.com. Fri/28, 8pm. $15-48. Caminos Flamencos Dance Company performs.

Rhinocéros Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk; www.calperformances.org. Thu/27-Fri/28, 8pm; Sat/29, 2pm. $30-90. Théâtre de la Ville of Paris performs Ionesco’s absurdist masterpiece.

Ending the mayor’s commission monopoly

Andrew Lam
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EDITORIAL Ten years ago, San Francisco voters took a huge step toward decentralizing control of city planning, approving a measure that splits the appointments to the powerful Planning Commission between the mayor and the Board of Supervisors. A year later, a similar change gave the supervisors a role in appointing Police Commission members.

By any rational account, it’s been a complete success. The commissions better reflect the diversity of opinion in the city, function well and are no longer complete rubber stamps for the mayor and his planning director and police chief.

The mayor still controls the majority on both panels; his ability to set the direction of city policy hasn’t been harmed. But there’s a least a chance for a dissenting voice or two.

Compare that to, say, the Recreation and Parks Commission.

Rec-Park is a disaster. The seven members are all appointed by the mayor. Some have little or no past experience in anything related to recreation or parks. One actually works as Mayor Ed Lee’s scheduler. Commission votes are nearly always unanimous and the panel supports the director more than 90 percent of the time.

The mayoral appointees have overseen the rampant privatization of public space and a change in direction that undermines the entire concept of urban parks. Rec-Park staff have been directed to find increased ways to turn the parks into cash machines, prioritizing revenue over public access.

The result: So many people are angry at the department that it’s possible San Francisco voters will reject a bond act in November aimed at providing badly needed money to fix up ailing parks and facilities.

The discontent with Rec-Park stems in significant part from the perception that the commission is inaccessible and uninterested in public input. Since all of the members typically line up in lockstep on every decision, there’s little discussion and less chance for opposing opinions to get heard.

There’s a pretty easy fix — the supervisors could put a charter amendment on the ballot giving the board three of the seven appointments. But that would leave a long list of other key commissions unchanged — and there’s no reason to address the problem piecemeal. It’s time for the supervisors to push a comprehensive reform package that redefines how every policy commission in the city is structured.

The reason district elections of supervisors has been such an unqualified success (and remains incredibly popular) is that it guarantees not only neighborhood input on issues but a diverse board. Fiscal conservatives have a voice; so do left-progressives. You won’t find that on most mayoral commissions; it’s very, very rare for a mayor to appoint someone who doesn’t share his or her policy perspectives.

The mayor of San Francisco — who needs to raise huge gobs of money to get elected, leaving him or her deeply in debt to powerful and wealthy individuals and interests — has too much power. That’s a basic problem in the City Charter. The supervisors should start holding hearings now on alternative approaches to a more equally shared governance. Splitting appointments to all commissions would be a great start.

 

Rep Clock

Andrew Lam
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Schedules are for Wed/12-Tue/18 except where noted. Director and year are given when available. Double and triple features marked with a •. All times pm unless otherwise specified.

ARTISTS’ TELEVISION ACCESS 992 Valencia, SF; www.othercinema.com. $6. "Other Cinema:" works by Damon Packard, Marcy Saude, and more, Sat, 8:30.

BRIDGE 3010 Geary, SF; www.landmarktheatres.com. $8-10.50. "Studio Ghibli Animation Retrospective:" Ponyo (Miyazaki, 2008), Wed, 2:45, 7, English language version; The Cat Returns (Morita, 2002), Wed, 5:10, 9:25, in Japanese with English subtitles; Howl’s Moving Castle (Miyazaki, 2004), Thu, 2, 7, English language version; My Neighbors the Yamadas (Takahata, 1999), Thu, 4:30, 9:35, in Japanese with English subtitles.

CALIFORNIA 2113 Kittredge St, SF; www.landmarktheatres.com. $8-10.50. Nausicaä of the Valley of the Wind (Miyazaki, 1984), Fri-Sat, 1:50, 4:25, 7, 9:35; Kiki’s Delivery Service (Miyazaki, 1989), Sun-Mon, 1:55, 7; Castle in the Sky (Miyazaki, 1986), Sun-Mon, 4:15, 9; Porco Rosso (Miyazaki, 1992), Tue, 2:50, 7; The Cat Returns (Morita, 2002), Tue, 5, 9:10. All films in Japanese with English subtitles.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $8.50-11. •The Breakfast Club (Hughes, 1985), Wed, 7, and Animal House (Landis, 1978), Wed, 8:55. •Bad Day at Black Rock (Sturges, 1955), Thu, 2:30, 7, and The Wild Bunch (Peckinpah, 1969), Thu, 4:10, 8:35. "Midnights for Maniacs: Trix Are For Kids" •The Iron Giant (Bird, 1999), Fri, 7:30; Labyrinth (Henson, 1986), Fri, 9:20; Phenomena: Unrated Director’s Cut (Argento, 1985), Fri, 11:30. One or all three films, $13. Sutro’s: The Palace at Lands End (Wyrsch, 2011), Sat, 2. Remembering Playland At the Beach (Wyrsch, 2010), Sat, 3:30. Kill Bill: Vol. 1 (Tarantino, 2003), Sat, 7. Kill Bill: Vol. 2 (Tarantino, 2004), Sat, 9:10. Willy Wonka and the Chocolate Factory (Stuart, 1971), Sun, 2. Punch-Drunk Love (Anderson, 2002), Sun, 5, 8:45. Death Proof (Tarantino, 2007), Sun, 7. Moonrise Kingdom (Anderson, 2012), Mon-Tue, 7, 9:05 (also Tue, 2:30, 4:45).

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-$10.25. Ai Weiwei: Never Sorry (Klayman, 2012), call for dates and times. Beasts of the Southern Wild (Zeitlin, 2012), call for dates and times. The Queen of Versailles (Greenfield, 2012), call for dates and times. 2 Days in New York (Delpy, 2012), call for dates and times. Arbitrage (Jarecki, 2012), Sept 14-20, call for times. Cane Toads: The Conquest 3D (Lewis, 2012), Sept 14-20, call for times. This event, $10-12.

"CINE + MAS SAN FRANCISCO LATINO FILM FESTIVAL" Various Bay Area locations; www.sflatinofilmfestival.com. Most shows $12. Forty features, documentaries, and shorts from Latin America, Spain, and the United States. Sept 13-28.

"FILM NIGHT IN THE PARK" This week: Dolores Park, 19th Ave and Dolores, SF; www.filmnight.org. Donations accepted. The Graduate (Nichols, 1967), Sat, 8.

GOETHE-INSTITUT SAN FRANCISCO 530 Bush, SF; (415) 263-8760. $5 suggested donation. "Homage to Romy Schneider:" The Swimming Pool (Dery, 1969), Wed, 7:30.

MANDELA VILLAGE ARTS CENTER 1357 Fifth St, Oakl; www.ticketweb.com. $10. Brainwash Drive-In/Bike-In/Walk-In Movie Festival, Sat and Sept 21-22, 9. Outdoor screenings with live music and food trucks.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. "Alternative Visions:" "Nights and Days: A Decade of Lebanese Short Films," Wed, 7. "LA Rebellion: Creating a New Black Cinema:" Bush Mama (Gerima, 1975), Thu, 7. "Grand Illusions: French Cinema Classics, 1928-1960:" La jour se lève (Carné, 1939), Fri, 7; Casque d’or (Becker, 1952), Fri, 8:50; Hôtel du Nord (Carné, 1938), Sat, 8:20. "Life is Short: Nikkatsu Studios at 100:" Hometown (Mizoguchi, 1930), Sat, 6:30. "A Theater Near You:" Once Upon a Time in Anatolia (Bilge Ceylan, 2011), Sun, 5.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Kumaré (Gandhi, 2011), Wed, 6:45, 8:45. Red Hook Summer (Lee, 2012), Wed, 6:45, 9. Freedom House: Street Saviors (Starzenski, 2009), Thu, 7:30. "Projector Magazine Screening," Thu, 8. Beauty is Embarrassing (Berkeley, 2012), Sept 14-20, 7, 8:45 (also Sun, 3:15, 5).

SIBLEY AUDITORIUM Bechtel Engineering Center, UC Berkeley, Berk; nature.berkeley.edu. Free (limited seating). California Forever: The Future of Our State Parks (Vassar, 2012), Thu, 5:30. Followed by a panel discussion with filmmakers and environmentalists.

TANNERY 708 Gilman, Berk; berkeleyundergroundfilms.blogspot.com. Donations accepted. "Berkeley Underground Film Society:" Sixteen Candles (Hughes, 1984), Sun, 7:30.

2969 MISSION 2969 Mission, SF; www.answersf.org. $5-10. Attica (Firestone, 1974), Wed, 7.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; www.ybca.org. $8-10. "Femina Potens’ Askew Film and Performance Festival:" "Intersections: LOVE:SEX:PORN:ART: Our Intimate Identity," Thu, 7; "The Birth of Something New: Explorations of Queer Home, Family, and Community," Fri, 7; "In/Visible: Women fighting for visibility and survival in a world that doesn’t always celebrate difference," Sat, 7. Guest-curated by Madison Young of Femina Potens Gallery. *

Endorsement interviews: Norman Yee for D. 7 supervisor

Zelda Bronstein
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Endorsement interviews: Norman Yee for D. 7 supervisor

Norman Yee, president of the School Board, is running in the tighly contested race for District 7, one of the most conservative districts in the city. Yee talked about the sorts of things you’d expect a district candidate to talk about — public safety (and pedestrian safety, an issue particularly important to Yee, who was seriously injured by a car), public schools, keeping libraries open, and parks.

But he also talked about citywide concerns — he’s a supporter of Local Hire, supports the City College parcel tax, and wants to see an audit of city-owned land to look for places to build affordable housing. He supports a program to legalize existing in-law units if they’re brought up to code.

You can listen to the entire interview here:

 

 

The park bond battle

Andrew Lam
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The park bond battle

yael@sfbg.com

Recreation and Parks clubhouses are privatized and cut off from public access. Public spaces like the Botanical Gardens and the Arboretum in Golden Gate Park are closed to people who can’t pay the price of admission. Event fees and permit processes have become so onerous that they’ve squeezed out grassroots and free events.

It’s been enough to infuriate a long list of neighborhood groups who have been complaining about the San Francisco Recreation and Park  Department for years.

And now those complaints have led to a highly unusual coalition of individuals and groups across the political spectrum coming together to do what in progressive circles was once considered unthinkable: They’re opposing a park bond.

From environmentalists, tenant advocates, labor leaders, and Green Party members to West Side Republicans and fiscal conservatives,  activists are campaigning to try to defeat Proposition B, the Clean and Safe Neighborhood Parks Bond. 

The bond would allow the city to borrow $195 million for capital projects in several parks around the city. It comes five years after the voters passed a $185 million park bond. 

Environmental groups like San Francisco Tomorrow and SF Ocean Edge oppose the bond, and even the Sierra Club doesn’t support it because “In recent years, we have had many concerns with management of the city’s natural places,” as Michelle Meyers, director of the Sierra Club’s Bay Chapter, told us.  

Matt Gonzalez, the only Green Party member ever to serve as Board of Supervisors president, is part of the opposition, as is progressive leader Aaron Peskin.  Joining them is retired Judge Quentin Kopp, darling of the city’s fiscal conservatives.

The San Francisco Tenants Union wrote a ballot argument opposing Prop. B. The left-leaning Haight Ashbury Neighborhood Council and the more centrist Coalition of San Francisco Neighborhoods both want the bond defeated.

Many of the people opposing Prop. B have never before opposed a city bond act. “This is very difficult for me,” said labor activist Denis Mosgofian. “Some of us always support public infrastructure spending.”

When we called Phil Ginsburg, the director of Rec-Park, for comment, his office referred us to Maggie Muir, who’s running the campaign for Yes on B. She sent a statement saying: “Unfortunately, a small group of individuals are opposing Proposition B because they disapprove of Recreation and Park Department efforts to improve our parks and better serve San Francisco’s diverse communities.” The statement refers to Prop B’s opponents as “single issue activists”

 So who are these activists, and why have they come together to oppose the parks bond?

 Many started with, as Muir put it, a single issue.  Journalist Rasa Gustaitis  didn’t want to see fees to enter the Botanical Gardens and Arboretum in Golden Gate Park.  West of Twin Peaks resident George Wooding was upset that Rec-Park has been leasing public clubhouses to private interests. Landscape Architect Kathy Howard took issue with a plan to renovate Beach Chalet soccer fields, complete with artificial turf and stadium lighting.

After a few years of fighting these small battles, people like Gustaitis, Wooding, and Howard started to see a pattern.  Park property was being privatized.

THE ENTERPRISE

Some city departments, like the airport and the port, are so-called enterprise agencies. They don’t receive allocations from the city’s general fund, and operate entirely on money they charge users. In the case of the airport, most of the money comes from landing fees paid by airlines. The port charges ships that dock here, and takes in rent from its real-estate holdings.

Other departments, like Recreation and Parks, provide free services, funded by taxpayer money. In theory, the department creates and maintains open spaces for public use. The recreation side offers services like classes and after-school activities, many of which are centered in recreation centers and clubhouses in parks throughout the city. 

These have been staffed in the past by recreation directors, adults who coordinated and supervised play, in many cases becoming beloved community figures.

But some city officials want that mission to change. In a time of tight budgets (and facing significant cuts to its operating funds), Rec-Park has been looking for ways to increase revenue by charging fees for what was once free.

In fact, in a 2010 Rec-Park Commission meeting, interim General Manager Jared Rosenfeld said, “the sooner we become an enterprise agency, the better off we will be.”

In August 2010, the department fired 48 recreation directors.  In their place, Rec-Park hired part-time workers who were paid to put on programs but not to staff neighborhood rec centers. The department also hired six more employees in the Property Management Division, tasked with leasing out and renting parks property.

In 2010, the commission also approved a plan to impose a fee for non-residents and require residents to show ID to enter the Arboretum. The once-free public garden was on its way to becoming a cash cow (operated in part by the private San Francisco Botanical Society).

A fledgling group formed to fight the fees – and its members soon connected People from SF Ocean Edge, the Parks Alliance and SPEAK who were not pleased with a proposal to install artificial turf and floodlights at the Beach Chalet soccer field and people who opposed the leasing of clubhouses.

 Mosgofian, a member of the Labor Council and worker with Graphic Communications International Union Local 4-N, helped bring together many disparate groups who, they realized, have a common goal in halting the privatization of the parks system.

“It started with a number of different people who were involved in a number of different efforts to get the Rec and Park Department to do the right thing running into each other and eventually getting together,” said Mosgofian “People from these groups found themselves listening to each other’s efforts and got together.”

Subhed: The empty clubhouse

One of the turning points was the fight over J.P. Murphy Clubhouse in the Sunset.

 In July 2010, Rec-Park quietly began taking clubhouses, previously free and open to anyone in the neighborhood, and putting them up for lease. Nonprofits, some of them offering expensive programs,  took exclusive control of public facilities.

For Rec-Park, it was more money. For neighborhood residents, it was a sign they were being cut off from the resources their tax dollars built and funded.

“They would put a notice on the clubhouse door for a hearing, they would have four or five concerned mothers show up, and they would lease the facility,” said George Wooding, then-president of the West of Twin Peaks neighborhood group that got involved in opposing the clubhouse privatization.

The J.P. Murphy clubhouse in the inner sunset had benefitted from the 2008 bond. The building was renovated at a cost of $3.8 million. But when the shiny new rec center was finished, Rec-Park tried to put it up for lease.

Wooding helped organize strong opposition to the lease. They had already paid for the clubhouse through taxes and bond money, the opposition figured—why shouldn’t it be kept open to the public, free? 

 “I’d had enough. We felt, this is our park,  they just spent a ton of money. They fired the rec director. When Rec-Park came to rent out the facility, we just said no way,” Said Wooding.

The department gave up, and J.P. Murphy wasn’t leased. But without a lessee, the department simply closed the center. It’s empty and dark – although it’s available for $90 an hour rent.

Other similarly frustrating battles were going on around the city. 

Muir called the opposition “short-sighted.” 

“This opposition is punishing the people who use the facilities across the city, children who need safe parks to play in, seniors, and those who are disabled who need ADA compliance,” said Muir.

But Friends of Ethics, another group opposing the bond, argues that Rec-Park shouldn’t get another cent until the agency cleans up its act. In a paid ballot argument against Prop B, the group brought up the controversial process of leasing out the Stowe Lake Boathouse last year. The move to put Bruce McLellan, longtime operator of the family business that sold snacks and rented paddle boats, on a month-to-month lease before auctioning a new lease to the highest bidder created a serious backlash.

 On top of that, commission officials were accused of bias when they recommended a lobbyist, Alex Tourk, to one of the companies vying for the contract. 

 “It’s unseemly and it clouds public trust,” said No on Prop B proponent Larry Bush,  who publishes Citireport. 

