Poverty

Dick Meister: Newt’s wacko 18th century idea

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Providing services is secondary to them, however needed the services might be. Saving money is their concern, whatever the consequences of the savings might be.

In case you haven’t heard the details of Rep Gingrich’s outrageous suggestion, let me recap what he’s said about it over the past week or so. Honest, this is exactly what he’s proposed.

You know those child labor laws that were first enacted in the 19th century to protect children from serious exploitation – laws that limit their working hours, give them time to get a decent education and protect them from workplace dangers that could very well lead to serious harm?

Those laws are still in effect, on the state and federal level. The federal law limits the working hours of children under 16 to no more than three hours a day or 18 hours a week when school is in session or 40 hours a week when school is not in session. Some states limit working hours even more.

Ah, but that’s too much for Newt Gingrich. He calls the child labor laws “truly stupid.” That’s right: “stupid.” That surely puts Gingrich right where he belongs, squarely in the 18th century.

Gingrich’s 18th century plan calls for schools to “get rid of unionized school janitors “and hire poor school kids to clean the schools in low-income neighborhoods.”. That’s what the man said. Just think of that. And he wants to be president!

But Gingrich is right on one thing. Yes, as he says, kid janitors “would be dramatically less expensive than unionized janitors.” But obviously the difference is well worth paying, although not to Rep. Gingrich.

But don’t be too hard on the man. He’s only talking about working the kids a mere 20 hours a week.  And this, said Gingrich, would empower them to succeed. He actually said that kids in the poorest neighborhoods are trapped by the child labor laws that prevent them from earning money. They also, of course, protect kids from serious exploitation, but that apparently doesn’t concern Gingrich.

So what should schools do to carry out Gingrich’s 18th century plan? “Get rid of their unionized janitors, have one master janitor and pay local students to take care of the school . . .the kids would actually do work.”

Why, that would give them “pride in the schools.” And the students “would begin the process of rising.

What next? Have classes in janitoring? Put teachers to work with brooms, too?

AFSCME is currently asking people to add their names to an on-line letter that says Gingrich’s idea “is outrageous, dangerous and downright hogwash.” You can add your name to the letter at www.reallynewt.com.

The letter notes that “doing janitorial work in a school entails sanitizing toilets, handling hazardous cleaning chemicals and scrubbing floors hunched over a mop for hours. It’s hard to imagine a nine-year-old doing any of those tasks. Come on.”

The union cites another important point that Gingrich ignores: A lot of those unionized janitors he’d replace with kids are parents. And their janitorial jobs “put a roof over kids’ heads, food on the table, and provide them with health care and the chance to get an education.

“That job is the only thing between a kid and poverty. Firing someone’s mom and hiring the kid for less money, isn’t exactly the ‘process of rising.'”

Could it possibly be that Newt Gingrich is willing to exploit children 18th century style in order to boost his campaign for president?  You make the call.

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

OccupySF is worth the investment

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Thirteen labor and community leaders wrote to Mayor Ed Lee Nov. 17 asking him not to evict the OccupySF protesters. The message of the hand-delivered letter: It’s worth the time and effort the city will have to make to allow the encampment to remain. It was signed by Conny Ford, OPEIU Local 3, Bob Offer-Westord, Coalition on Homelessness, Pilar Sciavo, California Nurses Association, Elizabeth Alexander, SEIU 1021, Rev. Carol Been, Clergy and Laity United for Economic Justice, Steve Williams, POWER, Gabriel Haaland, SEIU 1021, Tim Paulson, San Francisco Labor Council, Kate Huge, La Raza Centro Legal, Gordon Mar, Jobs with Justice, Forrest Schmidt, ANSWER, Shaw-San Liu, Chinese Progressive Association, and Mike Casey, UNITED-HERE Local 2.

Here’s the full letter:

Dear Mr. Mayor:

Occasionally a movement takes hold of the imagination of a people, resulting in major social and economic shifts in public policy. Thirty to forty years ago, such a movement driven by a coalition of the religious right and corporate America and spearheaded by the National Chamber of Commerce and the National Association of Manufacturers, changed the course of our nation for the worse.

With the election of Ronald Reagan and scores of corporate-backed politicians since then, our nation has seen a reversal of the progressive gains made in the decades immediately preceding 1980, from the New Deal to the War on Poverty.

In yesterday’s meeting, you and several city department heads questioned whether it is “worth the investment” to meet and work with the SF Occupy movement to address certain health and safety issues. We think it is.

The national Occupy Wall Street movement has brought dramatic focus to the disproportionate concentration of wealth and power held by the top 1% of America.  They have drawn broad attention to the devastation wrought by Wall Street upon communities throughout the country:  home foreclosures, record unemployment, attacks on immigrants, union busting, school closures, social service cutbacks, etc.

Over the years, in our own city, a number of legendary movements and causes have led to meaningful and lasting progressive change. The 1934 General Strike and the I-Hotel are but two examples. These and other struggles such as the Civil Rights movement are iconic not based on whether they resulted in victory or defeat, but because these struggles inspired and trained a new generation of organizers and activists committed to economic and social change.

Whether the Occupy movement is helping usher in yet another shift remains to be seen. But of this we are certain: the City of San Francisco working with Occupy SF to support their vision and work is “worth the investment.”

Provocative police actions in Oakland resulted in unnecessary injuries and threatened the very safety of the community they’ve sworn to protect.

We appeal that you not shut down the occupation of Justin Herman Plaza and continue to meet, daily if necessary, in order to work through the issues connected with Occupy SF.

Stage Listings

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

THEATER

OPENING

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

ONGOING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

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

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

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

PERFORMANCE/DANCE

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

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

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

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

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

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

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

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

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

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

San Francisco’s political spectrum: a primer

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During yesterday’s post-election wrap-up at the San Francisco Planning and Urban Research Association, political consultant and analyst David Latterman cited the ideological breakdown of San Francisco voters: 19 percent are progressive, 36 percent are liberal, 39 percent are “moderate,” and 6 percent are conservative. I cited those figures in a post I wrote yesterday on the latest election results, and some people responded by asking me to explain those terms, so let me take a crack at that because I think it’s important to understanding the city’s political dynamics.

I even discussed the matter with Latterman – who self-identifies as moderate, whereas I and the Guardian have a progressive worldview. “That’s a fantastic question and I don’t think any of us can give suitable answers,” Latterman said. “These aren’t hard lines. It’s like: I don’t know how to define pornography, but I know it when I see it.” Nonetheless, we agreed on the basic outlines and borders between the labels, even though we might frame them and value them a little differently.

In San Francisco, there is general agreement on most social issues among the moderates, liberals, and progressives, although we may disagree on political tactics. We all basically support gay rights, reproductive freedom, the value of diversity, environmentalism, and freedom of expression. That’s why most people consider San Francisco to be a famously liberal city, because of our tolerance on social issues, which only that 6 percent who are conservatives don’t share.

Yet San Francisco is still a deeply divided city on economic issues, including land use and the role of government. This is where most of the political conflicts and divisions occur, and it is here where our political spectrum is as wide as anywhere – perhaps even wider given the extreme wealth and poverty here, as well as the long history of political activism and the setting of national political trends. And it is in this realm that our labels come from.

A “moderate” in San Francisco – which is a real misnomer despite its widespread usage – is a fiscal conservative: anti-tax, anti-regulation, an almost religious faith in the free market, and a resentment of the poor (particularly the homeless and the jobless) and those who advocate for them. They want bare minimal government and see the role of government as primarily to facilitate economic activity in the private sector and to provide the basic infrastructure that the private sector needs to operate efficiently. They even believe social services should be provided by the private sector, such as nonprofits, rather than by government. On economic issues, they’re almost indistinguishable from conservatives, with whom they disagree on social issues.

On the other end of the spectrum are the progressives, who don’t trust capitalists and large corporations and believe they need to be heavily regulated and taxed to provide for the common good. We believe in progressive taxation and a redistribution of wealth, particularly from the richest 1 percent, and that government has an important role to play in leveling the economic playing field and playing referee. Progressives generally believe this country has been drifting to the right for at least the last 31 years and that this is a dangerous trend that needs to be addressed with fundamental, systemic reforms. And at this point, we’re willing to adopt radical strategies for triggering that change, such as Occupy Wall Street or other forms of civil disobedience.

The liberals of San Francisco are somewhere in the middle. They’re Democrats (or DTS) who don’t believe in radical change or anything that might disrupt the existing order, preferring incremental reforms over long period of time. They accept the legitimacy of the two-party political system and an economic system governed by Wall Street and powerful corporations, and they believe we need to do what we can within that framework. They use neoliberal economic policies like business tax cuts and incentives to encourage private sector job creation and housing development, and they accept a shrinking public sector, which they expect to operate more like the private sector, and a waning labor movement.

The reactions to the OccupySF movement is an interesting illustration of the dividing lines. Moderates have voiced tepid support for the movement’s critique of the growing gap between rich and poor, but they’re appalled at the tactic of occupation, believing curfew and anti-camping laws are more important. Progressives have been the most enthusiastic supporters of a movement that echoes their core values and physically challenges the status quo. Liberals basically support the movement, but they’ve been very uneasy with the tactic of occupation and have been vacillating on how to deal with it.

Latterman and the moderates – as well as many liberals – see ideology as a dirty word, and he was happy that in this election “it was the least ideological race we’ve seen in a long time.” Mayor Ed Lee and Board President David Chiu – both of whom hover in the liberal to moderate range, depending on the issue – also treat the notion of ideology with disdain, claiming to support practical, pragmatic, or common sense solutions to problems.

But progressives see ideology as the essence of politics. They understand the world in terms of class struggle, and believe that the very rich have been aggressively exploiting the people and the planet for too long, and that the only real way to make progress is to fight them and win. They believe in the Occupy paradigm that the 1 percent – the greedy rich who have corrupted our political and economic systems – are actively hostile to the interests of the 99 percent. We know that’s an unsustainable system and we’re hopeful that this is the moment when progress – the core of our belief system, that it’s possible to devise better economic and political systems than the ones we’ve inherited – could finally be attainable if we continue to organize and challenge the system.

That’s my general analysis of San Francisco’s political dynamics. What’s yours?