The boathouse isn’t the only much-beloved tradition ended under the current Rec-Park administration’s reign. The Power the Peaceful festival, which brought big name musicians and thousands of attendants, all for free, has been priced out due to dramatic increases in fees. So has the Anarchist Book Festival. 

 Bob Planthold, a disability rights advocate who is also a member of Friends of Ethics, says that there are issues in the ADA compliance plans for the Parks Bond as well. Planthold says that money from the last bond measure in 2008 was misspent in terms of disability access.

 “Trails weren’t graded properly. There was no attention to whether there were tree roots that might be rising above the level of the trail that could trip somebody,” said Planthold. “They didn’t do a good, proper, fair job on making trails accessible.”

 The bond got unanimous support from the Board of Supervisors. That’s because it earmarks money for parks that desperately need it throughout the city. 

 But that doesn’t mean all the supervisors are pleased with the way Rec- is being run, either. In July 2010, Sup.  David Campos and then-Sup.  Ross Mirkarimi tried to pass a Charter Amendment to split the appointments to the commission among the mayor and the supervisors. 

 But they couldn’t get the measure through, and the commission remains entirely composed of mayoral appointees.  

So now the voters have a choice: Give more money to what  many say is a badly managed department moving toward the privatization of public property – or shoot down what almost everyone agrees is badly needed maintenance money. Of course, the critics say, Rec-Park can always change its direction then come back and try again in a year or two – but once public facilities become pay-per-use private operations, they tend to never come back. 

The Performant: A late summer night’s dream

Andrew Lam
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All Ashland’s a stage at the Oregon Shakespeare Festival

It’s 100 degrees in Ashland, Oregon, which makes the prospect of sitting in an air-conditioned theater an appealing one, even if it weren’t at the justifiably renowned Oregon Shakespe are Festival. An Ashland institution since 1935, the OSF has grown from a humble weekend-long affair to a nine-month-long theatrical juggernaut, and although it’s mid-week in August, all three venues are packed with festival-goers.

A few things reveal themselves to the festival tyro immediately, not least of all that there’s a whole lot more than Shakespeare going on at this festival. Of the 11 plays comprising the 2012 season, just four are written by Shakespeare, two others inspired by him, and the rest, including a rowdy rendition of the Marx Brothers’ Animal Crackers, have pretty much nothing to do with the playwright at all, save that they are plays.

My festival experience gets off to a rocky start with the puzzling Medea/Macbeth/Cinderella, an adaption by OSF’s artistic director Bill Rauch and Tracy Young (whose first collaborative version of same appeared onstage in 1998). An attempt to highlight the similarities between the three disparate tales, the results can only generously be described as a disjointed mish-mash. Watching an irritatingly histrionic Medea (Miriam A. Laube) plot to murder her children as a lilting Rodgers and Hammerstein tune begins to swell across the stage is disconcerting at best, and leaves me both confused and cold.

Fortunately my frustrations are short-lived, as the next production on my list is the Rob Melrose-directed Troilous and Cressida, a visually stunning, disarmingly nuanced tale of the many levels of honor, and its interpretations.

Set in Iraq during the 2003 invasion, Melrose turns Cressida (played when I see it by understudy Brittany Brook) into a blue-jeaned tomboy with a gauzy veil and a quick wit, Troilus (Raffi Barsoumian) into a preternaturally handsome yet vulnerable youth in an all-too adult uniform, Ulysses (Mark Murphey) into a taciturn career soldier, and Ajax (Elijah Alexander) into an unstable sniper with little regard for rule or law. Smoothly-paced and forcefully performed by a strong, multi-ethnic cast, T&C easily becomes one of my favorites of the festival. 

Next up is a foray to Ashland’s iconic Elizabethan Stage, modeled on the 17th century Fortune Theatre, a rival to the Globe. The show, a middle-of-the-road production of Henry V, boasts a few distinctive twists, including percussionist Kelvin Underwood — firmly ensconced in the musician’s gallery on the second floor — providing vigorous accompaniment to the action on a variety of noise-making devices, and several multilingual interludes, not just Katherine’s (Brooke Parks) Shakespeare-penned, double-entendre-laden French but also the deliberate use of ASL by deaf actor Howie Seago as the Duke of Exeter and his speaking interpreter/boy (Christine Albright) which adds an unexpected layer to both the character and to my own definition of multilingual. 

I miss out on seeing one of the most buzzed-about shows of the season, All the Way, by Robert Schenkkan, about the first year of Lyndon B. Johnson’s presidency, starring ACT’s Jack Willis. Instead, I saw Party People, penned by performance ensemble UNIVERSES. (Both plays commissioned by OSF as part of their ongoing American Revolutions: the United States History Cycle). Last, but definitely not least, I attend an astutely madcap production of Animal Crackers, directed by Allison Narver, starring Mark Bedard as Captain Spaulding/Groucho, John Tufts as Ravelli/Chico, and Brent Hinkley as The Professor/Harpo.

Considering that the evening before I had watched Tufts as a grim-faced Henry V murder a felonious Hinkley as Bardolph, my respect for their versatility and aggressively comedic chops grows with every scene. Quick on their collective feet, mixing in bits of off-the-cuff improv and oddience participation, the cast infuses each outrageous gag with sparkling vitality, never dropping a beat even when their characters drop their pants (“where’s the flash?”). In short, it’s a memorable end to a memorable weekend, despite not being written by the venerable Bard.

Feeding a movement

Andrew Lam
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0
Feeding a movement

yael@sfbg.com

Keith McHenry was in Tampa, feeding fed-up (and hungry) Republican National Convention protesters, when we spoke by phone. Next he’ll head to Charlotte to do the same for those protesting the Democrats, and then to New York for Occupy Wall Street’s anniversary on Sept. 17.

Everywhere he goes, he’ll feed the masses home-cooked vegetarian meals. But unlike the other protesters, McHenry helped invent the system that gets them fed. He helped to found Food Not Bombs, the organization that salvages food that would otherwise be thrown out, cooks it up, and serves free, tasty meals in public squares throughout the world.

McHenry served the first meal in Boston Common in 1980, then moved to San Francisco a few years later, bringing the movement with him. Now, there are 500 chapters in the United States and hundreds more throughout the world.

“We provided food for 100 days at the Orange Revolution in the Ukraine,” McHenry recalls. “We fed a two-year occupation in Sarajevo. We provided food at Camp Casey,” Cindy Sheehan’s anti-war stakeout at then-President George W. Bush’s ranch.

The FNB approach to hunger is pretty simple: There’s enough food to go around, it’s just not distributed right. So activists find ways to distribute food that would otherwise be thrown out. San Francisco FNB gets donations of extra, unsold food from places like Rainbow Grocery and Other Avenues food co-op.

It was started by anti-nuclear activists, thus the “Not Bombs” part. But there’s more to their analysis than a cry for peace. As the group states, “For over 30 years the movement has worked to end hunger and has supported actions to stop the globalization of the economy, restrictions to the movements of people, end exploitation and the destruction of the earth and its beings.”

A typical Food Not Bombs operation features a table with a vegetarian or vegan meal, maybe some produce, and anti-war and other leftist literature and banners. In 1988, this is what was on the table when the San Francisco Police Department cracked down on Food Not Bombs, arresting dozens for serving food at the entrance to Golden Gate Park at Haight and Stanyan.

“We had our sign such that when you walked in at the corner of Haight you would see the words Food Not Bombs for a block and a half,” McHenry recalls. “What was good about that was you had tourists, and local business people, and local workers, and you had the people in the Golden Gate Park, all coming together to eat at that place. It was really perfect.”

FNB still serves there on Saturdays, but that perfection was disrupted by a high profile series of arrests in 1988, then again a few weeks ago, when Parkwide, the Recreation and Parks Department’s new bike rental program, set up in their old spot.

Food Not Bombs still runs into conflicts with police and courts. Last year, McHenry was one of 24 arrested in Orlando, Florida, spending 19 days in jail after protesting an ordinance making it a crime to feed the homeless in the city’s downtown.

Last week, FNB held its world gathering at Occupy Tampa’s tent city, serving daily breakfast and dinner while planning the future of the movement. Occupy Tampa has only grown in recent weeks as it hosts people in town to protest the RNC. Sharing food and shelter, making art, and protesting politicians doing the bidding of greedy corporations is McHenry’s vision made reality — and one he got to see bloom last fall with the birth of Occupy.

As McHenry tells it, he and others from Food Not Bombs have been part of a decade-long buildup to the “occupy” tactics that erupted into the world in 2011. “I was promoting the idea of occupation ever since a meeting that was held in 2003 after Cancun,” he said. Protests at the World Trade Organization meeting in Cancun were part of a growing trend of disrupting international conventions in which political and business leaders make agreements that further exploitation and neo-liberalism. But McHenry says that more was needed.

“There was a group of us that got together and said these one-off events, like summits, were just becoming more disempowering rather than successful,” he said.

After years of calling for occupations, the notion clicked last fall. “We had seen the Arab Spring, so that made it that much easier to imagine the occupation concept. And the Spanish occupations were just then happening.”

“That’s a common thing,” McHenry said. “People try all these different ways of organizing and then all at the same time, the same thing will start to click. And there’s no real way to say, ‘oh, it started here, it started there, this person started it.'”

When Occupy encampments sprang up, Food Not Bombs was behind many of the kitchens and food sharing efforts — it even had a guide to building a tent city kitchen at foodnotbombs.net/occupy_supplies.

“In the beginning of some of the first occupations like Chicago, DC, Wall Street, we made peanut butter and jelly sandwiches, because we didn’t know if we would get busted,” McHenry said. “We ended up behind the scenes helping provide free meals to the occupations.”

McHenry said he hopes the spirit of occupying grows again. “It’s so important,” he said. “It would be great if we could regroup and retake public space.”

 

Are free Golden Gate Park events fading away?

Sasha Cuttler
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Are free Golden Gate Park events fading away?

San Francisco’s countercultural community was built at least partly through free concerts and gatherings in Golden Gate Park, including the legendary Human Be-In and Grateful Dead and Jefferson Airplane concerts in the late-’60s. But these days, as corporations starve local government but seize public spaces, grassroots groups and populist performances are being forced out of the park.

Events without expensive tickets and corporate sponsorships (such as this month’s Outside Lands) or endowments from dead billionaires (Hardly Strictly Bluegrass Festival, coming up in early October) just can’t afford the rising fees charged by the Recreation and Parks Department, a reality that is quietly ending an important San Francisco tradition and legacy.

A few weeks ago, organizers of the Power to the Peaceful Festival – a free concert featuring Michael Franti and Spearhead and other big acts, which drew tens of thousands of people to the meadow formerly known as Speedway annually for more than a decade – announced that it was canceling next month’s event because of onerous fees.

“The only way to have produced the festival this year would have been to turn it into a ticketed event,” organizers wrote in their July 31 announcement. RPD officials were going to charge the event $77,000 in permit fees this year, dealing it a death blow after also forcing the cancellation of last year’s event by instituting a strict 40,000 attendee cap, which was nearly impossible to enforce for a free event.

If we accept the neoliberal perspective that has taken hold of San Francisco – which sees government’s role as facilitating whatever corporations want to do and hoping they share some of their profits, or at least create some good jobs – it makes sense. After all, the cash-strapped RPD made $1.7 million in profit-sharing off Outside Lands this year, up from $1.4 million last year.

The same logic has caused RPD, under the mercenary leadership of Director Phil Ginsburg, to rent out its recreation centers to the highest bidders and fire the recreation directors that used to treat them as public resources, and to let the private City Fields Foundation cover many parks in artificial turf. Again, through a strictly economic lens, it makes a certain amount of sense.

“As the steward of our parks, the Department works with event organizers to host diverse events in our parks, it is our shared responsibility to make sure the City and the event organizers have plans and resources in place to care for our park land and ensure public safety. The Department is always ready to work with all event organizers to modify their event planning for safe and successful events,” RPD spokesperson Connie Chan told us.

Power to the Peaceful – ironically, an event celebrating the plight of ordinary people against powerful political and economic interests around the world – just didn’t have the resources to meet the standard, so out they go. Same thing with the venerable Anarchist Book Faire, which was also forced from the park by rising fees this year after 17 years in the park’s County Fair Building.

Again, there’s a note of irony to this exodus, with city officials suddenly deciding the anarchists could no longer police themselves and needed to pay for four Park Police officers to watch over a festival that has been without violent incident throughout its history, unless you count a speaker getting pied last year (which the self-sufficient anarchists easily dealt with on their own).

“We had put this thing on for 17 years and there were no problems until this new guy came,” Joey Cain of Bound Together Bookstore, which puts on a free event whose fees have steadily risen to almost $14,000. “We’ve had to increase our rates every year, and we were starting to lose some vendors.”

On top of that, city officials had also cracked down on free offerings that surrounded the free event, banning Food Not Bombs from serving free meals to visitors and people from setting up information tables outside the main event.

So now the event, coming up in March, will be held at the Armory. Cain admitted that rent on the building they used in Golden Gate Park was still fairly cheap compared to similar sized venues around town, “as it should be, being owned by the city.”

But when city departments like RPD become dependent on corporate contributions, public spaces become commodified, and we begin to lose access to the last places in town where our creator endowed us with the right to assemble freely and pursue our happiness: our public parks.

Farmville, for real

Andrew Lam
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11
Farmville, for real

yael@sfbg.com

In the next few months, San Francisco will lose some of its most beloved urban farms.

The City Hall victory garden is now reduced to dirt. The grants that kept afloat Quesada Gardens Initiative, which creates community gardens in Bayview, were temporary and are now drying up. Kezar Gardens, funded by the Haight Asbury Neighborhood Council recycling center, is facing eviction by the city.

Time is up for Hayes Valley Farm, on the old freeway ramp, where developers are now ready to build condos.

St. Paulus Lutheran Church has also announced that it wants to sell the land that the Free Farm uses at Eddy and Gough.

“There’s the old joke about developers,” said Antonio Roman-Alcalá, co-founder of Alemany Farm and the San Francisco Urban Agriculture Alliance. “God must be a developer, because they always seem to get their way.”

At the same time, new urban agriculture projects have sprung up across San Francisco. Legislation authored by Sup. David Chiu will create a city Urban Agriculture Program, with the goal of coordinating efforts throughout the city.

So is the movement to grow food in the city progressing? It’s a tricky question that gets down to one of the oldest conflicts in San Francisco: The best use of scarce, expensive land.

THE VALUE OF FARMING

The San Francisco Planning and Urban Research Association lauds the value of community gardens. An April 2012 SPUR report notes that urban agriculture connects people “to the broader food system, offers open space and recreation, provides hands-on education, presents new and untested business opportunities, and builds community.”

According to the report, the city had “nearly 100 gardens and farms on both public and private land (not including school gardens),” two dozen of which started in the past four years.

But that’s nowhere near enough for the demand. “The last time waiting lists were surveyed, there were over 550 people waiting,” Eli Zigas, Food Systems and Urban Agriculture Program Manager at SPUR, told us. “That likely underrepresents demand because some people who are interested haven’t put their name down.”

Changes in zoning last year, and the recent ordinance to create the Urban Agriculture Program, show a measure of city support for urban farming and gardening.

“We have one of the most permissive zoning codes for urban agriculture that I know of in the country,” said Zigas.

One zoning change from 2011 makes it explicit that community gardens and farms less than one acre in size are welcome anywhere in the city, and that projects on larger plots of land are allowed in certain non-residential districts.

More recent legislation is meant to streamline the process of starting to grow food in the city. Applying to use empty public land for a garden can be an arduous process, and every public agency has a different approach. The hoops to jump through for land owned by the Police Department, for example, are entirely different than what the Public Utilities Commission requires. A new Urban Agriculture Program would coordinate efforts.

“The idea is to create a new program that will serve as the main point of entry. Whether it will be managed by existing agency or nonprofit is to be determined,” said Zigas.

If the timeline laid out in the ordinance is followed, the plan will be implemented by Jan.1, 2014.

By then, if all goes according to plan, no San Franciscan looking to garden will wait more than a year for access to a community garden plot.

NO NEW LAND

Roman-Alcalá said that efforts to clear the way for urban agriculture are much less controversial than for affordable housing and other tenets of anti-gentrification. But for all the good the latest legislation does, it doesn’t secure a single square foot of land for urban agriculture.

“If you look at the language, there’s nowhere in it that mandates or prioritizes urban agriculture on any site,” said Roman-Alcalá. “The closest thing is a call for an audit of city owned rooftops. That’s the closest it comes to changing land use.”

And it won’t be easy. “No matter how much support there is for urban agriculture, in the end, developers and their ability to make money is going to be prioritized,'” he said. “The only way to really challenge that right now is cultural. Social change is not an event but a process.”

Janelle Fitzpatrick, a member of the Hayes Valley Farm Resource Council and a neighborhood resident who has been volunteering at the farm since it started, is committed to that process.

“Hayes Valley Farm proves that when the city, developers, and communities come together, urban agriculture projects can be successful,” Fitzpatrick said. She and dozens of other volunteers created the farm, which is now lush with food crops, flowers, and trees. The farm has a bee colony, a seed library, and a green house. It offers yoga and urban permaculture classes.

Hayes Valley Farm started on land that used to be ramps to the Central Freeway before that section was damaged in the Loma Prieta earthquake. The land under the freeway was toxic, but volunteers spent six months layering mulch and cardboard and planting fava beans to create soil. It took less than a year to create a productive farm on a lot that had been vacant and overgrown for nearly two decades.

“We’re producing food, we’re producing community, we’re producing education,” said Zoey Kroll, another volunteer and resource council member.

When they vacate their land in the winter, many Hayes Valley Farm team members will already be knee deep in new urban agriculture projects. These include Bloom Justice, a flower farm in the Lower Haight that Kroll says will teach job skills like forestry and landscaping. The farm has also built a relationship with Hunters Point Family, working together to offer organic gardening and produce at Double Rock Community Garden at the Alice Griffith Housing Development and Adam Rogers Community Garden.

As for the loss of the current site, Kroll says, “It’s an exercise in detachment.” Change in landscapes and ownership is part of urban life, she said — “We’re a city of renters.”

We’re also a city of very limited land. “Securing permanent public land for urban agriculture would be challenging,” said Kevin Bayuk, an instructor at the Urban Permaculture Institute. “And securing long-term tenure on anything significant, an acre or more of land in San Francisco, if it were on private land, would be cost prohibitive.”

Of the city’s three largest farms, only Alemany Farm seems secure in its future. The farm is on Recreation and Parks Department land, and has been working with the department since 2005 to create a somewhat autonomous governance structure.

Community gardens on Rec-Park land are subject to a 60-page rulebook, and according to Roman-Alcalá, Alemany Farm’s operations were restricted by the rules.

Last week, the group’s plan to be reclassified as a farm instead of a garden was approved, eliminating some of the rules and creating an advisory council of community stakeholders that will exert decision making power over the farm, although Rec-Park still has ultimate authority.

“Now it’s more secure,” said Roman-Alcalá. “We’ve finally reached this point where the city acknowledges it as a food production site.”

“I think the urban agriculture movement is still growing and burgeoning in the grassroots sense,” said Bayuk. “And I think some of the grassroots growth is reflected in the policy and code changes. “I’m optimistic for the idea of people putting land into productive use to meet human needs and be a benefit of all life.”

This article has been corrected to reflect information about the location and ownership of the Free Farm.

On the Cheap Listings

Andrew Lam
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0

Listings compiled by Caitlin Donohue. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 15

Smack Dab open mic Magnet, 4122 18th St., SF. www.magnetsf.org. 8pm, open mic sign-up starts at 7:30pm, free. Magnet, the Castro’s neighborhood health clinic hosts this open mic for all ages and genders. Lewis DeSimone, author of Chemistry and The Heart’s History, will be the night’s featured reader but everyone is welcome to bring in up to five minutes of shareable words.

Competitive Erotic Fan Fiction Hemlock Tavern, 1131 Polk, SF. www.hemlocktavern.com. 6-8pm, $10. The San Francisco debut of LA’s sexy comic showdown, this installation of CEFF brings 10 comics to the stage to share their fan fic-themed smut. Some even take audience suggestions in their creative process, so bring your dirty minds.

THURSDAY 16

Ruben Martinez The Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30pm, free. The Western plains of the United States that once were home to Native American tribes and later, roaming cowboys, are now the scene of an entirely different wild frontier. Post-colonial author Martinez reads from his time spent researching Marfa, Texas; the banks of the Rio Grande; and the Tohono O’odham reservation in his research for Desert America: Boom and Bust in the New “New West.”

“Discover the Birds of Honduras” Northbrae Community Church, 941 The Alameda, Berk. (510) 843-2222, www.northbrae.org. 7-9pm, free. The Golden Gate Audubon Society sponsors this talk by Robert Gallardo, who has opened butterfly farms and spent 12 years as a bird guide. Today, Gallardo presents some of the 750 bird species of Honduras, home to nearly 10 percent of the planet’s winged species.

Squeeze This! A Cultural History of the Accordion in America Accordion Apocalypse, 255 10th St., SF. www.accordionapocalypse.com. 7pm, free. Author Marion Jackson penned this look at our country’s relationship with the squeezebox. Should you be inspired to tickle the ivories yourself, you can buy an accordion of your own from the lecture’s gracious hosts.

San Jorocho Festival Brava Theater, 2781 24th St., SF. (415) 641-7657, www.brava.org. 8pm, $6-$35. Brava’s celebration of the Veracruz region of Mexico kicks off tonight with filmmaker Marcos Villalobos presenting his documentary on three Son Jorocho musicians. Son Siglos looks at the cross-border translation of culture – particularly pertinent to this Northern Cali look at Mexican tradition.

SATURDAY18

Street Food Festival Folsom between 20th and 26th Sts. and some other streets, SF. www.sfstreetfoodfest.com. 11am-7pm, free. Some of SF’s hautest eateries and best food entrepreneurs take to the Mission streets for this foodie heaven: hundreds of dishes for $8 and under from across the world, not to mention bars selling artisan cocktails and more.

Balboa Park grand re-opening San Jose and Sgt. Young Drive, SF. www.tpl.org. 11am-2pm, free. The Balboa Park playground has a fresh new look, and the whole neighborhood’s invited to come out and give it a swing. The Trust for Public Land and SF Rec and Parks will be hosting and providing snacks, music, and activities.

Haute Pool Show Chambers at Hotel Phoenix, 601 Eddy, SF. www.hautepoolshow.eventbrite.com. 1-8pm, $5-$15. Shop local fashion by the pool at the city’s rock ‘n’ roll pool while DJs like Omar from Popscene and Brandon Arnovick from Rondo Brothers spin. 30 independent clothesmakers will be participating – the perfect stop-off if you’re looking for weekend threads.

Tell Your Tattoo Story video shoot Mission Cultural Center for Latino Arts, 2868 Mission, SF. (415) 671-0507, www.sfiaf.org. 6:30pm, free. RSVP necessary. The new play Placas (part of the SF International Arts Festival this fall) centers around street gangs and the implications of tattoo removal – but that doesn’t mean that those involved in the production are anti-ink. Sign up to show off your tats and explain their provenance. Footage will be shown as a companion piece when the play debuts.

Alamo Square Flea Market South side of Alamo Square Park, SF. www.alamosquare.org. 9am-3pm, free. Sidestep the Full House-house-seeking tour buses and search for your own vision of superlative San Francisco – the 29th year of this neighborhood-sponsored flea market will feature clothes, housewares, dogs for adoption from Rocket Dog Rescue, and much more.

Pedalfest Jack London Square, Broadway and 1st St., Oakl. www.pedalfestjacklondon.com. 11am-8pm, free. Bikes for days! Art bikes, acrobatic bikes, stunt bikes, foldable bikes, kids bikes, food for bikes – okay, maybe just food for riders, who will also enjoy live music and cavorting with their two-wheeled community. The East Bay Bike Coalition also sponsored last year’s Pedalfest, which attracted over 18,000 attendees.

SUNDAY 19

SF Mime Troupe Yerba Buena Gardens, Mission and Fourth St., SF. www.sfmt.org. 2pm, free. Check out the Bay’s historic radical theater troupe in the rolling hills of downtown’s greenest field. This year’s production is called The Last Election. Shall we reflect on a world without political monkeying about? At least electoral shenanigans birthed a spectacular community theater troupe.

Indie Mart Wisconsin between 16th and 17th Sts., SF. www.indie-mart.com. Noon-7pm, free. Because you know somebody that deserves an August handmade gifty, this regularly-occurring craft fair is coming to Potrero Hill with 100 of the city’s finest makers. Thee Parkside is included in the festivities, so grab some tots and a Bloody before you shop – pricetags will go down way easier.

 

Why?

Andrew Lam
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44
Why?

steve@sfbg.com

Just a couple years ago, it seemed like the golden age of marijuana in San Francisco, the birthplace of the movement to legalize medical pot and a national leader in creating an effective regulatory framework to govern an industry that had become a legitimate, respected member of the business community.

More than two dozen patient cooperatives jumped through a variety of bureaucratic hoops to become licensed dispensaries, most of them opening storefront businesses that were often the most attractive, clean, and secure retail outlets on their blocks, sometimes in gritty stretches of SoMa, the Tenderloin, or the Mission.

“Pretty much everyone involved agrees that San Francisco’s system for distributing marijuana to those with a doctor’s recommendation for it is working well: the patients, growers, dispensary operators, doctors, politicians, police, and regulators with the planning and public health departments,” I wrote in “Marijuana goes mainstream” (1/28/10).

Since then, San Francisco’s medical marijuana industry has only become more established and professional, complying with new city regulations (such as changing how edibles are packaged to avoid tempting children), paying taxes and fees — and making very few waves. According to city officials, there have been almost no complaints from anyone about the dispensaries — and in San Francisco, people complain about everything.

But in the last six months, the full force of the federal government has brought the hammer down hard on this budding business sector, forcing the closure of eight brick-and-mortar dispensaries and instilling paranoia and insecurity in those that remain.

In just the past few weeks, two of the city’s oldest and most respected dispensaries –- HopeNet and the Vapor Room -– were forced to close their doors.

There’s been little rhyme or reason to which clubs get those dreaded letters warning operators and landlords to shut it down or be subject to asset forfeiture and prison time — and the officials involved have refused to explain their actions, except with moralistic anti-drug statements or unsupported accusations.

“These are people who played by the rules and paid their taxes, and now they’re being punished for it,” said Assembly member Tom Ammiano, a leader in creating a state regulatory framework to govern the distribution of medical marijuana, which California voters legalized in 1996. “This is pure thuggery. They are ignoring due process out of blind prejudice and ambition.”

Ammiano met with Melinda Haag, the US Attorney for the Northern District of California, who has coordinated the local crackdown from her 11th floor office in the Federal Building near City Hall, shortly after she announced her intentions to go after medical marijuana. He said she was like a throwback to a less enlightened era.

“In talking to Haag, not only is she a bit of a bully, but she’s totally uneducated about the issue,” Ammiano told us. When she told him that her office has received many complaints about the dispensaries, he asked to see them -– even making a formal Freedom of Information Act document request –- but she has yet to produce them. “Her duplicity is very moralistic, it’s like going back 100 years.”

Neither Haag nor anyone from the White House or Justice Department would grant an interview to the Guardian to discuss the reasons for and implications of the crackdown, or to answer the list of written questions her office asked us to submit. Instead, Haag gave the Guardian this statement and refused to respond to our follow-up questions:

“Although all marijuana stores are illegal under federal law, I decided to use our limited resources to address those that are in close proximity to schools, parks and playgrounds and operations so large that they constitute marijuana superstores. I hope that those who believe marijuana stores should be left to operate without restriction can step back for a moment and understand that not everyone shares their point of view, and that my office has received many phone calls, letters and emails from people who are deeply troubled by the tremendous growth of the marijuana industry in California and its influence on their communities.”

But in San Francisco, where more than 80 percent of residents consistently support medical marijuana in polls and at the ballot box, most people don’t share Haag’s point of view. And city officials contest many of her claims, from saying the dispensaries are “left to operate without restriction” to her implication that they promote crime or endanger children to the haphazard way she has targeted dispensaries to the characterization that many people are “deeply troubled by the tremendous growth of the marijuana industry.”

In fact, to talk to city officials, virtually nothing Haag says is true.

“We’re not getting nuisance complaints [about the dispensaries],” Dr. Rajiv Bhatia, the city’s medical director who oversees regulation of the dispensaries by the Department of Public Health, told the Guardian. “We’ve had very few complaints over the years and good cooperation with the storefront part of the regulations.”

Almost across the board, city officials and club operators praise one another and the cooperative relationship they’ve established over the last four years. Some of San Francisco’s biggest dispensaries have somehow avoided Haag’s wrath, but their once-open operators are now afraid to speak publicly, warily checking the mailbox each day. A thriving industry eager to pay its taxes and submit to regulation is being driven back underground, with all the uncertainty and hazards that creates.

“The question everyone is asking: Why here, why now, why these businesses? Nobody knows the answer,” Bhatia said. “We’re left to speculate and guess about motives.”

MULTI-AGENCY ATTACK

The federal crackdown has been stunning in both its speed and breadth, with various federal agencies coordinating their attacks. The IRS is auditing the biggest clubs and denying write-offs for routine business expenses, the DEA is threatening asset forfeiture efforts, and Haag and the DOJ are threatening prison time and court injunctions.

Underlying all of that is President Barack Obama, who pledged not to use federal resources to go after those in compliance with state law in the 17 states where medical marijuana is legal. Then, last year, Attorney General Eric Holder suddenly announced a new policy: “It will not be a priority to use federal resources to prosecute patients with serious illnesses or their caregivers who are complying with state laws on medical marijuana, but we will not tolerate drug traffickers who hide behind claims of compliance with state law to mask activities that are clearly illegal.”

When we sought an explanation and clarification from the White House Communications Office about why well-established medical marijuana collectives carefully operating under California law were suddenly deemed “drug traffickers” that wouldn’t be tolerated, they refused to answer and referred us to a statement Obama made to Rolling Stone magazine.

“What I specifically said was that we were not going to prioritize prosecutions of persons who are using medical marijuana. I never made a commitment that somehow we were going to give carte blanche to large-scale producers and operators of marijuana -— and the reason is, because it’s against federal law. I can’t nullify congressional law,” Obama told the magazine.

That simplistic explanation – which conveniently ignores how people are supposed to get this medicine – has infuriated local growers and patients. It’s particularly galling for those who supported Obama and took him at his word in the last election, and who don’t understand why he is suddenly escalating the federal war on drugs, ignoring local laws and values, and re-criminalizing their communities.

FUNERAL PROCESSION

Hundreds of medical marijuana supporters gathered on Aug. 1 for a New Orleans-style funeral procession at the Lower Haight intersection near where Vapor Room had operated -– without incident and with praise as a model business from three successive district supervisors –- from 2004 until the previous day.

The mood was festive and defiant on that sunny afternoon, where advocates from both sides of the bay gathered to express solidarity with the closed clubs and resolve to battle through the recent setbacks.

“I’m feeling the fight,” Steve DeAngelo, star of the reality television show Weed Wars and head of Oakland’s Harborside Health Center, which received Haag’s shut-down-or-else letter last month, told the Guardian. “I don’t think we can allow taking a few hits to break our spirit….We started this struggle to win it and we’re not going to stop until we do.”

Local politicians and business leaders also came to offer their support.

“As president of the Lower Haight Merchants Association, I’m upset that Vapor Room had to shut down,” Thea Selby, who is also running for the District 5 supervisorial seat, told us. “The Vapor Room did a lot of good for this neighborhood and was a great business.”

Marchers, most clad in black, carried “Cannabis is Medicine: Let States Regulate” and other signs -– as well as a makeshift coffin and massive puppet depicting a scowling Haag -– and danced down the middle of the street as Brass Mafia horns belted out lively jazz tunes. By the time the procession reached Haag’s office at the Federal Building, a chill fog had darkened the skies and the mood.

DeAngelo took the bullhorn first and called out Obama directly: “Either you were lying, sir, or your employees are out of step with your policies.” Steph Sherer, executive director of the DC-based Americans for Safe Access, told the crowd, “We need to tell Obama to lose Haag or lose California.”

Ammiano and the other mostly Democratic Party politicians who spoke tried to avoid putting Obama directly into the crosshairs of the angry activists, although he did say those executing this crackdown “are harming Obama’s chances of winning.” He also urged activists to put the pressure on politicians in Sacramento and Washington DC: “We need to be a voice in reshaping what’s happened in these last few months.”

Ammiano said the crackdown “empowers the cartels and the people who use violence,” contrasting that with San Francisco’s civilized approach to regulating marijuana.

“We in San Francisco have been a model for how to regulate this industry and we have been successful. We are not going to let the federal government interfere with our rights in this city,” Sup. David Campos told the crowd.

Cathy Smith, the founder of HopeNet, who was still reeling from watching her club gutted and shuttered the day before, also sounded an angry and defiant tone, urging supporters to make their voices heard by Haag and others.

“Everybody that’s here needs to go up to this evil woman’s office tomorrow and tell them what we think,” Smith said.

The general feeling was that if the feds can target model clubs like HopeNet and Vapor Room –- which had deep community roots and generous compassionate care programs for low-income patients -– then all clubs are in danger.

“I’m very upset that we’re losing two great medical marijuana dispensaries where patients could medicate on site,” said David Goldman, a local ASA activist and member of the city’s Medical Cannabis Task Force, noting how important that is for patients who live in apartments that ban smoking.