Stage Listings

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

THEATER

OPENING

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

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

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

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

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

BAY AREA

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

ONGOING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

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

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

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

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

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

Why Occupy? Here’s why

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The Chron buried the story below an item about Chevron cutting its grants to PBS, but if you want to see the case for the Occupy movement, it’s laid out perfectly in a powerful new report by the California Budget Project. Read it here (PDF) The data is solid; the policy impacts are clear.

For starters, California’s 33,900 millionaire taxpayers (people reporting more than $1 million in income in 2010) — that’s two-tenths of the top one percent — earned $104 billion — 11 times the amount needed to lift every single California out of poverty. That’s right — a ten-percent surtax on incomes of more than $1 million could end poverty in California.

California, the report states, has the 7th worst income gap in the nation, between Alabama and Texas.

The San Francisco/Marin/Oakland metropolitan area has the 7th worst income disparity of any major urban area in America.

And it’s not the Invisible Hand of Adam Smith that caused the problem: “Public policy,” the report states, “narrow income gaps less today than they did a generation ago.”

San Francisco’s electing a new mayor today. When you go to the polls, think about economic justice. And when you hear complaints about Occupy SF, think about the fact that before the Occupy movement, the wealth and income gap was barely on the political agenda.

 

Stage Listings

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

THEATER

OPENING

Annapurna Magic Theatre, Bldg D, Fort Mason Center, Marina at Laguna, SF; (415) 441-8822, www.magictheatre.org. $20-60. Previews Wed/2-Sat/5, 8pm; Sun/6, 2:30pm; Tues/8, 7pm. Opens Nov 9, 8pm. Through Dec 4, showtimes vary. Magic Theatre performs Sharr White’s world premiere drama about love’s longevity.

More Human Than Human Dark Room Theater, 2263 Mission, SF; (415) 401-7987, www.brownpapertickets.com. $25. Opens Fri/4, 8pm. Runs Thurs-Sat, 8pm. Through Nov 19. B. Duke’s dystopian drama is inspired by Philip K. Dick.

Oh, Kay! Eureka Theatre, 215 Jackson, SF; (415) 255-8207, www.42ndstmoon.org. $20-50. Previews Wed/2, 7pm; Thurs/3-Fri/4, 8pm. Opens Sat/5, 6pm. Runs Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through Nov 20. 42nd Street Moon performs George and Ira Gershwin’s Prohibition-set comedy.

The Temperamentals New Conservatory Theatre Center, 25 Van Ness, SF; (415) 861-8972, www.nctcsf.org. $25-45. Previews Fri/4-Sat/5 and Nov 9-11, 8pm; Sun/6, 2pm. Opens Nov 12, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Dec 18. New Conservatory Theatre Center performs Jon Marans’ drama about gay rights during the McCarthy era.

Two Dead Clowns Box Car Theatre Studios, 125A Hyde, SF; www.brownpapertickets.com. $20. Previews Thurs/3, 8pm (free preview). Opens Fri/4, 7pm. Runs Fri-Sat, 7pm. Through Nov 26. Ronnie Larsen’s new play explores the lives of Divine and John Wayne Gacy.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-35. Opens Fri/4, 8pm. Runs Fri, 8pm; Sat, 5pm. Through Nov 26. Brian Copeland (Not a Genuine Black Man) presents a workshop production of his new solo show.

*Working for the Mouse Exit Theatre, 156 Eddy, SF; www.brownpapertickets.com. $22. Opens Thurs/3, 8pm. Runs Thurs-Sat, 8pm (no performances Nov 24-26). Through Dec 17. It might not come as a surprise to hear that even “the happiest place on earth” has a dark side, but hearing Trevor Allen describe it during this reprise of 2002’s Working for the Mouse will put a smile on your face as big as Mickey’s. With a burst of youthful energy, Allen bounds onto the tiny stage of Impact Theatre to confess his one-time aspiration to never grow up — a desire which made auditioning for the role of Peter Pan at Disneyland a sensible career move. But in order to break into the big time of “charactering,” one must pay some heavy, plush-covered dues. As Allen creeps up the costumed hierarchy one iconic cartoon figure at a time, he finds himself unwittingly enmeshed in a world full of backroom politics, union-busting, drug addled surfer dudes with peaches-and-cream complexions, sexual tension, showboating, job suspension, Make-A-Wish Foundation heartbreak, hash brownies, rabbit vomit, and accidental decapitation. Smoothly paced and astutely crafted, Mouse will either shatter your blissful ignorance or confirm your worst suspicions about the corporate Disney machine, but either way, it will probably make you treat any “Casual Seasonal Pageant Helpers” you see running around in their sweaty character suits with a whole lot more empathy. (Note: review from the show’s recent run at La Val’s Subterranean in Berkeley.) (Gluckstern)

ONGOING

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

Desdemona: A Play About a Handkerchief Boxcar Theatre Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $15-35. Wed/2-Sat/5, 8pm. Written in 1979 by a 28-year-old Paula Vogel, Desdemona retells a familiar Shakespearean tragedy, Othello, through the eyes of its more marginalized characters, much as Tom Stoppard’s Rosencrantz and Guildenstern are Dead did with Hamlet in 1966. In Vogel’s play, it is the women of Othello — Desdemona the wife, Emilia her attendant (demoted down to washer-woman in Vogel’s piece), and Bianca, Cassio’s lover, and the bawdy town pump — who are the focus, and are the play’s only onstage characters. Whiling away an endless afternoon cooped up in the back room of the governor’s mansion, the flighty, spoiled, and frankly promiscuous Desdemona (Karina Wolfe) frets over the loss of her “crappy little snot-rag,” while her subservient, pious, but quietly calculating washer-woman Emilia (Adrienne Krug) scrubs the sheets and mends the gubernatorial underpants with an attitude perfectly balanced between aggrieved, disapproving, and cautiously optimistic. Though the relationship between the two women often veers into uncomfortable condescension from both sides, their repartee generally feels natural and uncontrived. Less successfully portrayed is Theresa Miller’s Bianca, whose Cockney accent is wont to slip, and whose character’s boisterous nature feels all too frequently subdued. Jenn Scheller’s billowing, laundry-line set softens the harsh edges of the stage, just as Emilia’s final act of service for her doomed mistress softens, though not mitigates, her unwitting role in their mutual downfall. (Gluckstern)

Honey Brown Eyes SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-50. Wed/2-Thurs/3, 7pm; Fri/4-Sat/5, 8pm (also Sat/5, 3pm). Bosnia in 1992 is divided in a horrifying civil war, some characteristics of which play out in parallel circumstances for two members of a single rock band in SF Playhouse’s west coast premiere of Stefanie Zadravec’s new play. In the first act, set in Visegrad, a young Bosnian Muslim woman (Jennifer Stuckert) is held at gunpoint in her kitchen by a jumpy soldier (Nic Grelli) engaged in a mission of murder and dispossession known as ethnic cleansing. The second act moves to Sarajevo and the apartment of an elderly woman (Wanda McCaddon) who gives shelter and a rare meal to an army fugitive (Chad Deverman). He in turn keeps the bereaved if indomitable woman company. Director Susi Damilano and cast are clearly committed to Zadravec’s ambitious if hobbled play, but the action can be too contrived and unrealistic (especially in act one) to be credible while the tone — zigzagging between the horror of atrocity and the offbeat gestures of romantic comedy — comes over as confused indecision rather than a deliberate concoction. (Avila)

How to Love Garage, 975 Howard, SF; www.pustheatre.com. $15. Fri-Sat, 8pm; Sun, 2pm. Through Nov 20. Performers Under Stress Theatre presents Megan Cohen’s Plato-inspired world premiere.

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

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

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

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

*The Odyssey Aboard Alma, Hyde Street Pier, San Francisco Maritime National Historic Park, SF; www.weplayers.org. $160. Fri/4-Sun/6, Nov 11-12, and 18, 12:30pm. Heralding their hugely ambitious Spring 2012 production of The Odyssey, which will take place all over Angel Island, the WE Players are tackling the work on a slightly smaller scale by staging it on the historic scow schooner Alma, which is part of the Maritime National Historical Park fleet docked at the end of Hyde Street Pier. Using both boat and Bay as setting, the essential chapters of the ten-year voyage — encounters with the Cyclops, Circe, the Underworld, the Sirens, Aeolus, the Laestrygonians, and Calypso — are enacted through an intriguing mash-up of narration, choreography, sea chanteys, salty dog stories (like shaggy dog stories, but more water-logged), breathtaking views, and a few death-defying stunts the likes of which you won’t see on many conventional stages. High points include the casual swapping of roles (every actor gets to play Odysseus, however briefly), Ross Travis’ masked and flatulent Prometheus and sure-footed Hermes, Ava Roy’s hot pants-clad Circe, Charlie Gurke’s steady musical direction and multi-instrumental abilities, and the sail itself, an experiential bonus. Landlubbers beware, so much time facing the back of the boat where much of the action takes place can result in mild quease, even on a calm day. Take advantage of the downtime between scenes to walk around and face forward now and again. You’ll want to anyway. (Gluckstern)

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

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

Race American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-85. Opens Wed/26, 8pm. Tues-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm (also Sun/6, 7pm). Through Nov 13. ACT performs David Mamet’s wicked courtroom comedy.

The Rover, or the Banish’d Cavaliers, The American Clock Hastings Studio Theater, 77 Geary, SF; (415) 749-2228, www.act-sf.org. $10 ($15 for both productions). Through Sat/5, performance times vary. American Conservatory Theater’s Masters of Fine Arts program presents plays in repertory by Aphra Behn and Arthur Miller.

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

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

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

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

BAY AREA

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

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

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

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

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

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

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

How about Scott Olsen Plaza?

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Occupy Oakland changed the name of Frank Ogawa Plaza; it’s time for OccupySF to do the same.

The place where the protesters are gathered is named for Justin Herman, the notorious director of San Francisco’s Redevelopment Agency in the terrible days of the 1950s and 1960s, when “redevelopment” meant removing black people from the Western Addition and removing poor people, particularly Filipinos, from South of Market and later the International Hotel. Herman once famously said that the SOMA land where he wanted to build hotels was “too valuable to permit poor people to park on it.”

In the 1960s, the battle against redevelopment was one of the defining political struggles in San Francisco, bringing Asians, African Americans, white progressives, young community organizers, affordable housing and tenant activists, poverty and civil rights lawyers … just about the whole spectrum of the city’s left. It’s been the subject of books and movies. The people who fought Justin Herman are part of a long political thread in San Francisco — as is OccupySF today.