HopeNet and Vapor Room were some of the only dispensaries in town where smoking was allowed on site, because they were more than 1,000 feet from schools, playgrounds, or day care facilities, the city’s standard. Bhatia said that’s a very strict standard in a city as dense as San Francisco, which is why only four clubs ever met it.

Yet the feds saw things differently, ostensibly targeting HopeNet because a small private school opened two blocks away last year, and the Vapor Room because the feds didn’t use the city’s standard of being more than 1,000 feet from the playground at Duboce Park, instead deciding the dispensary was a community menace because it was a little under 1,000 feet from that dog-friendly park’s nearest patch of grass.

LAST DAYS

Vapor Room founder Martin Olive was a bundle of complicated emotions on the club’s last day in business (it will still operates as delivery-only, just like HopeNet, Medithrive, and a few other shuttered clubs have done). Initially, he didn’t want to talk to us: “I’m trying to keep a lower profile because it’s scary out there now.”

But he slowly opened up and tried to describe the feeling of watching his proudest accomplishment so rapidly undone by the one-two punch of a letter from the merchant services company cutting off credit card access (just like every dispensary in the city, returning pot sales to a cash-only status) followed days later by Haag’s shut-down letter.

“It’s complicated emotions that I’m feeling -– let down, confused. At the end of the day, I don’t understand why this is happening,” Olive said. “It’s a community tragedy, it really is.”

Vapor Room was a welcoming gathering place for its members and a supporter of a variety of community events and causes.

“I’ve always treated this as if it were just a nice coffee house. I’m not an outlaw,” Olive said. “I almost forgot I was breaking federal law. It was so normal, so legitimate.”

In fact, some club owners say their establishments helped clean up rough streets. “We took care of the entire block. Before us, it was all dealers, so there’s a safety issue,” HopeNet’s Smith told me as the once-welcoming club on 9th Street near Howard was reduced to bare walls.

Patients were also feeling the pain, including a 48-year-old ex-con who said he was paroled two years ago after serving 25 years in prison for attempted murder. “I have anger issues, big time. The only thing that keeps me calm and quiet and not blowing up is medical marijuana,” he told us, seething, before praising HopeNet’s “homelike environment” and supportive community. “It’s important to sit and relax in an environment that is comfortable and safe. All this is doing is pushing us into the streets.”

DRIVEN UNDERGROUND

Before going through his latest official misconduct battles and fighting to return to his job as the elected sheriff, Ross Mirkarimi was the District 5 supervisor who sponsored the creation of the city’s medical marijuana regulatory system, the product of a long and arduous legislative process.

“We developed the system out of stark necessity because neither local government nor state government gave a roadmap to the dispensaries,” Mirkarimi said. “Prop. 215 legalized medical marijuana, but there were no rules around it.”

After an intensely collaborative process that lasted more than a year, the city in 2005 adopted a process for licensing dispensaries that balanced the needs of this nascent industry with concerns by police, patients, disability rights activists, neighborhood groups, and health officials. Mirkarimi said that maybe it’s time for city officials to consider an idea he floated a few years ago of having the city itself directly distribute medical marijuana through General Hospital.

“I still think that’s a good idea, particularly if the feds are going to force medical marijuana dispensaries back into the dark ages.” For all his praise of the city’s dispensaries, Dr. Bhatia will admit that the industry still needed better oversight -– dealing with issues such as standards for growing and transporting cannabis, fiscal transparency, and potency and dosage standards –- but the federal crackdown has scuttled his efforts to expand the city’s regulatory system.

“This DEA action stops us from making progress on the regulation of clubs that we need to make,” Bhatia said. “There are lots of issues, but we had just finished getting the clubs into their housing.” Now the industry is being driven back underground.

Ironically, Haag and other federal officials have accused dispensary operators of profiteering, which they’ll certainly be more free to do now that local officials have lost their leverage to begin regulating the finances of the supposedly nonprofit patient collectives that officially operate each dispensary.

“That was one of the areas that we never developed the tools or capacity to look at,” said Bhatia, who proposed more transparent record-keeping by dispensaries last year, only to have the operators express concern about how the feds might use that information, which turned out to be an understandable fear.

Guardian Voices: There’s something happening here

Zelda Bronstein
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25
Guardian Voices: There’s something happening here

There are distinct signs of the rebirth of a grassroots  balanced-growth  movement in San Francisco, and some small indication that it’s even beginning to shift, ever so slightly,  the politics of the Board of Supervisors.  This is very good news for the vast majority of San Franciscans.

First, a little history.

Land use and the approval of major development projects lie at the very heart of San Francisco politics. Developers and their allies (the building trades, contractors, bankers, architects, land-use lawyers, consultants, and  permit expeditors) are the primary source of political money for candidates for local office. Since the freeway and urban renewal fights of the 1960s, the very definition of  progressive  politics in San Francisco has been the attempt to build a political base of  residents to resist that money.  So-called moderates are simply the political extension of the pro-development lobby using its money to consolidate developer control of the public approval process.

In most cities, land-use issues — zoning, permits, urban design — is left to elites. Not so in San Francisco. Here, land use is talked about at neighborhood meetings and on street corners. The heart the reason is our compact size: 46.7 square miles, and the prohibition of filling in any more of the Bay to create new land. There is no vacant land in San Francisco. Any new major development almost always displaces something already there.  Development is a zero sum game, with winner and losers.  And the losers  leave town.

Land-use politics is about staying here — and that creates real interest among San Francisco residents.

The funding for major development in San Francisco has dramatically changed in the 45 years since the freeway and anti-urban-renewal fights of the mid-1960s. Back then, it was public sector money that fueled development. Yet, with that money, due to the actions of  progressive politicians like Phil and John Burton and George Moscone, came its own remedy: votes to not accept the public money for freeways (Moscone) and votes creating either laws that either prohibited displacement or funded legal assistance to the poor, empowering  them to stop government agencies through litigation (the Burtons at both the state and federal level).

Since the money for freeways and urban renewal was from the government, the focus of the early balanced growth  forces was on government itself, through massive lobbying campaigns to affect officials’ votes (the freeway fight), or the use of government-funded lawyers  to protect poor people’s  interests ( the WACO and TOOR lawsuits against redevelopment).

All of that changed starting in the 1970s, when Richard Nixon and later Ronald Reagan deregulated oversight of urban development by creating a system of  block grants and ended funding for legal assistance for the poor.  Large-scale development was effectively privatized, moving it from being designed, funded, and approved at public meetings by government officials following regulations to being designed and funded in private — and having a Kabuki-play-like public approval process with little real oversight. With the passage of Prop 13 in 1978, which limited the main source of local government revenue — property taxes — local governments became even more reliant on private developer money to create new revenue.

The popular response to this change in the development process in San Francisco was the emergence of a politics that relied on the old progressive-era reforms of the initiative, referendum, and recall. Through a series of initiatives, the community sought to impose regulations on the development process, culminating in the 1986 Proposition M, which actually limited the amount of high-rise office space developers could build, completely imposing the popular will over a supine set of local officials and politicians. Indeed, ten years earlier, again through the initiative processes, the very nature of the Board of Supervisors was changed from a developer-friendly at-large system to a district-election system. Hotly opposed by real estate and development interests, district elections in its brief three years of existence (repealed in the wake of the Moscone-Milk assassinations, even though they were both strong supporters of the system and their assassin opposed it…ironies abound in San Francisco politics) saw limits placed on condo conversions and the passage of rent control.

In each of these multi-year efforts, a citywide coalition was formed, including an ever-expanding set of communities and neighborhoods.  Common interests were defined that cut across race, class, and geography and issues of community (neighborhood) control and funding for essential services like Muni, affordable housing, childcare, and employment training were placed on the table – and developers had to address them if they wanted projects approved.

The point is that balanced growth came from community-based political forces, not elected officials.  Broad movements were built — in the end, encompassing elements of labor. These were victories won not by elected officials but by a popular movement.

In 2000, in the wake of  the dot-com bust, another balanced-growth measure, Prop. L, aimed at cutting then-Mayor Willie Brown’s power over development, was paired with the new district election system — and a broad coalition of forces including labor, community and neighborhood organizations won a major progressive victory.

Every candidate for supervisor who supported the balanced-growth measure won. Every candidate who opposed it and supported Brown lost. While Prop L narrowly lost, its policies and objectives were passed as ordinances by the new Board of Supervisors (banning live-work lofts, closing loopholes in the planning code, requiring neighborhood-based plans for the Mission, SOMA, and Potrero Hill).

But as is so often the case, the victory of 2000 led to the slow dissolution of the coalition that created it. Folks had won. Our supervisors could handle all these issues; we no longer had to. By the end of the term of the supervisors elected as the class of 2000, very little of that citywide coalition existed any more.

With the Great Recession of 2008, advances were rolled back.  Fees on local developers for affordable housing, childcare and transit were deferred in order to stimulate development.  A new era of “moderation” was announced by elected officials, led by Mayor Gavin Newsom. Desires to “attract and retain”  business saw new tax concessions in the name of “jobs” and a new willingness to use open space and public facilities for “private/public partnerships” was announced.

By 2012 any concept of balanced growth had been replaced with a new era of “cooperation” between city officials and developers.

Until recently, that is.

It should be clear to all that for the last four years, City Hall has been eager to approve any scheme presented by private developers — from the America’s Cup nonsense to highrise luxury condos on the waterfront. The siren song of the developers — more revenue if you approve our project — has been proven false again and again, as the revenue never really matches the real costs of these projects. The city’s essential services continue to shrink. Transit fees are too low to pay for the actual new costs of Muni. The affordable housing  fees are too little to actually meet the affordable housing needs of the new, poorly-paid workers employed in the retail and service industry that is always a part of these projects.

More and more of our parks and public open spaces are made available to private users, while few if any new public parks or open spaces are being created.  Indeed, the Department of Parks and Recreation often opposes new public parks — because it can’t maintain what it has.

So it is with fondness that these old eyes see the stirring of what appears to be the awakening political  giant of a new controlled-growth movement.

Here’s how it’s happening: The formation of a multi-neighborhood coalition to oppose fee increases at the Arboretum leads to a bigger coalition to oppose artificial turf  fields in western Golden Gate Park, which leads to an even-bigger coalition placing a policy statement against the privatization of Coit Tower on the ballot and winning.

These are important indications of a broad dissatisfaction with the endless private-public-partnership ( in which all the costs are public and all the profits are private) babble from Rec and Park.

The submission by a broad based coalition of more than 30,000 signatures to place the 8 Washington on the ballot — the first land-use referendum in decades — is an incredibly important achievement, and shows the popular sentiment against much of the City Hall happy talk about development on the waterfront.

But it was the unanimous ( yes, unanimous) vote by the Board of Supervisors last Tuesday to hold California Pacific Medical Center accountable for its constant shape shifting  on its massive project at Geary and Van Ness that shows, perhaps, the outline of the potential future of the balanced-growth movement in San Francisco.

Six supervisors stated their willingness to turn down the environmental impact report on the project unless Sutter/CPMC committed to a project that addressed not only the promise to keep St. Luke’s open for at least 20 years but also hired more San Franciscans, corrected the traffic nightmare predicted for Geary and Van Ness, provided more affordable housing for its own low-income new workforce, and committed  to cap the city’s health care costs as a result of CPMC’s market control the new project would create.

There is always the possibility that the two-week delay will go nowhere, but this kind of talk from this Board of Supervisors to a huge private developer simply has not occurred in the recent past.  No one from Room 200 showed up to twist supervisors’ arms in favor of Sutter.  Sutter was on its own and got rolled.

The coalition that fought Sutter to a standstill at the board, that defined the inadequacies of  the project listed by the supervisors, was a multi-neighborhood, multi-issues organization composed of community, neighborhoods, and labor. Middle class “Baja” Pacific Heights residents and low income seniors from Bernal Heights, non-profit affordable housing advocates and trade unionists, tenant organizers from the Tenderloin and Sierra Club members from the Haight-Ashbury; single moms from the Bayview and Filipino youth from the South of Market.

It was a San Francisco coalition, one that has been working together for nearly three years, blending issues, making concessions to one another and staying together.  A group like this with a set of demands such as these has not prevailed at City Hall for nearly a decade.  It still may not, indeed the chances are slim that its full demands will be achieved.

But this group moved the Board of Supervisors in a way not seen in years.  If the folks mobilized about our parks and the folks mobilized about our waterfront and the folks mobilized about CPMC get together, we have something very big happening. And it might be just in time to make a real difference.
It reminds me of an old saying: “ The people alone are the makers of world history.”

NUDE BEACHES 2012

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NUDE BEACHES 2012

Editors Note: Below you’ll find our annual update on the state of nude beaches in the Bay Area, along with detailed guides and directions to several of our favorites. For details on dozens more, please see our complete Nude Beaches Guide, which we are in the process of updating. 

NUDE BEACHES Arrests for being naked on the sand, anti-nudity warning signs going up at previously unthreatened spots, outright threats of beach closures, social activists making their mark on San Francisco’s most well-known clothing-optional beach: this is shaping up to be one of Northern California’s busiest nude beach seasons in recent memory.

Faced with a July 1 deadline, on June 28 Governor Jerry Brown’s administration announced it saved or would stall shutting down all but one of 70 state parks and beaches targeted for closure due to budgetary shortfalls. These include three sites in our annual guide: Montara’s Gray Whale Cove, Carmel’s Garrapata State Park, and Zmudowski State Beach in northern Monterey County.

Officials said they would use $13 million in bond money in the budget to keep the properties running at least through summer. Some 40 parks will remain open for an estimated one to five years, due to temporary funding and support agreements being negotiated with nonprofit foundations and other organizations. More than 25 other properties, including Gray Whale Cove, also known as Devil’s Slide, will keep going while deals are completed.

When asked exactly how long Gray Whale Cove, Garrapata, and Zmudowski would stay open, California State Parks spokesman Dennis Weber told me they could keep going for a month, the entire summer, a year, or even longer. “We don’t know how much time we have,” he said.

Paul Keel, the state parks sector superintendent for the area that includes Gray Whale Cove, was more optimistic. He told me he’s keeping the popular beach open through at least the end of July because while “nothing’s been signed or inked, it’s fair to say we are optimistic” an agreement with a private operator or nonprofit will be finalized before then. Until the state took control, the site was run by a private licensee, San Francisco developer Carl Ernst and his company, Gray Whale Cove Enterprises, Inc.

Ruth Coleman, head of the State Parks and Recreation Department, said the bonds would fund solar power systems, as well as automatic pay machines that take credit and debit cards. And visitors arriving at Devil’s Slide or Garrapata are likely to notice signs that urge them to pay for parking instead of parking outside.

The card machines are likely to be particularly handy at Devil’s Slide after a long-awaited tunnel bypassing rockslide-prone Highway 1, which remains the access point to the beach, is expected to open this fall. Keel suspects the Devil’s Slide Tunnel will bring larger crowds to the beach.

But the news wasn’t all good. Maintenance and garbage pick up operations are likely to remain reduced or eliminated. In late June, Brown partly vetoed a larger, $41 million funding bill that had been OKed by the state legislature. State Senator Joe Simitian (D-Palo Alto), who coauthored the bigger funding plan, criticized the veto, calling it “a lost opportunity to take action.” Another lost opportunity: in November 2010, California voters rejected a ballot initiative that would have raised about $500 million for state parks.

Meanwhile, while Sacramento was cutting back beach services, activists were making additions to the section of San Francisco’s Baker Beach used by nudists. Naturists have erected driftwood art sculptures and tent-like structures without walls, called “dunies,” at the north end of the beach. And they’ve vowed to keep the site free of gawkers by staring them down in what organizers call a non-confrontational approach to self-policing. “They usually decide to leave pretty soon,” says Santosh, 46, an artist and street fair producer.

Speaking of policing, in the past year cops have raided Garrapata and put up signs about nudity at Bonny Doon Beach and at least two other beaches north of Santa Cruz.

At Garrapata, rangers and lifeguards cited over a dozen persons for public nudity last summer and began patrolling the beach at least two times a day after receiving what lifeguard Eric Sturm told the Carmel Pine Cone were reports of “sex acts on the beach.”

And at Bonny Doon, Laguna Creek, and Panther Beach, “Nudity In The State Park System Is Prohibited” signs have been posted, although naturists there remain defiant and are still visiting the sites. “A 50-year tradition (of clothing-optional use at Bonny Doon) cannot be extinguished by a simple sign,” said Rich Pasco, coordinator of the Bay Area Naturists, after the signs went up. He urged nudists to “be polite and respectful” of rangers and suit up “if requested,” but to engage them in “intelligent conversations.” After two months, the signs at Bonny Doon, though, were taken down because, according to Joe Connors, public safety superintendent for state beaches in the Santa Cruz area, “we don’t get a big volume of complaints there.”