I’ve always thought it was an abomination to have a downtown plaza named after a guy who did so much to destroy San Francisco. Maybe from now on we should all call it Scott Olsen Plaza.

24 hours of occupation

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rebeccab@sfbg.com

No sooner had I arrived at downtown Oakland’s Frank H. Ogawa Plaza — christened Oscar Grant Plaza by the activists who have established the Occupy Oakland encampment there –than the police showed up.

It was Oct. 18, and the ever-evolving occupation had been going strong for eight days. Oakland City Hall served as a backdrop for the bustling tent village, and the plaza steps were adorned with banners. “Welcome to Oscar Grant Plaza,” one proclaimed. “This is an occupation. We have not asked for permission. We do not allow the police. You are entering a LIBERATED SPACE.”

By press time, a standoff between Oakland police and the 300 to 400 occupiers hadn’t yet occurred, though a clash seemed imminent. City government had declared the autonomous village illegal and issued several eviction notices, citing health and safety concerns, while occupiers had made clear their intentions to stay put.

Around 5 p.m. on Oct. 18, two cops appeared at the camp. They weren’t in uniform, but black polo shirts emblazoned with the words “Tactical Negotiator.” Protesters immediately surrounded them, a customary response to police presence since the encampment was raised. The police said they’d come to “facilitate” a march scheduled to depart from the camp — but the protesters demurred. Occupy Oakland’s General Assembly had not consented to this, they replied.

The impasse didn’t last long, because a group of about 50 tore into the intersection and headed up Broadway. The radical queer march had commenced. “We’re here! We’re queer!” They chanted. “Tax the banks and eat the rich!” Many donned fabulous costumes, and one skinny person clad in form-fitting leopard print carried a sign showing a unicorn bursting from a cage, with the words, “It’s time to break free.”

As the march passed Wells Fargo and Chase, a dozen police vehicles trailed slowly behind, occasionally sounding sirens. Apparently, this was what they’d meant by “facilitating.”

Despite the cat-and-mouse with the cops, the nonviolent demonstration concluded without incident. Protesters returned, flushed and energized, to home base — Occupy Oakland, a vortex of radical defiance against the ills of capitalism that had materialized Oct. 10 and showed no signs of fading. Intrigued, I decided to spend 24 hours there documenting it.

 

ORGANIZED OPPOSITION

The camp encompassed a lively blend of projects that seemed to have materialized organically. There was a kitchen serving free food, a first aid tent, a media tent where one could power a laptop by bicycle, a free school named for police shooting victim Raheim Brown, an informational booth with stacks of radical literature, a container garden, portable toilets, an arts and crafts space, and a kids’ area. Committees had been set up to tackle safety, sanitation, finances, events, and other duties, replete with color-coded armbands. Regular workshops, political discussions, teach-ins, lectures from notable speakers, and live music performances had all been arranged. Taking it all in, a woman with long gray hair exclaimed, “The ’60s were never this organized!”

Occupy Oakland’s experimental community mushroomed up as part of the wave of encampments established in solidarity with Occupy Wall Street, part of a nationwide movement that has captured the public’s imagination and reinvigorated the left.

“We are reclaiming public space to use as a forum for the people to come together, meet one another, listen to each other, and build power for ourselves,” read a statement on the Occupy Oakland website. “[It] is more than just a speak-out or a camp out. The purpose of our gathering here is to plan actions, to mobilize real resistance, to defend ourselves from the economic and physical war that is being waged against our communities.”

The camp supported a wild and unlikely mix of people united in their disenchantment with the status quo — young and old, black and white, housed and homeless, queer and straight, credentialed and uneducated, vegan and omnivorous — and within this developing space, societal barriers seemed to be falling away.

“It’s an occupation that transcends what it was initially about,” reflected a protester named Miguel. “It’s feeding homeless people, and it’s giving people a place to sleep.”

Protesters didn’t rally around demands. “From my understanding, this is a movement of autonomy, and liberation from … the politics of representation, and the economics of capitalism,” said Bryan R., an organizer who helped plan the occupation. “To engage in dialogue with the power by means of demand is to acknowledge their power over us.”

All decisions were made by consensus in a General Assembly. The occupation had passed resolutions stating that it didn’t back any political parties, supported the Pelican Bay prisoners’ hunger strike, and was in solidarity with striking students and workers.

Rodrick Long, a 21-year-old Oakland native who’d been camped at the occupation for two days when I met him, said he felt he was participating in a piece of Oakland’s history.

“As far as Oakland goes, I just think we need more unity,” he said. “There’s a lot of gang violence, and a lot of poverty. A lot of people don’t show enough that they care about Oakland. But it’s a lot of people here. I didn’t expect this many people to come.”

 

MANAGING CONFLICT

Occupy Oakland seemed both serious and playful as it journeyed each day toward fomenting the revolution, or maybe just keeping the camp together, depending on who you asked. A tense General Assembly meeting was reportedly held after the city issued the first eviction notice on Oct. 20, and occupiers vowed to hold their ground. But the somber moment broke up when someone kept randomly shouting “Michael Jackson!” — prompting someone to blast the song “Smooth Criminal” over a loudspeaker, sparking an impromptu dance party before everyone got down to business again.

The occupiers were sculpting a self-governed, non-hierarchical mini society in the heart of Oakland as an affront to Wall Street bankers and capitalism itself — a complicated endeavor, to be sure. This was, after all, a mix of perfect strangers, some with mental-health issues (who’d been failed by the very system the occupation was opposing, several people pointed out to me), striving to coexist in a densely populated public park. Illegally.

There were ups and downs. Mainstream newspapers were running headlines about the occupation’s rat problems, television reporters had gotten into tiffs with protesters, and in the hours before I arrived, a man who went by Kali was forced out for starting arguments that eventually came to blows.

The outside world seemed separate from the occupation, though its presence was acutely felt. News vans were parked along the perimeter at all hours of the day, and a live stream sent raw footage directly to the Internet, making the surreal scene feel a bit like a fishbowl.

As night fell, around 150 people congregated in the plaza’s amphitheater for the evening’s General Assembly, which opened with general announcements. Ellen spoke about organizing actions against foreclosures. Jonathan urged a transition from mega-banks to credit unions. Someone proposed expanding the first aid tent into a free clinic that would operate out of an onsite RV. But just as a woman began describing the struggle of revolutionary youth in Uganda, shouts rang out from somewhere in the thicket of tents. Kali was back. Members of the “safer spaces” committee made a beeline toward him to try and deescalate the conflict, while others milled about in alarm and confusion.

Despite mediators’ efforts, Kali went on a rampage, triggering an emergency meeting to determine how best to handle this kind of aggression. Once he departed, however, the encampment’s emotional rollercoaster seemed to wind down.

“It’s up to us to figure out creatively how to maintain the health of this camp,” organizer Louise Michel told me later. “It’s really important for people here to figure out how to problem solve … Everyone has the commitment.”

 

LOOKING FOR REASONS

Dialogues had been started to address safety issues — but the city of Oakland was highlighting reports of assaults and sexual harassment as reasons the encampment would not be allowed to stay.

Security volunteers were regularly stationed around the plaza perimeter. Tim Simons began his shift around midnight, pacing the sidewalk and gazing out at the deserted downtown Oakland street while maintaining constant communication with his security crew via walkie-talkie.

“It’s been the most intense mixture of people coming together that I’ve ever seen,” reflected Simons, who’d watched the occupation grow since the beginning. “They’re camping here because they want this to become a revolutionary political force. The significant question is: How do we project outward from here? Is this going to become more than just a camp?”

He stressed its significance as a takeover of public space, saying it integrated all manner of people whose lives had been impacted by failed economic policies. Simons also acknowledged the anti-police attitude shared by many occupiers. “In Oakland, it’s really hard to play this game that the police are on our side,” he said. “There’s no real illusion here about what role the cops play.”

That sentiment wasn’t shared by everyone, though. “We’re trying to practice a nonviolent response toward police,” Mindy Stone, who was staying in a tent at the Occupy Oakland overflow camp at Snow Park, told me. “We want to try to make them feel like they are the 99 percent.”

It had been an eventful night. I drifted off to sleep in a borrowed tent, as the banter of people sitting and smoking on park benches floated in.

The next morning was sunny and warm, and the mood of the camp was buoyant. Kitchen volunteers busily prepared food, joking together as they listened to music. Donations flowed in daily from Arizmendi bakery, farmers’ markets, and other generous supporters.

In the arts and crafts area, people were painting a banner to urge people to withdraw their money from major banks by Nov. 5, Guy Fawkes Day. A redhead in a flowing silken outfit wound his way through camp with a garbage bag, asking people if they had pocket trash. A self-defense workshop was in swing, its participants partnered up, giggling, as they practiced holds and blocks.

 

INCUBATING IDEAS

Dallas Holland was tending wheatgrass, bok choy, herbs, and other edibles in a container garden. “I’ve been overwhelmed with the way the community has come together … It’s amazing to watch this transform into a Mecca of ideas,” she said. “People are having meetings and thinking of ways to perpetuate the movement.” An Alabama native, Holland graduated from college in 2006 and had been unemployed for a year.

Allen Adams, a 37-year-old Oakland native, told me he’d been sleeping outside regularly since before the occupation. “I quadruple up on the shirts. It gets to you,” he said.

He’d had little luck finding work, though he was constantly searching online. With him was Brandy, his well-loved, four-month old pit bull.

“I’ve been struggling all my life,” Adams said. “My dad did, my mom did, my grandmother did. And for what? To have no money.” But he said he was amazed and inspired by the occupation. “I like the fact that people can get together and discuss issues. How can we implement programs to do what California has failed to do? It’s a big task. We’re just working toward betterment. Lasting changes, not just temporary shit.”

Michel echoed these goals. “It’s really bold, and it’s really complex, but no one’s ever lived what we’re trying to do,” she said. “People feel a lot of ownership over what we have here. There’s a sense here of people having each other’s back. Politically, it’s huge.”

During my last hour at Occupy Oakland, David Hilliard, a founding member of the Black Panthers, delivered a speech, driving home the point that the occupation should be organized and focused.