Want to join others in having fun at a clothing-optional spot this summer? The USA’s only naked “Full Moon Hikes” will take place in Castro Valley in late July, August, and September (see our listings online at SFBG.com for Last Trampas in Contra Costa County for details). Another idea to meet and socialize with fellow naturists: drop by Bonny Doon on September 15, when fans of the site will be gathering to keep it pristine by finding and removing trash.

Finally, you can aid the naturist community by sending me your new beach discoveries, trip reports, and improved directions (especially road milepost numbers), along with your phone number to garhan@aol.com or Gary Hanauer, c/o San Francisco Bay Guardian, 71 Stevenson, 2nd Floor, San Francisco, CA 94105.

Our ratings: [full moon] signifies a beach that is large or well-established and where the crowd is mostly nude; [half moon] indicates places where fewer than half the visitors are nude; and [quarter moon] means small or emerging nude areas.

SAN FRANCISCO

NORTH BAKER BEACH, SAN FRANCISCO

RATING: A

Social activists have begun streaming onto the sand of America’s biggest urban nude beach, creating what visitor Santosh calls “a tone that’s like Burning Man,” with regulars bringing guitars, drums, and Frisbees to the sand, putting up art work best described as eclectic, and occasionally staring down gawkers.” There’s no requirement that you go nude,” says Santosh, an artist, graphic artist, and producer of San Francisco’s How Weird Street Faire, an outdoor street fair held each year in the SoMa neighborhood as a fundraiser for the World Peace Through Technology Organization. “But if a creeper dude plops down next to a (nude) person or if they are staring at someone’s private parts and it’s happening close to where we are, on the far north end (of North Baker), then they will start being the object of ridicule.

Directions: Take the 29 Sunset bus or go north on 25th Avenue to Lincoln Boulevard. Turn right and take the second left onto Bowley Street. Follow Bowley to Gibson Road, turn right, and follow Gibson to the east parking lot. At the beach, head right to the nude area, which starts at the brown and yellow “Hazardous surf, undertow, swim at your own risk” sign. Some motorcycles in the lot have been vandalized, possibly by car owners angered by bikers parking in car spaces; to avoid trouble, motorcyclists should park in the motorcycle area near the cyclone fence.

LAND’S END BEACH

RATING: A

Considered one of the most beautiful places in the Bay Area to doff your togs, Land’s End should really be called Swimsuit’s End. The reason: although it draws more clothed users than nudists, more than a few swim tops and bottoms magically “disappear” on warm spring, summer, and fall days at the little cove off Geary Boulevard. Come early to grab your share of the sand on this semi-rocky shoreline, which is sometimes dotted with rock-lined windbreaks left by previous sunbathers. Bring a light jacket or sweatshirt in case the weather changes.

Directions: Follow Geary Boulevard to the end, then park in the dirt lot up the road from the Cliff House. Take the trail at the far end of the lot. About 100 yards past a bench and some trash cans, the path narrows and bends, then rises and falls, eventually becoming the width of a road. Don’t take the road to the right, which leads to a golf course. Just past another bench, as the trail turns right, go left toward a group of dead trees where you will see a stairway and a “Dogs must be leashed” sign. Descend and head left to another stairway, which leads to a 100-foot walk to the cove. Or, instead, take the service road below the El Camino del Mar parking lot 1/4 mile until you reach a bench, then follow the trail there. It’s eroded in a few places. At the end, you’ll have to scramble over some rocks. Turn left (west) and walk until you find a good place to put down your towel.

GOLDEN GATE BRIDGE BEACH

RATING: A

On the hottest days, Golden Gate Bridge Beach becomes so packed with people that one visitor describes it as a “gay mob scene.” But the rocky shore, which connects three picturesque coves, also gets its share of straight men and women. Prime, non-cruising activities include sunbathing, enjoying breathtaking views of the Bridge, and even taking some dips in the water. “You can sometimes go out over 100 feet during low tide,” a woman tells me.

Directions: from the toll booth area of Highway 101/1, take Lincoln Boulevard west about a half mile to Langdon Court. Turn right (west) on Langdon and look for space in the parking lots, across Lincoln from Fort Winfield Scott. Park and then take the beach trail, starting just west of the end of Langdon, down its more than 200 steps to Golden Gate Bridge Beach, also known as Marshall’s Beach. Despite recent improvements, the trail to the beach can still be slippery, especially in the spring and winter.

FORT FUNSTON BEACH

RATING: C

What’s the only Golden Gate National Recreation Area park where you can walk your dog without a leash, as well as the spot where the world record for the farthest tossed object (a flying ring sent soaring 1,333 feet by Erin Hemmings) was set in 2003? Answer: Fort Funston, which is affectionately called Fort Fun by its fans. Known for its magnetic sand, steady winds (especially in March and October) that make its cliffs popular for hang gliding, and, in particular, its dogs, who appear here with their human escorts by the hundreds, the area even attracts a few naturists from time to time. Mostly hidden away in the sand dunes on the beach, naked sunbathers usually stay away on the weekends, when families swarm the area. To keep the “fun” in Fort Funston, even on weekdays, be sure to use caution before disrobing.

Directions: From San Francisco, go west to Ocean Beach, then south on the Great Highway. After Sloat Boulevard, the road heads uphill. From there, curve right onto Skyline Boulevard, go past one stoplight, and look for signs for Funston on the right. Turn into the public lot and find a space near the west side. At the southwest end, take the sandy steps to the beach, turn right, and walk to the dunes. Find a spot as far as possible from the parking lot.

CONTRA COSTA COUNTY

LAS TRAMPAS REGIONAL WILDERNESS, CASTRO VALLEY

RATING: C

Want to go walking around nude at night outside without being hauled off to jail? Imagine hiking naked guided only by your flashlight in the East Bay Hills, with the trail silhouetted by a full moon and small herds of horses coming up to greet you.

“It’s absolutely surreal,” says Jurek Zarzycki. “The horses come within inches of you, so close you can feel their breath. It’s like being on a moonscape with aliens. You may be a little afraid at first, but the horses are very friendly.”

America’s only nude “Full Moon Hikes” have been taking place on summer full moon nights in Castro Valley for more than seven years. The next ones will be held July 29, August 31 (arrive by 6pm), and September 28 (starting at 5:15pm) “We start early so that we have the full moon already risen by the time the sun sets,” says San Leandro’s Dave Smith, who leads most of the hikes. “Then we hike up the trail around sunset.”

Coordinated by a partnership between the Sequoians Naturist Club and the Bay Area Naturists, based in San Jose, walkers leave the property of the Sequoians fully clothed at dusk and walk through meadows and up hills until the moon rises, before heading back down the slopes completely nude, with their clothes folded neatly into their backpacks.

After the walk, most hikers shower at The Sequoians, and, for a fee of $5, take a dip in the 86-degree pool there and enjoy a plunge in the facility’s hot tub. “It was fabulous,” says Zarzycki about an earlier trek. “I pitched my tent right there at The Sequoians and then slept under the sky.”

Directions: Contact The Sequoians (www.sequoians.com) or the Bay Area Naturists (www.bayareanaturists.org) for details on how to join a walk. Meet at The Sequoians. To get there, take Highway 580 east to the Crow Canyon Road exit. Or follow 580 west to the first Castro Valley off-ramp. Take Crow Canyon road toward San Ramon .75 mile to Cull Canyon road. Then follow Cull canyon road around 6.5 miles to the end of the paved road. take the dirt road on the right until the “Y” in the road and keep left. Shortly after, you’ll see The Sequoians sign. Proceed ahead for about another .75 mile to The Sequoians front gate.

SAN MATEO COUNTY

DEVIL’S SLIDE, MONTARA

RATING: A

Although Devil’s Slide, also known as Gray Whale Cove, was scheduled to be closed this month by the state due to budget shortfalls, officials plan to keep it open while they negotiate with what Paul Keel, San Mateo coast state parks sector superintendent, calls a prospective “donor to keep it in operation for the coming year.” At press time, Keel told us that although “nothing’s been signed or inked, it’s fair to say we are optimistic, so hopefully we will know more in the next month.” Access to the site, though, is changing: after a long-awaited, voter-approved Devil’s Slide tunnel is completed this fall, Keel and others expect a possible increase in traffic to the beach, as more pedestrians and bicyclists use a nearby section of Highway 1 that is being closed. Meanwhile, rangers say they will allow a long-standing tradition of nudity to continue on the sand unless visitors complain.

Directions: Driving from San Francisco, take Highway 1 south through Pacifica. Three miles south of the Denny’s restaurant in Linda Mar, turn left (inland or east) on an unmarked road, which takes you to the beach’s parking lot and to a 146-step staircase that leads to the sand. Coming from the south on Highway 1, look for a road on the right (east), 1.2 miles north of the Chart House restaurant in Montara. Starting this fall, from the north, take Highway 1 through the Devil’s Slide tunnel and then turn left onto the road described above. From the south, continue using the above directions. Most naturists use the north end of the beach, which is separated by rocks from the rest of the shore.

SAN GREGORIO NUDE BEACH, SAN GREGORIO

RATING: A

Still the USA’s longest continually used nude beach, San Gregorio even has its own web site and live web cam at www.freewebs.com/sangregoriobeach. The privately run operation, which is located next to San Gregorio State Beach, recently began its 46th year of serving the clothing-optional community.

The beach often draws a large gay crowd, along with some nude and suited straight couples, singles, and families. “It’s a really romantic spot,” says a single woman. However, first-timers are sometimes annoyed (as I was, years ago) by the driftwood structures on the sandy slope leading down to the beach, which are used by some visitors as “sex condos.” However, fans of the beach savor San Gregorio’s stunning scenery. It has “awesome natural beauty,” says regular visitor Bob Wood. Attractions of the 120-acre site include two miles of soft sand and tide pools to explore, as well as a lagoon, lava tube, and, if you look closely enough on the cliffs, the remains of an old railroad line.

Directions: From San Francisco, drive south on Highway 1, past Half Moon Bay, and, between mileposts 18 and 19, look on the right side of the road for telephone call box number SM 001 0195, at the intersection of Highway 1 and Stage Road, and near an iron gate with trees on either side. From there, expect a drive of 1.1 miles to the entrance. At the Junction 84 highway sign, the beach’s driveway is just .1 mile away. Turn into a gravel driveway, passing through the iron gate mentioned above, which says 119429 on the gatepost. Drive past a grassy field to the parking lot, where you’ll be asked to pay an entrance fee. Take the long path from the lot to the sand; everything north of the trail’s end is clothing-optional (families and swimsuit using visitors tend to stay on the south end of the beach). The beach is also accessible from the San Gregorio State Beach parking area to the south; from there, hike about a half-mile north. Take the dirt road past the big white gate with the Toll Road sign to the parking lot.

SANTA CRUZ COUNTY

GARDEN OF EDEN, FELTON

RATING: C

Tucked away in Henry Cowell Redwoods State Park, between Santa Cruz and Felton, the Garden Of Eden is a much-used skinny-dipping hole on the San Lorenzo River, which is also visited by clothed families. Some hikers are surprised when they see people nude there and either use the spot anyway or keep walking. Watch out for poison oak and slippery sections on the trail. Eden is one of three clothing-optional swimming holes on the river. To find them, look for cars pulled over on Highway 9, next to the state park, which bans nudity but seldom sends ranger patrols to the creek.

Directions: From Santa Cruz, drive north on Highway 9 and look for turnouts on the right side of the road, where cars are pulled over. The first, a wide turnout with a tree in the middle, is just north of Santa Cruz. Rincon Fire Trail starts about where the tree is, according to reader Robert Carlsen, of Sacramento. The many forks in the trail all lead to the river, down toward Big Rock Hole and Frisbee Beach; Carlsen says the best area off this turnout can be reached by bearing left until the end of the trail. Farther up the highway, 1.3 miles south of the park entrance, is the second and bigger pullout, called the Ox Trail Turnout, leading to Garden of Eden. Park in the turnout and follow the dirt fire road downhill and across some railroad tracks. Head south, following the tracks, for around .5 miles. Look for a “Pack Your Trash” sign with park rules and hours and then proceed down the Eden Trail.

Ox Trail, which can be slippery, and Eden Trail both wind down steeply to the creek. “The path continues to the left, where there are several spots for wading and sunbathing,” Carlsen says. The main beach is only 75 feet long and 30 feet wide, but fairly sandy. Carlsen’s favorite hole is accessible from a trail that starts at the third turnout, a small one on the right side of the road, about 4.5 miles from Highway 1 and just before Felton. A gate marks the start of the path. The trail bends left. When you come to the road again, go right. At the railroad tracks, go right. From here, look for the river down the hill on your left; many paths lead to it. Says Mike: “Within 10 yards, you can be in the water.”

BONNY DOON NUDE BEACH, BONNY DOON

RATING: A

Despite the temporary erection of anti-nudity warning signs at longtime nudie fan favorite Bonny Doon Beach, north of Santa Cruz, officials have told us they have no immediate plans to issue citations at the north end of the site, which has traditionally been occupied by naturists. In fact, the signs were taken down after just two months.

In fact, in June, Pam, of San Mateo, even found a nudist at the main public, south side of the beach, which is used by suited visitors. A 15-foot long rock on the sand, along with a sloping cliff with rocks that jut out, separate the two sides of the cove that form Bonny Doon.

“In the short term, things at Bonny Doon are destined to continue the way they are,” says Kirk Lingenfelter, sector superintendent for Bonny Doon and nearby state beaches. Lingenfelter says he likes Bonny Doon just the way it is. “It’s one of our pocket beaches,” he explains. “They can really give you the feeling of rugged, untouched majesty. I like standing on those beaches. You can sometimes forget that there’s a highway in the distance. It’s a very important feeling to maintain. “The clothing-optional section usually attracts more women and couples than most nude beaches. “Minuses” include occasional vehicle burglaries and gawkers on the bluffs or in the bushes.

Directions: From San Francisco, go south on Highway 1 to the Bonny Doon parking lot at milepost 27.6 on the west side of the road, 2.4 miles north of Red, White, and Blue Beach, and some 11 miles north of Santa Cruz. From Santa Cruz, head north on Highway 1 until you see Bonny Doon Road, which veers off sharply to the right just south of Davenport. The beach is just off the intersection. Park in the paved lot to the west of Highway 1; don’t park on Bonny Doon Road or the shoulder of Highway 1. If the lot is full, drive north on Highway 1, park at the next beach lot, and walk back to the first lot. Or take Santa Cruz Metro Transit District bus route 40 to the lot; it leaves the Metro Center three times a day on Saturdays and takes about 20 minutes. To get to the beach, climb the berm next to the railroad tracks adjacent to the Bonny Doon lot, cross the tracks, descend, and take a recently improved, sign-marked trail to the sand. Walk north past most of the beach to the nude cove on the north end. Alternately, Dusty suggests parking as far north as possible, taking the northern entrance, and, with good shoes, following a “rocky and steep” walk down to the sand.

2222 BEACH, SANTA CRUZ

RATING: A

In late May, when my girlfriend and I visited a little cliffside park above it and peered down on the aptly named 2222 — it’s the number of the house across the street — we discovered that the pocket-size cove looked as beautiful as ever. In fact, America’s smallest nude beach is so small it could probably fit in your yard. And that’s what makes it a magical place. You won’t find crowds at 2222, which takes scrambling to reach and isn’t recommended for children or anyone who isn’t a good hiker. However, those who are agile enough to make it down a steep cliff and over some concrete blocks on the way down will probably be rewarded with an oasis of calm and a good spot to catch some sunrays.

Directions: The beach is a few blocks west of Natural Bridges State Beach and about 2.5 miles north of the Santa Cruz Boardwalk. From either north or south of Santa Cruz, take Highway 1 to Swift Street. Drive .8 miles to the sea, then turn right on West Cliff Drive. 2222 is five blocks away. Past Auburn Avenue, look for 2222 West Cliff on the inland side of the street. Park in the nine-car lot next to the cliff. If it’s full, continue straight and park along Chico Avenue. Bay Area Naturists leader Rich Pasco suggests visitors use care and then follow the path on the side of the beach closest to downtown Santa Cruz and the Municipal Wharf.

PRIVATES BEACH, SANTA CRUZ

RATING: A

“Privates is one of my favorite beaches,” says Brittney Barrios, manager-buyer of Freeline Design Surf Shop, which is located nearby and sells keys to unlock the gate leading to the clean, beautiful cove. “It’s always very peaceful.” Visitors include nudists, surfers, families, and local residents. “Everyone gets along,” adds Barrios. “And it’s never crowded.”

Barrios says many of the naturists, who often visit in groups, like to play Paddle Ball on the sand. As for Barrios, she prefers to “lay out,” as she calls it, in the sun.

There’s almost no litter, wind, noise, or troublemakers — security guards plus a locked gate keep the latter out — and world class surfers, such as those who starred in Endless Summer II, regularly put on a free show for the naked people who share the warm, clean sand with surfers.