“You’re here, which is a wonderful thing,” Hilliard told the occupiers. “Now we need to have some very basic programs dealing with desires and needs here in Oakland. It can’t be abstract. I can assure you, in a very short time, they’re going to run you out of here. Put something on paper that can help you address the basic desires — otherwise, you’re not going to last long. Get some concrete demands.” *

Stage Listings

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

THEATER

OPENING

How to Love Garage, 975 Howard, SF; www.pustheatre.com. $15. Opens Fri/28, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through Nov 20. Performers Under Stress Theatre presents Megan Cohen’s Plato-inspired world premiere.

Totem Grand Chapiteau, AT&T Park, Parking Lot A, 74 Mission Rock, SF; cirquedusoleil.com/totem. $58-248.50. Opens Fri/28, 8pm. Runs Tues-Sun, schedule varies. Through Dec 11. Cirque Du Soleil returns with its latest big-top production.

BAY AREA

Annie Berkeley Playhouse, Julia Morgan Center for the Arts, 2640 College, Berk; (510) 845-8542, www.berkeleyplayhouse.org. $17-35. Opens Thurs/29, 7pm. Runs Thurs-Sat, 7pm; Sun, noon and 5pm. Through Dec 4. Berkeley Playhouse performs the classic musical.

ONGOING

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

Desdemona: A Play About a Handkerchief Boxcar Theatre Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $15-35. Wed-Sat, 8pm; Sun, 3pm. Through Nov 5. Written in 1979 by a 28-year-old Paula Vogel, Desdemona retells a familiar Shakespearean tragedy, Othello, through the eyes of its more marginalized characters, much as Tom Stoppard’s Rosencrantz and Guildenstern are Dead did with Hamlet in 1966. In Vogel’s play, it is the women of Othello — Desdemona the wife, Emilia her attendant (demoted down to washer-woman in Vogel’s piece), and Bianca, Cassio’s lover, and the bawdy town pump — who are the focus, and are the play’s only onstage characters. Whiling away an endless afternoon cooped up in the back room of the governor’s mansion, the flighty, spoiled, and frankly promiscuous Desdemona (Karina Wolfe) frets over the loss of her “crappy little snot-rag,” while her subservient, pious, but quietly calculating washer-woman Emilia (Adrienne Krug) scrubs the sheets and mends the gubernatorial underpants with an attitude perfectly balanced between aggrieved, disapproving, and cautiously optimistic. Though the relationship between the two women often veers into uncomfortable condescension from both sides, their repartee generally feels natural and uncontrived. Less successfully portrayed is Theresa Miller’s Bianca, whose Cockney accent is wont to slip, and whose character’s boisterous nature feels all too frequently subdued. Jenn Scheller’s billowing, laundry-line set softens the harsh edges of the stage, just as Emilia’s final act of service for her doomed mistress softens, though not mitigates, her unwitting role in their mutual downfall. (Gluckstern)

Fear SF Playhouse, Stage Two, 533 Sutter, SF; www.un-scripted.com. $12-25. Wed/26-Mon/31, 8pm. Un-Scripted Theater Company performs improvised horror stories.

Hanging Georgia Thick House, 1695 18th St, SF; www.theatrefirst.com. $15-30. Thurs/27, 7:30pm; Fri/28-Sat/29, 8pm; Sun/30, 5pm. TheatreFIRST, in collaboration with BootStrap Theater Foundation, presents an ambitious but shallow new play by Sharmon J. Hilfinger about the emergence of artist Georgia O’Keefe (Paz Pardo), with emphasis on her rocky but crucial relationship with groundbreaking modernist photographer and exhibitor Alfred Stieglitz (Michael Storm). Set to a tuneful score by Joan McMillen, the play unfolds as a creative series of tableaux, in which director Jake Margolin has actors animating art objects and making live sound effects as well as stepping into various historical roles, including art patron and salon queen Mabel Dodge (Claire Slattery) and photographer Paul Strand (Nick Allen). In addition to some weak or doubtful interpretations of these personages, the acting is uneven and overly presentational throughout. No doubt the musical underscoring pushes the volume up but Hilfinger’s dialogue tends to be didactic anyway. At times the whole production feels as if it were being pitched to children, with little sense of the complexities of lived experience but rather a one-note history lesson whose characters and moral, however closely pegged to biographical details, are hard to credit as real life. (Avila)

Honey Brown Eyes SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-50. Tues-Thurs, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through Nov 5. Bosnia in 1992 is divided in a horrifying civil war, some characteristics of which play out in parallel circumstances for two members of a single rock band in SF Playhouse’s west coast premiere of Stefanie Zadravec’s new play. In the first act, set in Visegrad, a young Bosnian Muslim woman (Jennifer Stuckert) is held at gunpoint in her kitchen by a jumpy soldier (Nic Grelli) engaged in a mission of murder and dispossession known as ethnic cleansing. The second act moves to Sarajevo and the apartment of an elderly woman (Wanda McCaddon) who gives shelter and a rare meal to an army fugitive (Chad Deverman). He in turn keeps the bereaved if indomitable woman company. Director Susi Damilano and cast are clearly committed to Zadravec’s ambitious if hobbled play, but the action can be too contrived and unrealistic (especially in act one) to be credible while the tone — zigzagging between the horror of atrocity and the offbeat gestures of romantic comedy — comes over as confused indecision rather than a deliberate concoction. (Avila)

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through Nov 13. Acclaimed solo performer Don Reed (East 14th) premieres his new show, based on his post-Oakland years living in Los Angeles.

Making Porn Box Car Theatre Studios, 125A Hyde, SF; www.brownpapertickets.com. $25-50. Thurs/27, 8pm; Fri/28-Sat/29, 7 and 10pm. Ronnie Larsen brings back his crowd-pleasing comedy about the gay porn industry.

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

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

*The Odyssey Aboard Alma, Hyde Street Pier, San Francisco Maritime National Historic Park, SF; www.weplayers.org. $160. Fri/28-Sat/29, Nov 4-6, 11-12, and 18, 12:30pm. Heralding their hugely ambitious Spring 2012 production of The Odyssey, which will take place all over Angel Island, the WE Players are tackling the work on a slightly smaller scale by staging it on the historic scow schooner Alma, which is part of the Maritime National Historical Park fleet docked at the end of Hyde Street Pier. Using both boat and Bay as setting, the essential chapters of the ten-year voyage — encounters with the Cyclops, Circe, the Underworld, the Sirens, Aeolus, the Laestrygonians, and Calypso — are enacted through an intriguing mash-up of narration, choreography, sea chanteys, salty dog stories (like shaggy dog stories, but more water-logged), breathtaking views, and a few death-defying stunts the likes of which you won’t see on many conventional stages. High points include the casual swapping of roles (every actor gets to play Odysseus, however briefly), Ross Travis’ masked and flatulent Prometheus and sure-footed Hermes, Ava Roy’s hot pants-clad Circe, Charlie Gurke’s steady musical direction and multi-instrumental abilities, and the sail itself, an experiential bonus. Landlubbers beware, so much time facing the back of the boat where much of the action takes place can result in mild quease, even on a calm day. Take advantage of the downtime between scenes to walk around and face forward now and again. You’ll want to anyway. (Gluckstern)

On the Air Pier 29 on the Embarcadero (at Battery), SF; (415) 438-2668, love.zinzanni.org. $117 and up (includes dinner). Wed-Sat, 6pm; Sun, 5pm. Through Dec 31. Teatro ZinZanni’s final performance at Pier 39 riffs on the company’s own struggles to stay in San Francisco. Geoff Hoyle and Duffy Bishop are the headlining guest stars.

Pellas and Melisande Cutting Ball Theater, Exit on Taylor, 277 Taylor, SF; 1-800-838-3006, www.cuttingball.com. $10-50. Opens Thurs/27, 8pm. Runs Thurs, 7:30; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 27. Cutting Ball Theater performs Rob Melrose’s new translation of Maurice Maeterlinck’s avant-garde classic.

Race American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-85. Opens Wed/26, 8pm. Runs Tues-Sat, 8pm (Tues/1, performance at 7pm; also Wed and Sat, 2pm); Sun, 2pm (no matinee Wed/26; additional show Nov 6 at 7pm). Through Nov 13. ACT performs David Mamet’s wicked courtroom comedy.

Richard III Curran Theatre, 445 Geary, SF; 1-888-746-1799, www.shnsf.com. $35-150. Wed/26-Fri/28, 7:30pm; Sat/29, 2 and 8pm. Kevin Spacey plays the lead in this Sam Mendes-directed production of the Shakespeare classic.

The Rover, or the Banish’d Cavaliers, The American Clock Hastings Studio Theater, 77 Geary, SF; (415) 749-2228, www.act-sf.org. $10 ($15 for both productions). Through Nov 5, performance times vary. American Conservatory Theater’s Masters of Fine Arts program presents plays in repertory by Aphra Behn and Arthur Miller.

“San Francisco Olympians Festival” Exit Theater, 156 Eddy, SF; www.sfolympians.com. Thurs/27-Fri/28, 8pm. No Nude Men Productions presents a festival of 12 new full-length plays written by 14 local writers. Each play focuses on one of the Olympian characters from ancient Greece.

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

ShEvil Dead Cellspace, 2050 Bryant, SF; www.brownpapertickets.com. $25. Fri/28-Sat/29, 8pm. Primitive Screwheads return with a horror play (in which the audience is literally sprayed with blood, so leave the fancy suit at home!) based on the Evil Dead movies.

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

You Will Gonna Go Crazy Bayanihan Community Center, 1010 Mission, SF; 1-800-838-3006, www.brownpapertickets.com. $7-17. Fri/28-Sat/29, 8pm; Sun/30, 3pm. Kularts presents a multimedia dance-theater play.

BAY AREA

Bellwether Marin Theatre Company, 397 Miller, Mill Valley; (415) 388-5208, www.marintheatre.org. $34-55. Wed/26, 7:30pm; Thurs/27-Sat/29, 8pm (also Sat/29, 2pm); Sun/30, 2 and 7pm. Marin Theatre Company performs Steve Yockey’s spooky fairy tale for adults.

Clementine in the Lower 9 TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Wed/26, 7:30pm; Thurs/27-Sat/29, 8pm (also Sat/29, 2pm); Sun/30, 2 and 7pm. TheatreWorks presents the world premiere of Dan Dietz’s post-Katrina New Orleans drama.

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

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

Inanna’s Descent Codornices Park, 1201 Euclid, Berk; www.raggedwing.org. Free. Sat/29-Sun/30, 1pm; Mon/31, 5-8pm. After last year’s memorable presentation of the Persephone myth as a site-specific, Halloween-heralding, multi-disciplinary performance in the wooded glades of Codornices Park, it seemed inevitable that Ragged Wing Ensemble would want to build on that success by following it up with an equally memorable exploration of another mythological underworld. This year’s chosen subject, the descent of the Sumerian Goddess Inanna, Queen of the Heavens into the Underworld where her jealous sister Ereshkigal reigns, is enacted as a half-hour play as well as a self-guided, seven-station circuit around the park, from the tunnel to the fire pit, where the central performance is held. Each station is hosted by a different character from the play, who engages each passing audience member in a series of activities: from wishing on the future to coloring in a self-portrait of “meat.” The play itself stars Kelly Rinehart as Inanna, “the bombshell of the story,” who appears onstage clad in a dress of shredded reflective insulate and a giant leonine headdress. The other ensemble-created costumes are cleverly constructed of equally non-biodegradable materials: a faux-fur cloak decorated with remote controls, robes of state made entirely from rustling plastic shopping bags, a bandolier of empty water bottles. More genial and thought-provoking than a typical trip to a haunted house, Inanna’s Descent is an inventive Halloween expedition for children of most ages, and adults with young hearts. (Gluckstern)

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

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

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

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

DANCE/PERFORMANCE

“Night Falls” ODC Theater, 3153 17th St, SF; (415) 863-9834, www.deborahslater.org. Thurs-Sat, 8pm; Sun, 2pm. $17-20. Peregrine is a freelance film writer awoken from bad dreams on the eve of her 60th birthday in this fitful but witty dance-theater rumination on aging and success co-directed by writer Julie Hébert and choreographer Deborah Slater. Played by a restless, irascible Joan Shirle (a force in pajamas and leather jacket with wild graying hair), Peregrine is alone yet not — shadowed by a younger self (Jessica Ferris) and the shade of her aging mother (Patricia Silver) as well as a certain feminine spirit known (in the program) as Prima (Patricia Jiron) who sings snatches of a Beatles song while flashing a flummoxing eight of spades at troubled Peregrine. Set against, and on, a large metal staircase covered by a wall of driftwood curled at the top like a cresting wave (in Giulio Cesare Perrone’s scenic design), Peregrine chews up the night with worry and regret, yet to write tomorrow’s commencement speech for MFA grads despite the job that may be riding on it. Feeling she has nothing to say, wondering where her youth went, and cynical about mentoring students in a ruthless freelance economy, she makes a desperate call to her ex-husband only to retrieve his brother (Robert Ernst) by mistake. He too comes shadowed by a youthful spirit (Stephen Buescher), who flirts shamelessly with Peregrine’s counterpart, but ultimately retreats in hesitation back into his own pain, though not without some good accomplished. From scattered anguish and anxiety, amid a gestural choreography alternately suggesting slow-tumbling physicality and imperfect or vaguely noisome communication, the performers finally coalesce around an individual acceptance of the persistence of the body itself, site and measure of all that — in the wee hours of truthful night — could ever be called success. (Avila)

*”PanderFest 2011″ Stage Werx 446, 446 Valencia, SF; www.panderexpress.com. Thurs/27-Sat/29, 8pm. $20. San Francisco’s Crisis Hopkins and (PianoFight’s S.H.I.T. Show makers) Mission Control join forces for a tag-team evening of sketch and “improv” (quotes kind of necessary this time). Claiming dubiously to fill a need for yet another festival in this city (though at the same time striving for above-average fawning of the public), the show delivers two acts of mostly spot-on comedy by two agreeable ensembles and is thus a fine night out anyway. The program (based rather loosely on online-video–generated audience suggestions, interspersed with the sneezing Panda baby and other YouTube perennials) also inaugurates Stage Werx’s cozy new Mission District venue — the former digs of Intersection for the Arts and a huge improvement over Stage Werx’s old subterranean lair on Sutter Street. Highlights of a ridiculous evening include a two-part Crisis Hopkins sketch detailing a site visit by a ball-wrecking contractor (Christy Daly) to her chary foreman (Sam Shaw) and his withering cherries; and Mission Control’s pointed ’70s TV show homage with a twist, Good Cop, Stab Cop. (Avila)

Economic and social equality: WTF?

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Fascinating oped piece in the Oct 23 New York Times by Alexander Stille about economic and social equality. He starts right out with the issue:

It’s a puzzle: one dispossessed group after another — blacks, women, Hispanics and gays — has been gradually accepted in the United States, granted equal rights and brought into the mainstream.

At the same time, in economic terms, the United States has gone from being a comparatively egalitarian society to one of the most unequal democracies in the world.

The two shifts are each huge and hugely important: one shows a steady march toward democratic inclusion, the other toward a tolerance of economic stratification that would have been unthinkable a generation ago.

More:

Europe has maintained much more economic equality but is struggling greatly with inclusiveness and discrimination, and is far less open to minorities than is the United States.

Now: You can argue (and make a good case) that the dispossessed groups Stille talks about really haven’t won mainstream acceptance. But the fact is that over the past 30 years, this country has made considerable progress on the civil rights and social equality front — and has lost just as much ground or more in economic equality.

I don’t buy the hidden argument in here that social and economic equality are tradeoffs, that you have to give up one to get another. That’s ridiculous. And I think there are still times when race matters more than class. When you look at patterns of environmental justice, for example, you find that African American communities face far more toxic contamination than white communities — and income doesn’t seem to be as much a determining factor. In other words, middle class black communities have been dumped on more than poor white communities.

But I do think he makes an excellent point about class-based organizing in the U.S. It hardly exists anymore. And that’s something we all need to worry about.

The city is famous for its identify politics, and much of that is good. When Harvey Milk said that gay people should have their own supervisor, when Asians and Latinos and African Americans say they need to be represented in government, that’s not only valid but an important progressive goal.

But when we leave class, poverty, equality and economic justice out of the picture, or when we fail to make it a priority, we get what we have — a godawful economic mess.

The price of civilization: high taxes to support a high level of government services

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Jeffrey D. Sachs
Jeffrey D. Sachs is Professor of Economics and Director of the Earth Institute at Columbia University. He is also Special Adviser to United Nations Secretary-General on the Millennium Development Goals.

NEW YORK – We live in an era in which the most important forces affecting every economy are global, not local. What happens “abroad” – in China, India, and elsewhere – powerfully affects even an economy as large as the United States. 

Economic globalization has, of course, produced some large benefits for the world, including the rapid spread of advanced technologies such as the Internet and mobile telephony. It has also reduced poverty sharply in many emerging economies – indeed, for this reason alone, the world economy needs to remain open and interconnected.

Yet globalization has also created major problems that need to be addressed. First, it has increased the scope for tax evasion, owing to a rapid proliferation of tax havens around the world. Multinational companies have many more opportunities than before to dodge their fair and efficient share of taxation.

Moreover, globalization has created losers as well as winners. In high-income countries, notably the US, Europe, and Japan, the biggest losers are workers who lack the education to compete effectively with low-paid workers in developing countries. Hardest hit are workers in rich countries who lack a college education. Such workers have lost jobs by the millions. Those who have kept their jobs have seen their wages stagnate or decline.

Globalization has also fueled contagion. The 2008 financial crisis started on Wall Street, but quickly spread to the entire world, pointing to the need for global cooperation on banking and finance. Climate change, infectious diseases, terrorism, and other ills that can easily cross borders demand a similar global response. 

What globalization requires, therefore, are smart government policies. Governments should promote high-quality education, to ensure that young people are prepared to face global competition. They should raise productivity by building modern infrastructure and promoting science and technology. And governments should cooperate globally to regulate those parts of the economy – notably finance and the environment – in which problems in one country can spill over to other parts of the world.

The need for highly effective government in the era of globalization is the key message of my new book, The Price of Civilization. Simply put, we need more government nowadays, not less. Yet the role of government also needs to be modernized, in line with the specific challenges posed by an interconnected world economy.

I wrote The Price of Civilization out of the conviction that the US government has failed to understand and respond to the challenges of globalization ever since it began to impact America’s economy in the 1970’s. Rather than respond to globalization with more government spending on education, infrastructure, and technology, Ronald Reagan won the presidency in 1980 by pledging to slash government spending and cut taxes.

For 30 years, the US has been going in the wrong direction, cutting the role of government in the domestic economy rather than promoting the investments needed to modernize the economy and workforce. The rich have benefited in the short run, by getting massive tax breaks. The poor have suffered from job losses and cuts in government services. Economic inequality has reached a high not seen since the Great Depression.

These adverse trends have been exacerbated by domestic politics. The rich have used their wealth to strengthen their grip on power. They pay for the expensive campaigns of presidents and congressmen, so presidents and congressmen help the rich – often at the expense of the rest of society.  The same syndrome – in which the rich have gained control of the political system (or strengthened their control of it) – now afflicts many other countries.

Yet there are some important signs around the world that people are fed up with governments that cater to the rich while ignoring everyone else. Start with the growing calls for greater social justice. The upheavals in Tunis and Cairo were first called the Arab Spring, because they seemed to be contained to the Arab world. But then we saw protests in Tel Aviv, Santiago, London, and now even in the US. These protests have called first and foremost for more inclusive politics, rather than the corrupt politics of oligarchy.

Moreover, US President Barack Obama is gradually shifting toward the left. After three years in which his administration coddled corporate lobbyists, he has finally begun to emphasize the need for the rich to pay more taxes. This has come late in his term, and he might well continue to favor the rich and Wall Street in exchange for campaign contributions in 2012, but there is a glimmer of hope that Obama will defend a fairer budget policy.

Several European governments, including Spain, Denmark, and Greece, also seem to be moving in the same direction. Spain recently imposed a new wealth tax on high-net-worth taxpayers. Denmark elected a center-left government committed to higher government spending financed by new taxes on the rich. And Greece has just voted for a new property tax to help close its yawning fiscal deficit.

The European Commission has also called for a new Financial Transactions Tax (FTT) to raise around $75 billion per year. The Commission has finally agreed that Europe’s financial sector has been under-taxed. The new FTT might still face political opposition in Europe, especially in the United Kingdom, with its large and influential banking sector, but at least the principle of greater tax fairness is high on the European agenda.