“It’s really nice,” says Hunter Young, a former worker at Freeline, which sells up to 600 beach passes a year. “Surfers love it because it has good waves. It’s 100 percent standup surfing, with paddling. Anytime I go to Privates, I can expect a long ride on my longboard.”

“The beach is also very family oriented,” explains Barrios. “And it’s OK for dogs too.”

“There are two different coves on the beach,” says Young. “Clothed families who use the beach know which cove is nude and stay away from it. If you want to play naked Frisbee, at the bottom of the beach stairs you just walk to the left.”

Directions: 1) Some visitors walk north from Capitola Pier in low tide (not a good idea since at least four people have needed to be rescued). 2) Others reach it in low tide via the stairs at the end of 41st Avenue, which lead to a surf spot called the Hook at the south end of a rocky shore known as Pleasure Point. 3) Surfers paddle on boards for a few minutes to Privates from Capitola or the Hook. 4) Most visitors buy a key to the beach gate for $100 a year at Freeline (821 41st Ave., Santa Cruz, 831-476-2950) 1.5 blocks west of the beach. Others go with someone with a key or wait outside the gate until a person with a key goes in, provided a security guard is not present (they often are there). “Most people will gladly hold the gate open for someone behind them whose hands are full,” says Bay Area Naturists leader Rich Pasco. The nude area starts to the left of the bottom of the stairs.

MARIN COUNTY

MUIR NUDE BEACH, MUIR BEACH

RATING: A

Mellow times are continuing at one of the Bay Area’s easiest to reach and most enjoyable nude beaches, the clothing-optional north side of Muir Beach. Also known as Little Beach, it’s separated by the main public beach by a line of large rocks that visitors usually walk over. Says Lucas Valley’s Michael Velkoff, who switched from Red Rock to become a regular at Muir: “This season, there’s plenty of sand. It’s also a great place for women because people leave you alone here. Nobody’s hitting on you. And high tide only comes a third of the way up the beach.” Recent additions include a new bridge over a marshy, lagoon-like area near the parking lot, plus about a half dozen Porta-Potties.

Directions: From San Francisco, take Highway 1 north to Muir Beach, to milepost 5.7. Turn left on Pacific Way and park in the Muir lot (to avoid tickets, don’t park on Pacific). Or park on the long street off Highway 1 across from Pacific and about 100 yards north. From the Muir lot, follow a path and boardwalk to the sand. Then walk north to a pile of rocks between the cliffs and the sea. You’ll need good hiking or walking shoes to cross; in very low tide, try to cross closer to the water. The nude area starts north of it.

RED ROCK BEACH, STINSON BEACH

RATING: B

One of the most popular Bay Area nude beaches, Red Rock has struggled with sand erosion that’s left a smaller site the last few seasons, along with a more crowded feel to it and, perhaps in reaction, fewer overall visitations. Except for being a little overgrown with vegetation in early July and some poison oak on the half nearest the highway, the beach trail, however, is reported in good shape this year. “Just wear shoes with socks, go single file in spots, and you should be okay,” advises Stinson Beach attorney-teacher Fred Jaggi. Rock climbing and various kinds of Frisbee continue to be frequent pastimes at Red Rock — Ultimate Frisbee games there can last as long as three hours. Naked Scrabble and Nude Hearts are among the other games played by sunbathers. “It’s very peaceful at the beach,” says Jaggi. “Nobody ever brings down a large boombox.”

Directions: Go north on Highway 1 from Mill Valley, following the signs to Stinson Beach. At the long line of mailboxes next to the Muir Beach cutoff point, start checking your odometer. Look for a dirt lot full of cars to the left (west) of the highway 5.6 miles north of Muir and a smaller one on east side of the road. The lots are at milepost 11.3, one mile south of Stinson Beach. Limited parking is also available 150 yards to the south on the west side of Highway 1. Or from Mill Valley, take the West Marin/Bolinas Stage toward Stinson Beach and Bolinas. Get off at the intersection of Panoramic Highway and Highway 1. Then walk south .6 mile to the Red Rock lots. Follow the long, steep path to the beach that starts near the Dumpster next to the main parking lot.

BOLINAS, BASS LAKE

After Tracey, of San Anselmo, hiked to what she called “beautiful, clean, sunny” Bass Lake, she went onto a message board in June to urge those who are considering trying the Bolinas attraction to “Go. Go. Go now.” “The trail was a little overgrown. But I had fun swimming nude in the lake,” says regular Dave Smith, of San Leandro, about his adventure last year. “If you want to visit an enchanted lake, Bass is it,” agrees Ryan, also of the East Bay. “Tree branches reach over the water, forming a magical canopy, and huge branches of calla lilies bloom on the shore.” Ryan isn’t kidding: even walking (45-60 minutes from the parking area over 2.8 mostly easy miles) to Bass can be an adventure unlike any other. One time, rangers stopped and cited a clad man with an unleashed dog, but let some passing nudists continue. And Smith, who usually walks naked, has come across bobcats and mountain lions early in the morning. “I came around a corner and there was a mountain lion sitting like Egypt’s Great Sphinx of Giza 50 yards down the path,” he says.

Directions: From Stinson Beach, go north on Highway 1. Just north of Bolinas Lagoon, turn left on the often-unmarked exit to Bolinas. Follow the road as it curves along the lagoon and eventually ends at Olema-Bolinas Road. Continue along Olema-Bolinas Road to the stop sign at Mesa Road. Turn right on Mesa and drive four miles until it becomes a dirt road and ends at a parking lot. On hot days the lot fills quickly. A sign at the trailhead next to the lot will guide you down scenic Palomarin Trail to the lake. For directions to Alamere Falls, 1.5 miles past Bass Lake, please see “Elsewhere In Marin” in our online listings.

RCA BEACH, BOLINAS

RATING: A

Want to recharge your life? A trip to RCA can do just that. And a single stopover at the beautiful beach will probably inspire you to keep coming back. “It hasn’t changed much in 20 years,” says regular visitor Michael Velkoff. “A downside is that it’s very exposed to the wind. The good news is that there are lots of nooks that are sheltered from the wind. And there’s so much driftwood on the sand that many people build windbreaks or even whole forts. You could build a village with all that driftwood. The last time I went, somebody built a 30 foot tall dragon out of it.” Suited and unsuited males and females and families visit the shoreline, which seems even bigger than its one mile length because, adds Velkoff, “we’ll see six people on a beautiful day on a Sunday. Picture [please see next listing] Limantour as far as how people are spread out on the sand. Everybody’s like 100 feet apart. It’s great.”

Directions: From Stinson Beach, take Highway 1 (Shoreline Highway) north toward Calle Del Mar for 4.5 miles. Turn left onto Olema Bolinas Road and follow it 1.8 miles to Mesa Road in Bolinas. Turn right and stay on Mesa until you see cars parked past some old transmission towers. Park and walk .25 miles to the end of the pavement. Go left through the gap in the fence. The trail leads to a gravel road. Follow it until you see a path on your right, leading through a gate. Take it along the cliff top until it veers down to the beach. Or continue along Mesa until you come to a grove of eucalyptus trees. Enter through the gate here, then hike .5 miles through a cow pasture on a path that will also bring you through thick brush. The second route is slippery and eroding, but less steep. “It’s shorter, but toward the end there’s a rope for you to hold onto going down the cliff,” tells Velkoff.

LIMANTOUR BEACH, OLEMA

RATING B

At Limantour, in Point Reyes National Seashore, you can walk a mile wearing nothing but your smile. “I just head away from any people and put my towel down in the dunes or against a wall,” says visitor Michael Velkoff. “Nobody bothers you. Of course, I carry a pair of shorts, just in case I need to put them on. I love it at Limantour. Plus it has tons of nice sand.” You may also want to don a pair of binoculars for watching birds, seals, and other wildlife. This May, Velkoff saw a whale from his vantage point on the sand; he’s also seen porpoises frolicking just offshore. The long shoreline is one of America’s most beautiful beaches, yet few visitors realize the narrow spit of sand is clothing-optional. The site is so big — about 2.5 miles in length — you can wander for hours, checking out ducks and other waterfowl, shorebirds such as snowy plovers, gray whales, and playful harbor seals. Dogs are allowed on six-foot leashes on the south end of the beach. To grab the best parking, arrive by 10:30am.

Directions: Follow Highway 101 north to the Sir Francis Drake Boulevard exit, then follow Sir Francis through San Anselmo and Lagunitas to Olema. At the intersection with Highway 1, turn right onto 1. Just north of Olema, go left on Bear Valley Road. A mile after the turnoff for the Bear Valley Visitor Center, turn left (at the Limantour Beach sign) on Limantour Road and follow it 11 miles to the parking lot at the end. Walk north .5 miles until you see some dunes about 50 yards east of the shore. Nudists usually prefer the valleys between the dunes for sunbathing, which may be nearly devoid of or dotted with users, depending on the day.

 

Developer hires crew to block signature gathering

Zelda Bronstein
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Developer hires crew to block signature gathering

The developer of 8 Washington has taken an unusual if not unprecedented step to prevent a referendum on his waterfront condo project from succeeding: He’s hired a crew of people to surround signature-gatherers and try to drive away anyone who might sign a petition to put the project before voters.

[UPDATE: Sup. Sean Elsbernd called to let me know that this isn’t unprecedented — he says opponents of his Muni reform initiative, including bus drivers, also tried to discourage people from signing petitions. ]

The pro-condo team, whose members were paid a reported $20 an hour, were visible July 14, 15 and 16 at Fort Mason Center, at the Safeway on Church and Market, at Dolores Park, at Duboce Park and elsewhere in the city, according to accounts from signature gatherers and from Guardian staffers.

The team, usually made up of several people, typically surrounds the signature gatherer, waves signs talking about jobs and parks, and loudly seeks to disuade passers-by from signing the referendum petition.

There is, of course, nothing illegal about two sides of a political debate expressing their First Amendment rights on the sidewalk. Some of the people gathering signatures for the referendum are getting paid, too.

But I can’t think of another time when crews were hired to convince people not to sign a petition.

It’s gotten serious enough the Simon Snellgrove, the developer behind 8 Washington, was out himself. He appeared in Dolores Park after the Mime Troupe performance, where Brad Paul, a foe of the project, saw him debate with a signature gatherer who was leaving the area. He was also at Fort Mason, where, according to one account, a person gathering signatures confronted him and complained that his workers were harassing her.

“That’s their job,” Snellgrove reportedly said.

I couldn’t reach Snellgrove at his office. But Jon Golinger, the campaign manager for the stop 8 Washington effort, said the tactic was a sign of desperation. “They are worried about a public vote on this,” Golinger told me.

 

Oakland councilperson responds to Harborside Health Center targeting by feds

Andrew Lam
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Have you heard the news about our most Hollywood dispensary getting put on notice by the feds? Harborside Health Center staff, stars of everyone’s favorite marijuana reality show Weed Wars, arrived to work July 9 to a letter from US Attorney Melinda Haag.

She’s no one’s favorite pen pal in the medical cannabis industry these days. (xoxo) In the letter, she filed civil forfeiture actions against Harborside, despite the fact that unlike most of her office’s previous targets, the two Harborside dispensaries are not within 1,000 feet of a school or park. After the federal raid of educational institution Oaksterdam University in April it seems that now, all dispensaries are fair game for federal targeting. This could be curtains for patients’ safe and easy access to cannabis. 

Haag explained her office’s reasoning in a statement released yesterday.

This office has used its limited resources to address those marijuana dispensaries that operate close to schools, parks and playgrounds. As I have said in the past, this is a non-exclusive list of factors relevant to whether we should commence civil forfeiture actions against marijuana properties, and circumstances may require us to address other situations. 

I now find the need to consider actions regarding marijuana superstores such as Harborside. The larger the operation, the greater the likelihood that there will be abuse of the state’s medical marijuana laws, and marijuana in the hands of individuals who do not have a demonstrated medical need.

The filing of the civil forfeiture complaints against the two Harborside properties is part of our measured effort to address the proliferation of illegal marijuana businesses in the Northern District of California.

Basically, no rationale for targeting Harborside besides the fact that it’s a big operation (probably the largest in California.) The situation echoes the recent federal raid of cannabis educational institution Oaksterdam University. Harborside has struggled in the past with castigating audits by the IRS, which declared that the collective was unable to claim simple business expenses on its taxes. 

Oakland city councilperson Rebecca Kaplan recently released a statement in response. Here is the full text:

We are disappointed to learn that yet another licensed, legal and locally regulated medical cannabis facility has come under federal attack.

The last time that the federal government used its resources to go after a permitted facility with no history of crime or violence, there was a school shooting taking place across town while federal agents tagged and bagged medical marijuana plants.

We can’t let this happen again.

The Justice Department has said in the past that it wouldn’t target medical marijuana.

They went back on their word – starting to target medical cannabis facilities allowed under California law.  Then, the U.S. Attorney’s Office said they are specifically targeting cannabis facilities located within 1,000 feet of parks and schools.

Let’s be clear: Harborside Health Center is in compliance with our democratically-enacted laws – and is not near either a park or a school.

During the raid on Oaksterdam University, the federal government used cops – this time they’re using lawyers.

If federal prosecutors have extra time available, I ask – on behalf of my constituents all across the city – that they instead prosecute the illegal gun dealers who are the source of death and violence in Oakland.

Federal agents have worked successfully with local law enforcement this year to go after guns and violence – and we are deeply thankful and appreciative of that help.

That’s what we need more of.

If there are federal resources available, we need them directed against the violent perpetrators and co-conspirators of the senseless gun violence on our streets. 

Local news media reported recently that, on the day of the federal raid and the school shooting, local law enforcement said the federal raid against Oaksterdam University ‘drained the vast majority of [the department’s] west-end staffing thus resulting in several priority calls being stacked — something that might have [been] prevented.

Wasting resources going after legal, licensed and locally regulated medical marijuana facilities is not only inappropriate, but directly harms our ability to fight crime and respond to violence in our city.

We respectfully ask the Justice Department to devote any available resources to fight gun crime and stop the interstate flow of illegal guns into our city.

Thank you.

Back to the land

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Back to the land

arts@sfbg.com

DANCE What a stellar idea to premiere a work called No Hero the weekend after Independence Day. There are no brass bands, flag waving-exercises, or fireworks in Foundry artistic director-choreographer Alex Ketley’s delightful and at times funny stage and video creation, which returns to Z Space August 1. Yet Hero is piece of pure Americana, a tender and amusing tribute to ordinary people and the role that dance may or may not play in their lives.

Tired of thinking of dance as something larger than life, Ketley set out on a month-long trek, camera in hand and lovely dancer Aline Wachsmuth in tow. They traipsed through dusty Western towns and hamlets from Death Valley to Oregon, talking with folks in RV parks and community halls, inside their homes, and outside some shacks. They met Shirley, who remembered the social dances of her youth; motorcyclist Ava and his dog Spirit, who are on the road trying to forget the death of Ava’s son; Dwight and Dale, who chuckled over the names of the dances they used to know; and widows who get together every afternoon to teach each other steps they learn from YouTube. Ketley and Wachsmuth also encountered the legendary Marta Beckett, who just recently stopped performing six days a week — at the age of 88 — in an old opera house whether anybody was there to watch or not.

And for all of them Wachsmuth danced. Often she looked shadowy on the video but always organic, stretching her limbs like tendrils, scooping space, and opening herself to forces surging from within. It was fascinating to see the reactions (or rather, lack thereof) of each audience: you couldn’t tell whether they were flabbergasted, indifferent, or bemused by this willowy creature in front of them. Ketley kept us guessing.

Back in the decidedly non-rural Bay Area, the two artists took the material and expanded on it for the stage, where Wachsmuth was joined by Sarah Dione Woods. What had been spatially tight but also intimate became expansive and multi-dimensional without losing its rich impulse-driven energy. The choreography often looked as if it had grown out of the screen. A demure waltz exploded into somersaults and exuberant leaps. Mirroring each other, the two women spread out but also intertwined as if trying to morph together. With her back to us, dancing alongside a sunset, Wachsmuth repeated the choreography facing us. But when onscreen a fierce storm kept her off balance, the stage couldn’t compete with that drama.

The video images (post-production by Austin Forbord) had been edited to create both a contextualization for the stage action but also developed an independent rhythm. Ballad and pop singers — ranging from Ben Howard to Patti Page — added their own voices to this poetic evocation of dance as part of the everyday.

THE FOUNDRY AND BOBBY JENE SMITH

August 1, 8pm, $15

Z Space

450 Florida, SF

www.alexketley.com

 

Stage Listings

Andrew Lam
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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

Marat/Sade Brava Theatre, 2781 24th St, SF; (415) 863-0611, www.ticketfly.com. $20-38. Previews Wed/11-Thu/12, 8pm. Opens Fri/13, 8pm. Runs Wed-Sat, 8pm; Sun, 7pm (also July 22, 1:30pm). Through July 29. Marc Huestis and Thrillpeddlers present Peter Weiss’ macabre Tony-winner.