The world’s most successful economies today are not in Asia, but in Scandinavia. By using high taxes to finance a high level of government services, these countries have balanced high prosperity with social justice and environmental sustainability. This is the key to well-being in today’s globalized economy. Perhaps more parts of the world – and especially the world’s young people – are beginning to recognize this new reality.


Jeffrey D. Sachs is Professor of Economics and Director of the Earth Institute at Columbia University. He is also Special Adviser to United Nations Secretary-General on the Millennium Development Goals.

Copyright: Project Syndicate, 2011.
www.project-syndicate.org

28 films in six days: Jesse Hawthorne Ficks at the 2011 Toronto International Film Festival (part three)

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Check out parts one (here) and two (here).

21) Wuthering Heights (Andrea Arnold, UK) Adapting Emily Brontë’s novel from 1847 is a perfect project for the stark realist Andrea Arnold. Her previous films Fish Tank (2009) and Red Road (2006) have captured audiences with their brutal honesty and inspired storytelling. With perhaps the most visually poetic atmosphere since Lynne Ramsey and Claire Denis, Arnold manages to emphasize every snowflake in this austere tale of lost love without a single lazy hint of narration. Do not miss this for the world.

22) The Kid with a Bike (Jean-Pierre Dardenne and Luc Dardenne, Belgium/France/Italy) Can these Belgian brothers make a bad film? Seriously? Like their Rosetta (1999), The Son (2002), and L’enfant (2005), this is yet another hypnotic neo-realist journey portraying modern-day youth like no other in cinema. Every character makes unexpected and inevitable decisions. No moment is false. The Dardennes create movies that make life feel more real.

23) God Bless America (Bobcat Goldthwait, USA) Of all the films at Toronto this year, though it may not be as fully realized or neatly trimmed as others, Bobcat Goldthwait’s low-budget quickie has the most immediacy. Blending Todd Solondz and Oliver Stone, the fiery God Bless America follows a couple of frustrated and nihilistic characters as they rant and rave their way across the country, incessantly exposing every annoying detail about this past decade. The film takes out everything from American Apparel to American Idol; in the Q&A following the film’s midnight screening, Goldthwait shocked audiences when he called out Kevin Smith and referred to Oprah Winfrey as the devil.

Even though Goldthwait’s constant, unmuzzled, reactionary explosions may ultimately overstay their welcome by the last act, God Bless America does something unlike any comedy I’ve seen this year: it cares enough about our country to get mad as hell and not want to take it anymore.

24) Trishna (Michael Winterbottom, UK) Deconstructing the Bollywood genre by simply removing the gloss from the top, Winterbottom has crafted a Thomas Hardy-inspired (yet modern) tale of life in the big city (in this case, Rajasthan). As a young woman (Freida Pinto of 2008’s Slumdog Millionaire) attempts to transcend her family’s poverty, she meets hip young tourist Jay (Riz Ahmed, 2006’s The Road to Guantanamo Bay) who falls for her beauty. What follows is a Robert Bresson-esque tale with spectacularly nuanced acting and editing that has the possibility of leaving you absolutely breathless.

25) Shame (Steve McQueen, UK) Gasps fluttered through the air as Michael Fassbender wandered around his apartment naked in the opening sequence of Steve McQueen’s sophomore output (after 2008’s Hunger, also with Fassbender). Shame explores the concept that the desire for sex consumes many of our lives; it’s a mesmerizing film that plumbs darker depths than anyone in the theater was prepared for. Containing hands-down one of the greatest and bravest roles of the decade (Fassbender took the acting award in Venice) — Shame also features a heart-wrenching Carey Mulligan performance, as Fassbender’s seriously self-destructive sister. Bearing the imminent scarlet letter of NC-17 (which most US movie chains won’t screen), Shame is still a movie not to be missed.

26) Your Sister’s Sister (Lynn Shelton, USA) The sleeper of TIFF 2011, Lynn Shelton’s follow-up to her genre-defining bromance Humpday (2009) is a pitch-perfect indie flick. Depressed and confused 30-something Jack (played by Mark Duplass, master of casual awkwardness) heads off to a remote island to figure out his life. The only trouble: his best friend (a mesmerizing Emily Blunt) also has a lesbian sister (Rosemarie DeWitt) who is already there doing her own soul searching. With this contemplative, honest, and hilarious film, Shelton is turning out to be quite a splendid voice for our current generation of progressive pitfallers.

27) Melancholia (Lars von Trier, Denmark/Sweden/France/Germany) Lars von Trier’s infamous press conference at Cannes (in which he compared himself to Hitler among other things) should not dissuade any cinephiles from seeing his evocatively profound latest film. In fact, this sci-fi (by way of John Cassavetes) entry proves that the auteur not only dares to explore panic attack-inducing subject matters (comparing the anxiety towards marrying the wrong person with, say … the end of the world), but he’s able to do it with horrific beauty. As a result, Melancholia might be his most accessible and most traumatizing film to date.

28) We Need to Talk About Kevin (Lynne Ramsey, UK/USA) There are some films that need to be seen more than once. There are are some filmmakers who need to make more than one movie every eight years. Enter Lynne Ramsey. Adapted from Lionel Shriver’s book of the same title, Ramsey’s epic descent into the difficult relationship between a mother and son doesn’t just beautifully weave through the universal moments of familial love and hate (similar to Terrence Malick’s 2010 Tree of Life), it teleports you visually without relying on a single shred of narration, explanatory dialogue, or without ever condescending to the audience.

Kevin boasts stunning performances by Tilda Swinton and Ezra Miller as the mother and son; what could’ve been a tossed-off husband role is made hauntingly sweet by the almighty John C. Reilly. Here’s hoping the success of this film will insure the kind of industry (and financial) attention that’ll allow Ramsey to shorten the gaps between her films. We Need to Talk About Kevin, but more importantly, we need to talk about Lynne Ramsey!

Jesse Hawthorne Ficks teaches full time as the Film History Coordinator at the Academy of Art University; he also curates the film series Midnites for Maniacs, which celebrates dismissed, underrated, and overlooked films.

Standing up for Troy Davis

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news@sfbg.com

OPINION We were all standing there in different states of hegemony — some of us bought in to the lie of security and police, believing we had done wrong or fucked up and some of us not. It was Wednesday, September 21, the day of the state-sponsored legal lynching of Troy Anthony Davis, and there were easily 210 of us standing in a line snaking out of the building. We were in the Cop Store the Police Bank, the building known simply as the Hall of (In)Justice, 850 Bryant.

In the last six months since budget cuts have sliced deeper wounds in society’s collective flesh, yet more cops roam the streets issuing more tickets. The line for traffic tickets outside room 145 has begun to expand like a python ready to strike, like an unchecked levy after a storm. The people are piling up and the workers to help them diminishing.

I was there standing in that line. I was rocking my hand-made, life-size, “Yo Soy Troy Davis … I am Troy Davis” shirt/body patch. It was 11:00 am and I was tweeting, calling, petition signing, and calling again. My heart had dropped to the bottom, heavy as a boulder crashing through the window of my soul. And then I remembered, I had a voice. Maybe that’s all I had, but I had a voice and I could speak up and then….

“Excuse me, can I get everyone’s attention…..”

I had waited until the halls were clear of police and the only sound you heard was the silent tapping of fingernails on touch screens — and then I did it. I stepped outside of excepted norms of behavior, violated all those unseen, unsaid demands on speech, the rules on when it’s okay to speak up.

“They are about to execute an innocent man in Georgia in less than five hours, and you all can do something about it, right now, from right here…”

I went on to explain a little back ground about the case of brother Troy and fact that seven out of nine witnesses recanted their testimonies and how so many people, including several politricksters in power, have stood up to say this is wrong.

“I have the number on my phone that you all can call. I have the link to the petition that you can sign. Please consider it. We aren’t doing anything else for at least the next hour, right?”

And then it was over. I finished speaking and people looked away. They continued ticking on their meta-keyboards, and looking at their nails, and reading their papers, and looking at their feet. And it was if I have never said anything. Or was it?

My brother in my POOR Magazine family of poverty scholars and reporters told me he did a similar thing on the evening of the S-Comm threat of deportation his family had just had to deal with in Oakland.

“I looked around, it was a crowded BART train and no one was saying anything or doing anything. We were all just standing there. I knew no-one else would say anything so I decided to speak up. I busted out with my poem about the criminalization of immigrants.” He said that when he was finished with the piece, no one said anything — but the air was heavy with his words.

Some organizers and conscious folks talk about moving on — but at POOR Magazine, will not move on. We will continue to speak up in places we are not supposed to about things we are not supposed to mention, and we will make art and cultural work about things and people that never get art made about them and we will work daily to make sure that all silenced, removed, deported, lynched, incarcerated, criminalized, harassed and abused peoples are heard and loved and remembered — and we hope you all do the same. Even when its uncomfortable. 

Tiny, aka Lisa Gray Garcia, is an editor at POOR magazine.

A case for Avalos, Yee and Dufty

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OPINION Like all of us, SEIU 1021 can take three dates to the prom when it comes to voting for mayor, but narrowing it down in a field of so many candidates was still challenging. After a month-long process, we arrived at a dual endorsement of Supervisor John Avalos and State Senator Leland Yee for first and second choice, and Supervisor Bevan Dufty for our third choice.

It’s a diverse slate, and the choices are representative of the constituencies, perspectives and priorities in our membership.

Yee’s record on labor issues in Sacramento has been impeccable, and he has long been a staunch supporter of our union, so endorsing him was a no-brainer. The Guardian asked me personally, as I am also a transgender activist, how I could support Leland after his vote against transgender health benefits. Frankly, I was disappointed in how my response was framed.

Leland approached transgender activists a number of years ago and apologized for his vote. Instead of denying or rationalizing like other politicians might do, he had the courage to come to a community meeting of transgender activists, stand in front of us, admit he was wrong, and apologize. For people to continue to attack an individual for having a true change of heart is very discouraging. We would never make any advancement of our rights if we continued to shun those who have come to understand and support the transgender fight for equality. In fact, Yee’s support was critical to the collective effort to save Lyon-Martin, a clinic that is a key service provider for trans folks, after it almost closed earlier this year.

That’s why so many in the transgender community now support Yee so strongly and why he has become an even closer, tested ally through this experience.

SEIU 1021 has always had a very close relationship with John Avalos. Avalos has been a steadfast supporter of crucial social and health- care services, and has been a leader in creating needed progressive revenue measures. But most importantly, John understands how essential jobs are for lifting people out of poverty and stimulating the local economy for everyone in San Francisco.

Last year, he introduced a Local Hire ordinance that is becoming a real jobs generator in our city and a national model. Like many of our members when they first started working for the city, workers hired under the Local Hire ordinance may for the first time have a living-wage job with benefits.

And while some in labor have been critical of this legislation — in fact, it cost him the endorsement of the San Francisco Labor Council — that’s a short-sighted criticism.

As more people are employed in San Francisco with living wage jobs, they spend money in San Francisco, boosting tax revenues and in turn creating more jobs across the city. Moreover, this visionary legislation has other benefits — workers coming from low-income communities bring a new found pride in and community spirit to what could be otherwise economically depressed areas. That’s why SEIU 1021 supports Avalos, and why I am proud to endorse him as well.

Rounding out SEIU’s endorsements in this campaign is former Supervisor Bevan Dufty. Dufty has a history of supporting preserving city services. Some have argued that Dufty can’t handle downtown pressure, and yet, Dufty has consistently supported public power, took a stance against Sit-Lie despite intense pressure, and several years ago, at a critical juncture for Tom Ammiano’s signature health care legislation, Healthy San Francisco, he didn’t blink when we called on him to be our 8th vote. In fact, he committed to the bill, unequivocally, and called on other supervisors, like Fiona Ma, to say it was time. She immediately co-sponsored and eventually it was a unanimous 11-0 vote.

For labor and progressives, Ammiano’s Healthy San Francisco legislation was the single most important piece of legislation of the last decade. And while history has been rewritten, and Lt. Gov. Gavin Newsom now takes credit for the legislation, then-Mayor Newsom did not come on board until after Dufty declared his support, and as the 8th supporter, created a veto-proof majority.

Each of these candidates have shown their capacity to grow and transform as leaders making them the best choices for progressive labor, and we believe for the San Francisco. Whatever you do, you have three votes, make them count. 

Gabriel Haaland is a transgender labor activist and the SEIU 1021 San Francisco political coordinator.

 

On the eve of our 45th anniversary–a new progressive agenda

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(The new progressive agenda is at the bottom of this blog.)

In our second issue of Nov. 1, 1966, the Guardian endorsed then Gov. Pat Brown over Ronald Reagan in what we called “the most important gubernatorial election in California history.” We wrote in a front page editorial that “the repudiation of Brown and the election of Reagan would mean that a generation of progressive legislation—in medicare, in education, in welfare, in conservation, in water resources, in bringing to account the dreadful problems of growth, population and sprawl—would be in grave jeopardy.”

We were much too prescient when we wrote that “Reagan rides the crest of the latest Califorrnia breakers of ‘conservation’–like Gatsby, it looks for fulfillment in another time–”boats against the current, borne back ceaselessly into the past.” Reagan’s stands, we noted, “typify the temper of this cause: he is on record at various times, in opposition to the progressive income tax, social security, medicare, the anti-poverty program, farm subsidies, TVA, the city rights act, the voting rights, public housing, federal aid to education and veterans housing for other than service-connected disabilities”

And we asked the obvious question: “How can a man or a movement govern the state of California, from 1966-70, with such a political philosophy?”

Well, Reagan won, he became governor and then president and it seems as if the Guardian has ever since been fighting Reaganonics in one form or another and its deadly legacy of deregulation, ever  lower taxes, laissez-faire economics, ever higher  fees for California colleges, the me-first-and-last  culture, the pernicious idea that government is the problem and  that corporate interests are the solution, on  and on. It’s still the case and we point to the concluding Guardian forum on issues for the mayor’s race.

It’s Wednesday night (9/21) at the LGBT Center. All but one of the major mayoral candidates will be there (Mayor Ed Lee has not confirmed). And the candidates will be asked whether they support key elements of the new progressive agenda developed by several progressive organizations in five forums over the past several months. An independent blue ribbon all-star panel of experts will judge whether the would-be mayors answered yes, no—or waffled. It should be lively, fun,  instructive, and very San Franciscan.  On guard! B3

See you there: Wednesday, Sept. 2l, from 6 to 7:30 p.m., at the LGBT Center, 1800 Market St., (at Octavia) in San Francisco. And here’s the new progressive agenda: http://www.sfbg.com/2011/09/13/new-progressive-agenda

 

 

A new progressive agenda

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Over the past three months, the Guardian has been hosting a series of forums on progressive issues for the mayor’s race. We’ve brought together a broad base of people from different communities and issue-based organizations all over town in an effort to draft a platform that would include a comprehensive progressive agenda for the next mayor. All told, more than 100 people participated.

It was, as far as we know, the first time anyone tried to do this — to come up with a mayoral platform not with a few people in a room but with a series of open forums designed for community participation.

The platform we’ve drafted isn’t perfect, and there are no doubt things that are left out. But our goal was to create a document that the voters could use to determine which candidates really deserve the progressive vote.

That’s a critical question, since nearly all of the top contenders are using the word “progressive” on a regular basis. They’re fighting for votes from the neighborhoods, the activists, the independent-minded people who share a vision for San Francisco that isn’t driven by big-business interests.

But those of us on what is broadly defined as the city’s left are looking for more than lip service and catchy phrases. We want to hear specifics; we want to know that the next mayor is serious about changing the direction of city policy.

The groups who endorsed this effort and helped plan the forums that led to this platform were the Harvey Milk LGBT Club, SEIU Local 1021, the San Francisco Tenants Union, the Human Services Network, the Community Congress 2010, the Council of Community Housing Organizations, San Francisco Rising, Jobs with Justice, and the Center for Political Education.

The panelists who led the discussions were: Shaw-san Liu, Calvin Welch, Fernando Marti, Gabriel Haaland, Brenda Barros, Debbi Lerman, Jenny Friedenbach, Sarah Shortt, Ted Gullicksen, Nick Pagoulatos, Sue Hestor, Sherilyn Adams, Angela Chan, David Campos, Mario Yedidia, Pecolio Mangio, Antonio Diaz, Alicia Garza, Aaron Peskin, Saul Bloom, and Tim Redmond.

We held five events looking at five broad policy areas — economy and jobs; land use, housing and tenants; budget and social services; immigration, education and youth; and environment, energy and climate change. Panelists and audience participants offered great ideas and the debates were lively.

The results are below — an outline of what the progressives in San Francisco want to see from their next mayor.

 

 

ECONOMY AND JOBS

Background: In the first decade of this century, San Francisco lost some 51,000 jobs, overwhelmingly in the private sector. When Gavin Newsom was sworn in as mayor in January 2004, unemployment was at 6.4 percent; when he left, in January 2011, it was at 9.5 percent — a 63 percent increase.

Clearly, part of the problem was the collapse of the national economy. But the failed Newsom Model only made things worse. His approach was based on the mistaken notion that if the city provided direct subsidies to private developers, new workers would flock to San Francisco. In fact, the fastest-growing sector of the local economy is the public sector, especially education and health care. Five of the 10 largest employers in San Francisco are public agencies.

Local economic development policy, which has been characterized by the destruction of the blue-collar sector in light industry and maritime uses (ironically, overwhelmingly privately owned) to free up land for new industries in business services and high tech sectors that have never actually appeared — or have been devastated by quickly repeating boom and bust cycle.

Instead of concentrating on our existing workforce and its incredible human capital, recent San Francisco mayors have sought to attract a new workforce.

The Mayor’s Office has, as a matter of policy, been destroying blue-collar jobs to promote residential development for people who work outside of the city.

There’s a huge disconnect between what many people earn and what they need. The minimum wage in San Francisco is $9.92, when the actual cost of living is closer to $20. Wage theft is far too common.

There is a lack of leadership, oversight and accountability in a number of city departments. For example, there is no officiating body or commission overseeing the work of the Office of Economic and Workforce Development. Similarly the Arts Commission, the chartered entity for overseeing cultural affairs, is responsible for less than 25 percent of the budget reserved for this purpose

There’s no accountability in the city to protect the most vulnerable people.

The city’s main business tax is highly regressive — it’s a flat tax on payroll but has so many exceptions and loopholes that only 8,500 businesses actually pay it, and many of the largest and richest outfits pay no city tax at all.

 

Agenda items:

1. Reform the Mayor’s Office of Economic and Workforce Development to create a department with workforce development as a primary objective. Work with the San Francisco Unified School District, City College and San Francisco State to create sustainable paths to training and employment.

2. Create a municipal bank that offers credit for locally developed small businesses instead of relying on tax breaks. As a first step, mandate that all city short-term funds and payroll accounts go only to banks or credit unions that will agree to devote a reasonable percentage of their local loan portfolios for small business loans.

3. Reform procurement to prioritize local ownership.

4. Link economic development of healthcare facilities to the economic development of surrounding communities.

5. Link overall approval of projects to a larger economic development policy that takes as its centerpiece the employment of current San Francisco residents.

6. Enforce city labor laws and fund the agency that enforces the laws.

7. Establish the Board of Supervisors as the policy board of a re-organized Redevelopment Agency and create community-based project area oversight committees.

8. Dramatically expand Muni in the southeast portion of the city and reconfigure routes to link neighborhoods without having to go through downtown. Put special emphasis on direct Muni routes to City College and San Francisco State.

9. Reform the payroll tax so all businesses share the burden and the largest pay their fair share.

10. Consolidate the city’s various arts entities into a single Department of Arts & Culture that includes as part of its mandate a clear directive to achieve maximum economic development through leveraging the city’s existing cultural assets and creative strengths and re-imagining San Francisco’s competitive position as a regional, national and international hub of creative thinking. Sponsor and promote signature arts programs and opportunities to attract and retain visitors who will generate maximum economic activity in the local economy; restore San Francisco’s community-based cultural economy by re-enacting the successful Neighborhood Arts Program; and leverage the current 1-2 percent for art fees on various on-site building projects to be directed towards non-construction-site arts activity.

 

 

LAND USE, HOUSING AND TENANTS

Background: Since the office market tanked, the big land-use issue has become market-rate housing. San Francisco is building housing for people who don’t live here — in significant part, for either very wealthy people who want a short-term pied a terre in the city or for commuters who work in Silicon Valley. The city’s own General Plan calls for 60 percent of all new housing to be below-market-rate — but the vast majority of the new housing that’s been constructed or is in the planning pipeline is high-end condos.