Sweeney Todd: The Demon Barber of Fleet Street Eureka Theatre, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through Aug 11. Ray of Light Theatre performs Stephen Sondheim’s sexy, sinister musical.

BAY AREA

Ma Rainey’s Black Bottom Sister Thea Bowman Memorial Theater, 920 Peralta, Oakl; www.lowerbottomplayaz.com. $10-25. Opens Fri/13, 7pm. Runs Fri-Sat, 7pm; Sun, 2pm. Through July 22. Lower Bottom Playaz perform August Wilson’s music-industry expose.

The Marvelous Wonderettes Fox Theatre, 2215 Broadway, Redwood City; www.broadwaybythebay.org. $20-48. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm (also July 21 and 28, 2pm); Sun, 2pm. Through July 29. Broadway By the Bay performs Roger Bean’s retro musical, featuring classic tunes of the 1950s and ’60s.

Roald Dahl’s Willy Wonka and the Chocolate Factory Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Previews Sat/14, 2pm. Opens Sat/14, 7pm. Runs Thu, Sat, and July 25, 7pm (also Sat, 2pm); Sun, noon and 5pm. Through Aug 19. Berkeley Playhouse performs a musical based on the candy-filled book, with songs from the 1971 movie adaptation.

Upright Grand TheatreWorks at Lucie Stern Theatre, 1305 Middlefield, Palo Alto; www.theatreworks.org. $24-73. Previews Wed/11-Fri/13, 8pm. Opens Sat/14, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 7pm. Through Aug 10. TheatreWorks launches its 43rd season with the world premiere of Laura Schellhardt’s play about a musical father and daughter.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu-Sat, 8pm. Through Aug 18. A multi-character solo show about the characters of San Francisco.

Duck Lake The Jewish Theater, 470 Florida, SF; www.duck-lake.com. $17-35. Fri-Sat, 8pm. Through July 28. By terns gross and engrossing, PianoFight’s Duck Lake — written and produced by associated sketch comedy locals Mission Control — proves a gangling but irresistible flight, a ballet-horror-comedy-musical with fair helpings of each. By the shore of the eponymous watery resort with a mysterious past as an animal testing site, a perennially “up-and-coming” theater director named Barry Canteloupe (poised and sassy Raymond Hobbs) marshals a pair of prosthetic teats and other trust-building paraphernalia in a cultish effort to bring off yet another reimagining of Swan Lake. His cast and crew include a rebounding TV starlet (a sure and winsome Leah Shesky), a lazy leading man (delightfully dude-ish Duncan Wold), a supremely confident and just god-awful tragedian (a duly expansive Alex Boyd), and a gleeful misfit of a tech guy (an innocently inappropriate, very funny Joseph Scheppers). When the thespians come beak-to-beak with a handsome local gang leader (a nicely multifaceted Sean Conroy) and his rowdy band of sun-addled jet-skiers (the awesome posse of Daniel Burke, David Burke, and Meredith Terry), a star-crossed college reunion ensues between the tattooed tough and the hapless production’s white swan. Meanwhile, “scary fucked-up super ducks” go on a killing rampage under tutelage of some cave-bound weirdo (an imposing, web-footed Rob Ready), leading to love, mayhem, and shameless appropriation of timeless musical numbers. It’s all supported by four tutu’d mallards (the po-faced, limber ensemble of Christy Crowley, Caitlin Hafer, Anne Jones, and Emma Rose Shelton) and flocks of murderous fellow fowl (courtesy of Crowley’s fine puppet design). And don’t worry about the convoluted plot, all will be niftily explained by an old codger of a groundskeeper (a hilariously persuasive Evan Winchester). If the action gets attenuated at times across two-plus hours, a beguilingly agile cast and robust concept more than compensate for the loosey-goosey. (Avila)

5 Lesbians Eating a Quiche Phoenix Theatre, 414 Mason, SF; www.tidestheatre.org. $20-38. Thu-Sat, 8pm (also Sat, 10pm). Through July 21. Tides Theatre performs Evan Linder and Andrew Hobgood’s comedy about five women forced into a bomb shelter during a mid-breakfast nuke attack.

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (Sun/15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Jip: His Story Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. $8-50. Thu/12-Fri/13, 7:30pm; Sat/14, 2pm; Sun/15, 3pm. Marsh Youth Theater remounts its 2005 musical production of Katherine Paterson’s historical novel.

Proof NOHspace, 2840 Mariposa, SF; www.proofsf.com. Wed/11-Sat/14, 8pm. $28. Expression Productions performs David Auburn’s Pulitzer-winning play about a mathematician and his daughter.

“Risk Is This…The Cutting Ball New Experimental Plays Festival” Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. Free ($20 donation for reserved seating; $50 donation for five-play reserved seating pass). Fri/13-Sat/14, 8pm. Cutting Ball’s annual fest of experimental plays features two new works and five new translations in staged readings.

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Tue-Sat, 8pm (also Wed and Sat, 2pm). Extended through July 22. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm. Through July 21. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $49-75. Thu-Sat, 8pm; Sun, 2pm. Through Aug 5. Comedy set behind the scenes at a San Francisco restaurant.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through August 4. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Bloody Bloody Andrew Jackson The Stage, 490 S. First St, San Jose; www.thestage.org. $25-$50. Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through July 29. An overrated president and rock musical at once, the 2010 Broadway hit by Alex Timbers (book) and Michael Friedman (music, lyrics) takes its first Bay Area bow in San Jose Stage’s ho-hum production, directed by Rick Singleton. In this proudly irreverent but rarely very witty take on mob-democracy and the pack of jackals that are our illustrious political forefathers, a vicious and ambitious cornpone Jackson (David Colston Corris, subbing for Jonathan Rhys Williams) takes his Indian-hating ways to the top of the political establishment on a wave of backwoods resentments and Tea Party-style populism. Present-day parallels should run deep here, but the play is so shallow in its humor that it feels one-note for the most part, while its South Park-like insouciance has an unintentional way of making jokes about the Trail of Tears feel “too soon.” This American Idiocy and the 13 accompanying musical numbers are gamely if not always smoothly essayed by cast and band alike (under musical direction by Allison F. Rich), but dumb satire lines up with a generally unappealing score, straining after saucy eloquence while sounding derivative of the emo fare served up by the likes of Spring Awakening and that lot. A tack away from sheer vulgarity and buffoonery toward moralizing history lesson comes late in the hour and its guilty pretention — along with earlier gratuitous, vaguely uncomprehending references to Susan Sontag and Michel Foucault — only makes matters worse. (Avila)

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Wed/11 and Sun/15, 7pm (also Sun/15, 2pm); Thu/12 and Sat/14, 8pm (also Sat/14, 2pm). It’s not easy being a girl, and Eve Ensler’s newest play Emotional Creature leaves no scenario unexplored: from high school shaming rituals to ritual clitorectomies. If that sounds like a jarring juxtaposition, you’d be right. It’s difficult theatrically to transition seamlessly from a deeply affecting monologue about being a teenage sex slave in the Democratic Republic of Congo to a cute song about wearing miniskirts, and it’s equally difficult for the audience to change emotional gears rapidly enough to be able to adequately absorb the impact of each individual segment. Instead, the play comes off as an earnest but awkward Girl Scout Jamboree variety show — attempting to address as wide a variety of social ills as possible (from teen suicide to industrial pollution) — despite the strong and savvy acting chops of the six performers. In contrast to Ensler’s most popular work, The Vagina Monologues, which effectively “humanized” a part of the body by giving it something highly personal to say, Emotional Creature weirdly depersonalizes its girls by putting lines in their mouths (“I’m not the life you never lived”) that clearly come from an adult perspective. And as for those girls who don’t particularly identify as “emotional creatures” at all? For them, there are no words. (Gluckstern)

For the Greater Good, Or The Last Election This week: Cedar Rose Park, 1300 Rose, Berk; www.sfmt.org. Free (donations accepted). Sat/14-Sun/15, 2pm. Various venues through Sept. 8. SF Mime Troupe launches its annual political musical (this year’s theme: one percenters behaving badly); the show travels around NorCal parks and other venues throughout the summer.

King John Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Opens Fri/13, 8pm. Runs Sun/15, July 21, 27, 29, Aug 4, 10-12, 8pm; July 22 and Aug 5, 4pm. Marin Shakespeare Company kicks off its 2012 outdoor summer festival season with this history play.

The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat/14, 8:30pm; Sun/15, 7pm. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through July 22. The libel trial of a politically opportunistic newspaper publisher (Mark Andrew Phillips) and the private life of a famous dancer of the London stage — San Franciscan Maud Allan (a striking Madeline H.D. Brown) — become the scandalous headline-grabber of the day, as World War I rages on in some forgotten external world. In Aurora’s impressive world premiere by playwright-director Mark Jackson, the real-life story of Allan, celebrated for her risqué interpretation of Oscar Wilde’s Salomé, soon gets conflated with the infamous trial (20 years earlier) of Wilde himself (a shrewdly understated Kevin Clarke). But is this case just a media-stoked distraction, or is there a deeper connection between the disciplining of “sexual deviance” and the ordered disorder of the nation state? Jackson’s sharp if sprawling ensemble-driven exploration brings up plenty of tantalizing suggestions, while reveling in the complexly intermingling themes of sex, nationalism, militarism, women’s rights, and the webs spun by media and politics. A group of trench-bound soldiers (the admirable ensemble of Clarke, Alex Moggridge, Anthony Nemirovsky, Phillips, Marilee Talkington, and Liam Vincent) provide one comedy-lined avenue into a system whose own excesses are manifest in the insane carnage of war — yet an insanity only possible in a world policed by illusions, distractions and the fear of unsettled and unsettling “deviants” of all kinds. In its cracked-mirror portraiture of an era, the play echoes a social and political turmoil that has never really subsided. (Avila)

Truffaldino Says No Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $18-25. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through July 22. For centuries, stock characters have insidiously demonstrated to the working classes the futility of striving against type or station with broadly comedic pratfalls, doomed to play out their already-written destinies with no hope for a change in script. Truffaldino (William Thomas Hodges) is one such pitiable character. Longing for his airheaded mistress, Isabella (Ally Johnson), playing second fiddle to his father, the iconic Commedia dell’Arte fool Arlecchino (Stephen Buescher), Truffaldino becomes increasingly dissatisfied with the monotony of the “old world” and strikes out for the new one — eventually washing up in Venice Beach. Despite their dayglo California veneer and sitcom-appropriate shenanigans, the new world characters he meets quickly come to resemble the stock commedia characters Truffaldino has left behind, and he finds himself similarly trapped in their incessantly recurring cycle — pining predictably for valley girl waitress, Debbie (Johnson again). What thankfully cannot be predicted is how Truffaldino manages to rewrite his destiny after all while reconciling his two worlds in a raucous comedy of errors anchored by the solid physical comedy of its stellar cast, particularly that of Stephen Buescher as both Arlecchino and Hal, who bounces, prances, tumbles, and falls down the stairs with the kind of rubber-jointed dexterity that should come with a “kids, don’t try this at home” warning label. (Gluckstern)

PERFORMANCE/DANCE

“Ballroom With a Twist” Marines’ Memorial Theatre, 609 Sutter, Second Flr, SF; www.marinesmemorialtheatre.com. $49-79. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 6pm. Through July 29. Dancing With the Stars pros and contestants from American Idol and So You Think You Can Dance perform pumped-up ballroom dance and music.

BATS Improv Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. Fri, 8pm, through July 27: “Naked” Theatresports, $17. Sat, 8pm, through July 28: “Spontaneous Broadway,” $20.

“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)

“Expiration Date: Still Good” Jewish Theater, 470 Florida, SF; www.pianofight.com. Thu, 8pm. Through July 19. $20. PianoFight’s female-driven comedy group ForePlays performs fan-fave sketches.

“The Front Row: Live at the Dark Room!” Dark Room, 2263 Mission, SF; www.thefrontrow4.com. Sat/14, 8:30pm. $8. The all-girl sketch comedy troupe performs.

Keith Lowell Jensen San Francisco Punch Line, 444 Battery, SF; www.punchlinecomedyclub.com. July 17-18, 8pm. $15. The comedian performs and tapes a new CD for Stand Up! Records.

“Jillarious Tuesdays” Tommy T’s Showroom, 1000 Van Ness, SF; www.jillarious.com. Tue, 7:30. Ongoing. $20. Weekly comedy show with Jill Bourque, Kevin Camia, Justin Lucas, and special guests.

“Majestic Musical Review Featuring Her Rebel Highness” Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

“Mediate presents Soundwave ((5)) Humanities: Human Bionic” Lab, 2948 16th St, SF; www.projectsoundwave.com. Sat/14, 8pm. $12-25. Multimedia and interactive performances by Joe Cantrell, Kadet Kuhne, and Les Struck + Sonsherée Giles.

“Mediate presents Soundwave ((5)) Humanities: Sonicplace Exhibition” Intersection for the Arts, SF Chronicle Building, 925 Mission, SF; www.projectsoundwave.com. Opening night event Fri/16, 6-10pm, free. Exhibit runs Tue-Sat, noon-6pm. Through Sept 28. Innovative sound installations and exhibits presented by UC Santa Cruz’s OpenLab/Mechatronics Group.

“Stripping Down to Story” Garage, 715 Bryant, SF; www.brownpapertickets.com. Fri/13-Sat/14, 8pm. $10-20. Comedian and performance artist Jovelyn Richards performs her solo show.

 

Our Weekly Picks: July 4-10

Andrew Lam
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WEDNESDAY 4

“For the Greater Good, Or The Last Election”

Real quick, if you’re new here: San Francisco Mime Troupe productions do not contain any mimes of the painted-face-and-striped-shirt variety. The company’s first performances (in 1959) were silent, but since those early days, SFMT has evolved into its current, much-loved form: presenting lively political musicals at parks and other venues across NorCal every summer. Previous plays have feasted on such satire-ready topics as big oil, religious fanatacism, and the corporate takeover of America; this year, the headlines once again supply a ripe subject: one percenters behaving badly. For the Greater Good, Or The Last Election is actually a re-working of The Poor of New York, a soapy drama written in 1857 with greedy themes that still ring true in the good ol’ 21st. (Cheryl Eddy)

Various venues through Sept. 8

Wed/4 and Sat/7-Sun/8, 2pm, free (donations accepted)

Dolores Park, 18th St. at Dolores, SF

www.sfmt.org


THURSDAY 5

Skerik’s Bandalabra

For those of you bitching about jazz’s irrelevance in the 21st century: meet Skerik. The Seattle-based saxophonist performs with total abandon, filtering his horn through a tangle of effects pedals as he solos with incendiary force. Resembling a rock frontperson as much as a jazz bandleader, Skerik has spearheaded a handful of projects, from Garage a Trois, to the Tortoise-y Critters Buggin. He describes his latest outfit, Skerik’s Bandalabra, as conjuring “Fela Kuti meeting Steve Reich in rock’s backyard,” and with a lineup of several of Seattle’s hottest session players in tow, it’s one of his tightest, most funkified ensembles yet. Ever had the urge to hear a sax fed through a wah-wah pedal? Well then, look no further. (Taylor Kaplan)

With Wil Blades Trio

9:30pm, $10

Boom Boom Room

1601 Fillmore, SF

(415) 673-8000

www.boomboomblues.com

 

Smokey Robinson with the San Francisco Symphony

R&B legend Smokey Robinson got his start in the music business back in the 1950s, forming the Miracles while he was still in high school and eventually leading the band to stardom: they were Motown Records’ first million-selling artists on the strengths of hit songs such as “Shop Around,” “You’ve Really Got A Hold On Me,” “I Second That Emotion,” and “Ooh Baby Baby.” The velvet-voiced Robinson has continued to write and perform ever since, and has earned a host of well-deserved awards and accolades, including being honored by the Kennedy Center in 2006. Fans won’t want to miss the music icon tonight when he performs a special show with the San Francisco Symphony. (Sean McCourt)

7:30pm, $15–$115

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

 

Liars

Based in LA, then Jersey, then Berlin, then NYC, Liars change locales as often as they switch musical directions. The three-piece has come a long way since their early days in the “dance-punk” compartment, but since the brawny, percussive Drum’s Not Dead (2006) they’ve struggled a bit to deliver a definitive statement. This year’s WIXIW (say wish-you) finds Liars reinventing the wheel again, to produce their most synthified affair yet; picture the rocktronic fusion of Kid A-era Radiohead, approached with the finely calibrated ambience of Bjork’s Vespertine, Trent Reznor’s swagger, and Tom Waits’ lumbering dynamics. How will this abrupt switch in instrumentation affect their live setup? Will the band approach their older work with an electronic edge? Liars thrive on this sense of uncertainty. (Kaplan)

With Cadence Weapon 8pm, $22.50 Great American Music Hall 859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com


FRIDAY 6

“Kung Fu Double-Feature”

Summer programming at the Roxie ain’t nothing to fuck with. Witness the kung fu double punch of 1979’s The Mystery of Chessboxing, a.k.a. Ninja Checkmate, featuring a villain named Ghost Face Killer who inspired you-know-which Staten Island hip-hop star; and Five Elemental Ninjas, a.k.a. Chinese Super Ninjas, which came out in 1982 and is therefore a late-ish entry from director Chang Cheh, superstar helmer for Hong Kong’s powerhouse Shaw Brothers Studio. What you won’t get: CG, 3D, Oscar-caliber acting, logic. What you can expect: rare 35mm prints of both films, supernatural ninjas cloaked in gold lamé, blood-squirting violence, an overabundance of unnecessary camera zooms, and some of the most hilariously stilted dubbing ever committed to celluloid. (Eddy)

Five Element Ninjas, 7:30pm; The Mystery of Chess Boxing, 9:30pm, $6.50–$10

Roxie Theater

3117 16th St., SF

www.roxie.com

 

Paper Bird

With seven members and no leader, Paper Bird should be a logistical nightmare, but this native Denver band has been making seamlessly joyful noise for five years. Contributions from nearly 10 different songwriters make its work, fresh, eclectic, and unpredictable. And despite the size of the group, Paper Bird exudes a charming sense of intimacy. Focused on vocal harmony, banjo, and brass, the band plays danceable folk music for all ages. These hometown heroes have been voted in Colorado’s top 10 underground bands for three years running by the Denver Post and were recently featured in NPR’s All Things Considered and now they’ve come to win the heart of the Bay Area. (Haley Zaremba)

With Muralismo, Corpus Callosum

9:30pm, $10

Hotel Utah

500 Fourth St., SF

(415) 546-6300

www.hotelutah.com

 

Foxtails Brigade

Laura Weinbach is a creative force to be reckoned with. Her band Foxtails Brigade spins whimsical tales woven with violin accompaniment by Anton Patzner (Judgement Day). The band just released the third episode of their “Farmhouse Sessions” series on Youtube — revel in Weinbach’s on-point articulation of the chorus, “I am not my, I am not myself/ We are not our, we are not ourselves” over the rhythmic picking of Patzner’s violin, Joe Lewis jamming on the guitar, and a steady drumbeat provided by Josh Pollack. For her springtime release, The Bread and the Bait, Weinbach was inspired by narratives of the Victorian Era, resulting in a lush and intricate sound. Check out her unabashedly romantic cover of Edith Piaf’s “La Vie in Rose,” a fan favorite,. If that doesn’t get you hooked, well then I’ll eat my Victorian Era laced bonnet. (Shauna C. Keddy)

With La Dee Da, Missing Parts

9:30pm, $10

Starry Plough

3101 Shattuck, Berk.

(510) 841-2082

www.starryploughpub.com

 

Swing U Benefit Ball

Modern city dwellers: it’s time to head out to the middle of the bay and swing back in time to an era that saw the glamorous Golden Gate International Exposition of 1939 hosting visitors from around the world on Treasure Island, greeted by local pirate pin-up queen Zoe Dell Lantis. Tonight’s classic USO-themed “Swing U Benefit Ball” will feature live music, dancing, pirate pin-up contests, vintage vendors, historical presentations, and more, all paying tribute to the important role that Treasure Island played in the development of the San Francisco Bay Area, and raising funds for the Treasure Island Museum. (McCourt)

7pm, $15–$30

Winery SF

200 California Ave., Building 180 North, Treasure Island, SF

www.sfswingfest.com

 

SATURDAY 7

All My Friends Are Still Dead

What would your survival chances be if you were a poor fish in a bowl, watching your fellow fish friends die off thanks to an irresponsible owner? How would it feel to try to make friends if you were the Grim Reaper? Enjoy a hilarious take on these predicaments and more in All My Friends Are Dead, an illustrated book by Jory John (contributor to NY Times, SF Chronicle, and Believer Magazine) and actor-writer Avery Monsen. John will read from the book’s sequel, All My Friends Are Still Dead, at bookstore-museum Paxton Gate’s Curiosities for Kids today. Reminiscent of Lemony Snicket (A Series of Unfortunate Events) and his morbid childrens’ tales, their book is an ironic yet endearing anti-fable — each page is cringe-worthy yet laughter-inducing. (Keddy)

Paxton Gate’s Curiosities for Kids

1pm, free

766 Valencia, SF

(415) 252-9990

www.paxtongate.com

 

Y La Bamba

Indie-folk rockers Y La Bamba have been steadily making a name for themselves over the past couple of years, earning praise from the likes of NPR and musically popping up in television programs such as “Bones.” The latter is a fine example of a creative producer seizing upon the Portland-based band’s haunting and ethereal, yet rich and full sound, which is propelled by singer-songwriter Luzelena Mendoza, whose vocals float and weave above and throughout Latin-inspired rhythms and unique backing vocals. The band’s new album, Court The Storm, was produced by Los Lobos member Steve Berlin, and released this February — catch Y La Bamba in an intimate setting while you still can. (McCourt)

9pm, $16

Great American Music Hall

859 O’Farrell St., SF

(415) 885-0750

www.slimspresents.com

 

Blackalicious

This Sacramento rap duo has a lot more going for it than just an awesome name. Rapper Gift of Gab and DJ Chief Xcel, who met in high school, have been spinning catchy hip-hop tracks for more than a decade. Like fellow West Coast Rappers Jurassic 5 and Pharcyde, Blackalicious eschews the misogyny and violence too often synonymous with rap music. Their multi-syllabic rhymes are both complex and uplifting. Their debut album Nia is Swahili for “purpose” and spirituality is an important feature of their lives and work. When they hit the stage these down-to-earth, self-described “everyday brothers” will make your head bob, your feet tap, and your mind expand. (Zaremba)

With Richie Cunning, Raw-G

9pm, $25

The Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com


MONDAY 9

The Eric Andre Show

If David Lynch were given his own late-nite program on a public-access channel in Pete & Pete’s basement, it might look and feel somewhat like The Eric Andre Show. Hosted by the LA-based stand-up comic, Adult Swim’s perverse, unhinged excuse for a talk show makes it way to the live stage with real/fake celebrity appearances (fake-George Clooney chugging coffee, perhaps?), charmingly incompetent house band, and incredibly seedy production values in full force. Beloved Oakland hip-hop duo Main Attrakionz will bring their hazy, lo-fi productions to the show as well, rounding out an evening of deranged, unpredictable, and supremely stoned entertainment. No Visine required. (Kaplan)

With Main Attrakionz, Stroy Moyd, Chris Garcia 8pm, $10 Rickshaw Stop 155 Fell, SF (415) 861-2011 www.rickshawstop.com

Stage Listings

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

THEATER

OPENING

Duck Lake The Jewish Theater, 470 Florida, SF; www.duck-lake.com. $17-35. Opens Fri/6, 8pm. Runs Fri-Sat, 8pm. Through July 28. PianoFight’s resident sketch comedy group, Mission CTRL, performs its new "ballet-horror-comedy."

For the Greater Good, Or The Last Election This week: Dolores Park, 18th St at Dolores, SF; www.sfmt.org. Free (donations accepted). Opens Wed/4, 2pm. Runs Sat/7-Sun/8, 2pm. Various venues through Sept. 8. SF Mime Troupe launches its annual political musical (this year’s theme: one percenters behaving badly); the show travels around NorCal parks and other venues throughout the summer.

BAY AREA

King John Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Previews Fri/6-Sun/8, 8pm. Opens July 13, 8pm. Runs July 15, 21, 27, 29, Aug 4, 10-12, 8pm; July 22 and Aug 5, 4pm. Marin Shakespeare Company kicks off its 2012 outdoor summer festival season with this history play.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. $32-50. Thu-Sat, 8pm (no show Fri/6). Through Aug 18. A multi-character solo show about the characters of San Francisco.

5 Lesbians Eating a Quiche Phoenix Theatre, 414 Mason, SF; www.tidestheatre.org. $20-38. Thu-Sat, 8pm (also Sat, 10pm). Through July 21. Tides Theatre performs Evan Linder and Andrew Hobgood’s comedy about five women forced into a bomb shelter during a mid-breakfast nuke attack.

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm (July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Hedwig and the Angry Inch Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Wed/4-Thu/5, 8pm; Fri/6-Sat/7, 7 and 9:30pm; Sun/8, 5pm. Boxcar Theatre performs John Cameron Mitchell’s musical about a transgendered glam rocker.

Jip: His Story Marsh San Francisco, MainStage, 1062 Valencia, SF; www.themarsh.org. $8-50. Thu-Fri, 7:30pm; Sat, 2pm; Sun, 3pm. Through July 15. Marsh Youth Theater remounts its 2005 musical production of Katherine Paterson’s historical novel.

The Magic Flute War Memorial Opera House, 301 Van Ness, SF; www.sfopera.com. $31-340. Fri/6, 8pm; Sun/8, 2pm. San Francisco Opera adds some unexpected vitality to its new star-studded production of one of the world’s most popular operas, Mozart’s whimsical but philosophical tale of a romance and (Mason-inspired) spiritual evolution. Prince Tamino (poised tenor Alek Shrader) and sidekick Papageno (fine baritone Nathan Gunn in a blithe comedic performance) are on a quest to rescue from sorcerer Sarastro (imposing bass Kristinn Sigmundsson) the lovely Pamina (appealing soprano Heidi Stober), daughter of the Queen of the Night (the rousingly virtuosic Russian soprano Albina Shagimuratova). The battle royal between the Queen and Sarastro is one between darkness and light, but the emphasis of this joyful production is rightly on the latter, even as Tamino and Papageno’s journey takes them through the ritual rite of passage in Sarastro’s order, the Temple of Light. Visual artist Jun Kaneko (responsible for the giant ceramic heads on view outside the War Memorial Opera House until November) marshals a brightly extensive color palette and some state-of-the-art 3D software to create a mise-en-scène out of parallel planes of patterned line and color. These enveloping and fascinating geometric flights of fancy — animated by a drawn, human touch and organic trickles and blushes of color throughout — come complimented by wildly playful costumes, including a host of wonderfully oddball brightly painted birds, that make for some pleasantly cackling entrances. David Gockley’s English-language translation of the libretto, meanwhile, adds a zesty colloquial freshness whose tinge of irony contributes to an intellectual roominess that matches the aesthetic one, both together offering some necessary reflective space to the contemporary audience vis-à-vis the certainties of this Enlightenment fairytale. (Avila)

Proof NOHspace, 2840 Mariposa, SF; www.proofsf.com. Wed-Sat, 8pm. Through July 14. $28. Expression Productions performs David Auburn’s Pulitzer-winning play about a mathematician and his daughter.

"Risk Is This…The Cutting Ball New Experimental Plays Festival" Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. Free ($20 donation for reserved seating; $50 donation for five-play reserved seating pass). Fri-Sat, 8pm. Through July 14. Cutting Ball’s annual fest of experimental plays features two new works and five new translations in staged readings.

The Scottsboro Boys American Conservatory Theater, 415 Geary, SF; www.act-sf.org. $20-95. Tue-Sat, 8pm (also Wed and Sat, 2pm; no matinee Wed/4); Sun/8, 7pm. Extended through July 22. American Conservatory Theater presents the Kander and Ebb musical about nine African American men falsely accused of a crime they didn’t commit in the pre-civil rights movement South.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm. Through July 21. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

Waiting… Larkspur Hotel Union Square, 525 Sutter, SF; www.brownpapertickets.com. $69-75. Thu-Sat, 8pm; Sun, 2pm. Through Aug 5. Comedy set behind the scenes at a San Francisco restaurant.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through August 4. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2025 Addison, Berk; www.berkeleyrep.org. $14.50-73. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show Wed/4); Sun, 2 and 7pm. Through July 15. It’s not easy being a girl, and Eve Ensler’s newest play Emotional Creature leaves no scenario unexplored: from high school shaming rituals to ritual clitorectomies. If that sounds like a jarring juxtaposition, you’d be right. It’s difficult theatrically to transition seamlessly from a deeply affecting monologue about being a teenage sex slave in the Democratic Republic of Congo to a cute song about wearing miniskirts, and it’s equally difficult for the audience to change emotional gears rapidly enough to be able to adequately absorb the impact of each individual segment. Instead, the play comes off as an earnest but awkward Girl Scout Jamboree variety show — attempting to address as wide a variety of social ills as possible (from teen suicide to industrial pollution) — despite the strong and savvy acting chops of the six performers. In contrast to Ensler’s most popular work, The Vagina Monologues, which effectively "humanized" a part of the body by giving it something highly personal to say, Emotional Creature weirdly depersonalizes its girls by putting lines in their mouths ("I’m not the life you never lived") that clearly come from an adult perspective. And as for those girls who don’t particularly identify as "emotional creatures" at all? For them, there are no words. (Gluckstern)

The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through July 15. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Salomania Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through July 22. The libel trial of a politically opportunistic newspaper publisher (Mark Andrew Phillips) and the private life of a famous dancer of the London stage — San Franciscan Maud Allan (a striking Madeline H.D. Brown) — become the scandalous headline-grabber of the day, as World War I rages on in some forgotten external world. In Aurora’s impressive world premiere by playwright-director Mark Jackson, the real-life story of Allan, celebrated for her risqué interpretation of Oscar Wilde’s Salomé, soon gets conflated with the infamous trial (20 years earlier) of Wilde himself (a shrewdly understated Kevin Clarke). But is this case just a media-stoked distraction, or is there a deeper connection between the disciplining of "sexual deviance" and the ordered disorder of the nation state? Jackson’s sharp if sprawling ensemble-driven exploration brings up plenty of tantalizing suggestions, while reveling in the complexly intermingling themes of sex, nationalism, militarism, women’s rights, and the webs spun by media and politics. A group of trench-bound soldiers (the admirable ensemble of Clarke, Alex Moggridge, Anthony Nemirovsky, Phillips, Marilee Talkington, and Liam Vincent) provide one comedy-lined avenue into a system whose own excesses are manifest in the insane carnage of war — yet an insanity only possible in a world policed by illusions, distractions and the fear of unsettled and unsettling "deviants" of all kinds. In its cracked-mirror portraiture of an era, the play echoes a social and political turmoil that has never really subsided. (Avila)

PERFORMANCE/DANCE

"Channels: An Evening of Cross-Disciplinary Performance" Shotwell Studios, 3252-A 19th St, SF; www.ftloose.org. Fri/6-Sun/7, 8pm. $10-20. Dancers Daria Kaufman, Bianca Brzezinski, and musician-composer Richard Warp perform Arti Ulate, a dance-theater piece; Brzezinski also performs a solo, Non-self.

"Comedy Bodega" Esta Noche Nightclub, 3079 16th St, SF; www.comedybodega.com. Thu/5, 8pm. Free (one drink minimum). Weekly free stand-up show. This week: Yayne Abeba, David Hawkins, Anna Seregina, Veronica Porras, Baruch P. Hernandez, and George Chen.

"Comedy Returns to El Rio" El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon/9, 8pm. $7-20. With Joe Klocek, Josh Healey, Regina Stoops, Johan Miranda, Shanti Charan, and Lisa Geduldig.

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

"The Eric Andre Show" Rickshaw Stop, 155 Fell, SF; www.rickshawstop.com. Mon/9, 8pm. $10. Adult Swim-spawned, SF Sketchfest-presented faux-cable access variety show with musical guests and "real and fake celebrity appearances," hosted by actor Eric André.

"The Fag Hag Comedy Show" Deco Lounge, 510 Larkin, SF; www.brownpapertickets.com. Sun/8, 8pm. $10. Charlie Ballard hosts this stand-up comedy extravaganza, with headliner Glamis Rory and more.

"A Funny Night for Comedy" Actors Theatre of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/8, 7pm. $10. Natasha Muse and Ryan Cronin host stand-up comedians, including headliner Jason Wheeler, at their monthly talk show.

"Jillarious Tuesdays" Tommy T’s Showroom, 1000 Van Ness, SF; www.jillarious.com. Tue, 7:30. Ongoing. $20. Weekly comedy show with Jill Bourque, Kevin Camia, Justin Lucas, and special guests.

Carolina Lugo and Carolé Acuña’s Café Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/8, 6:15pm. $15-19. Mother-daughter flamenco dance and music company.

"Majestic Musical Review Featuring Her Rebel Highness" Harlot, 46 Minna, SF; www.herrebelhighness.com. Sun, 5pm. Through Aug 12. $25-65. Cocktails and hors d’oeuvres, performers in Baroque-chic gowns, music, and more.

"Schwabacher Summer Concert" Herbst Theatre, 401 Van Ness, SF; www.sfopera.com. Thu/5, 7:30pm. $25-40. The young talent of the Merola Opera Program performs scenes from works by Bizet, Stravinsky, and more.

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