There’s no connection between the housing needs of city residents and the local workforce and the type of housing that’s being constructed. Family housing is in short supply and rental housing is being destroyed faster than it’s being built — a total of 21,000 rental units have been lost to condos and tenancies in common.

Public housing is getting demolished and rebuilt with 2500 fewer units. “Hotelization” is growing as housing units become transitory housing.

Planning has become an appendage of the Mayor’s Office of Economic Development, which has no commission, no public hearings and no community oversight.

Projects are getting approved with no connection to schools, transit or affordable housing.

There’s no monitoring of Ellis Act evictions.

Transit-oriented development is a big scam that doesn’t include equity or the needs of people who live in the areas slated for more development. Cities have incentives to create dense housing with no affordability. Communities of concern are right in the path of this “smart growth” — and there are no protections for the people who live there now.

Agenda items:

1. Re emphasize that the Planning Department is the lead land-use approval agency and that the Mayor’s Office of Economic and Workforce Development should not be used to short-circuit public participation in the process.

2. Enact a freeze on condo conversions and a freeze on the demolition of existing affordable rental housing.

3. Ban evictions if the use or occupation of the property will be for less than 30 days.

4. Index market-rate to affordable housing; slow down one when the other is too far ahead.

5. Disclose what level of permanent affordability is offered at each project.

6. Stabilize existing communities with community benefits agreements before new development is approved.

 

 

BUDGET AND SOCIAL SERVICES

Background: There have been profound cuts in the social safety net in San Francisco over the past decade. One third of the city’s shelter beds have been lost; six homeless centers have closed. Homeless mental health and substance abuse services have lost $32 million, and the health system has lost $33 million.

None of the budget proposals coming from the Mayor’s Office have even begun to address restoring the past cuts.

There’s not enough access to primary care for people in Healthy San Francisco.

Nonprofit contracts with the city are flat-funded, so there’s no room for increases in the cost of doing business.

The mayor has all the staff and the supervisors don’t have enough. The supervisors have the ability to add back budget items — but the mayor can then make unilateral cuts.

The wealthy in San Francisco have done very well under the Bush tax cuts and more than 14 billionaires live in this city. The gap between the rich and the poor, which is destroying the national economy, exists in San Francisco, too. But while city officials are taking a national lead on issues like the environment and civil rights, there is virtually no discussion at the policy level of using city policy to bring in revenue from those who can afford it and to equalize the wealth disparities right here in town.

Agenda items:

1. Establish as policy that San Francisco will step in where the state and federal government have left people behind — and that local taxation policy should reflect progressive values.

2. Make budget set-asides a budget floor rather than a percentage of the budget.

3. Examine what top city executives are paid.

4. Promote public power, public broadband and public cable as a way to bring the city millions of dollars.

5. Support progressive taxes that will bring in at least $250 million a year in permanent new revenue.

6. Change the City Charter to eliminate unilateral mid-year cuts by the mayor.

8. Pass a Charter amendment that: (a) Requires the development of a comprehensive long-term plan that sets the policies and strategies to guide the implementation of health and human services for San Francisco’s vulnerable residents over the next 10 years, and (b) creates a planning body with the responsibility and authority to develop the plan, monitor and evaluate its implementation, coordinate between policy makers and departments, and ensure that annual budgets are consistent with the plan.

9. Collect existing money better.

10. Enact a foreclosure transfer tax.

 

 

YOUTH, IMMIGRATION, AND EDUCATION

Background: In the past 10 years, San Francisco has lost 24,000 people ages 12-24. Among current youth, 5,800 live in poverty; 6,000 have no high school degree; 7,000 are not working or attending school; 1,200 are on adult probation.

A full 50 percent of public school students are not qualified for college studies. Too often, the outcome is dictated by race; school-to-prison is far too common.

Trust between immigrants and the police is a low point, particularly since former Mayor Gavin Newsom gutted the sanctuary ordinance in 2008 after anti-immigrant stories in the San Francisco Chronicle.

Some 70 percent of students depend on Muni, but the price of a youth pass just went from $10 to $21.

Agenda items:

1. Recognize that there’s a separate role for probation and immigration, and keep local law enforcement from joining or working with immigration enforcement.

2. Improve public transportation for education and prioritize free Muni for youth.

3. Create family-friendly affordable housing.

4. Restore the recreation direction for the Recreation and Parks Department.

5. Implement police training to treat youth with respect.

6. Don’t cut off benefits for youth who commit crimes.

7. Shift state re-alignment money from jails to education.

 

ENERGY, ENVIRONMENT AND CLIMATE CHANGE

Background: When it comes to land use, the laws on the books are pretty good. The General Plan is a good document. But those laws aren’t enforced. Big projects get changed by the project sponsor after they’re approved.

Land use is really about who will live here and who will vote. But on a policy level, it’s clear that the city doesn’t value the people who currently live here.

Climate change is going to affect San Francisco — people who live near toxic materials are at risk in floods and earthquakes.

San Francisco has a separate but unequal transportation system. Muni is designed to get people downtown, not around town — despite the fact that job growth isn’t happening downtown.

San Francisco has a deepwater port and could be the Silicon Valley of green shipping.

San Francisco has a remarkable opportunity to promote renewable energy, but that will never happen unless the city owns the distribution system.

 

Agenda items:

1. Promote the rebirth of heavy industry by turning the port into a center for green-shipping retrofits.

2. Public land should be for public benefit, and agencies that own or control that land should work with community-based planning efforts.

3. Planning should be for the community, not developers.

4. Energy efficiency programs should be targeted to disadvantaged communities.

5. Pay attention to the urban food revolution, encourage resident owned farmers markets. Use unused public land for local food and community gardens.

6. Provide complete information on what parts of the city are fill, and stop allowing development in areas that are going to be inundated with sea level rise.

7. Prioritize local distributed generation of electricity and public ownership of the power grid.

8. Change Clean Energy San Francisco from a purchasing pool system to a generating system.

Fresh and Easy displacement

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OPINION You could cut the hate with a knife. All eyes were on my fumbling fingers, unable to sign my WIC coupons fast enough with one hand while holding my 13-month-old son with the other. “Somebody’s using welfare checks to pay for their food,” A 20 something man in a polo shirt shouted into his phone next to me.

I spend so many days like this while trying to shop as a poor mama, its hard to even think about them. The life of a poor parent in the U.S. is always a scarcity model rollercoaster ride of hate, system abuse, subsistence crumbs and criminalization, best exemplified in the supermarket experience where the so-called paying customers suffer through the bother of waiting for poor parents to pay with our WIC coupons, working poor mamas to pay with payroll checks or indigenous elders to count out their multiple coupons.

I began to reflect on this when I heard about the new fresh and Easy Markets opening in the Bayview-Hunters Point, the Mission and the Portola district. It’s a new supermarket chain from England that by policy doesn’t accept WIC coupons.

WIC — the federal Women, Infants and Children’s program, is not welfare, but rather a supplemental program that allows low-income parents to get milk, grains, cereal and other basic foodstuffs. It’s a program used by many working poor as well as mamas on government crumbs so we can feed our children a balanced diet.

The Bayview, Mission, and Portola neighborhoods are peopled with a lot of multi-generational, multi-lingual mamas, and families in poverty like mine, who need access to affordable fruits and vegetables and non-hormone-filled meat like Fresh and Easy has, but are these stores really being built for us?

Like so much of San Francisco and the whole Bay Area, these communities are under attack from redevelopment and gentrification efforts. Removal and evictions of poor families and elders happen everyday in the city to make way for the corporate veneer of Lennar and John Stewart properties, condominiums, lofts and the rich young people who they are built for.

So who is Fresh and Easy for? They don’t take coupons, personal checks or WIC — and like their Whole Paycheck counterparts, they don’t hire union employees, or ultimately many employees at all, as they have the new self-pay check-out stands.

Fresh and Easy claims it doesn’t except the manufacturers’ coupons for the same reasons it doesn’t accept paper personal checks, W.I.C. vouchers, or cash payroll checks: That elimination of manual paper processing, combined with its self-service checkout system, saves money.

Pressured by community members who protested outside the Bayview store on its opening day, Fresh and Easy CEO Tim Mason now claims that Fresh and Easy in the Bayview will eventually begin taking WIC.

As this poor mama tries to move out from under the lie of criminalized government crumbs and the non-existent, bootstraps centered, corporate underwritten American dream, I have come to realize our collective, self-determined liberation begins with growing our own food in our poor neighborhoods with people-led community gardens, taking back stolen indigenous land and resources with organized poor people led/indigenous people-led efforts and whenever we have the energy, after all the other things we have to do to survive in this capitalist society fighting the exclusion and removal efforts of us by the smooth talking corporations who don’t see us as part of their grand profit-making plans.

Tiny aka Lisa Gray-Garcia, daughter of Dee and mama of Tiburcio is the co-founder of POOR Magazine/PoorNewsNetwork and author of Criminal of Poverty: Growing up Homeless in America

Dolores Huerta: “Don’t be a marshmallow! Stop being vegetables! Work for justice!”

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By Dick Meister

(Part four of a five part daily series on the Farmworkers)

“When I think of Dolores Huerta,” playwright and filmmaker Luis Valdez once said, “I think of earth. Powerful, beautiful, fecund, challenging, conscious, yet so incredibly delicate.”

She’s been all of that in a remarkable career that has spanned more than a half-century. Huerta, now 80, is probably best known for her work with Cesar Chavez in the founding and operations of the United Farm Workers. But that’s just been a part of her lifelong and extraordinarily successful and courageous fight for economic and social justice.

Huerta, five-foot-two, 110 pounds, hardly looks the part. What’s more, she’s had 11 children to raise along the way, much of the time as a single mother.

She’s traveled the country, speaking out and joining demonstrations in behalf of a wide variety of causes. She’s lobbied legislators to win gains for Latino immigrants and others. She was a key leader in the worldwide grape boycott that forced growers to agree in 1970 to some of the country’s very first farm union contracts – which she negotiated despite her utter lack of experience in union negotiating. She remains a leading Latina, feminist, labor and anti-war activist and a role model for women everywhere.

Huerta started out as an elementary school teacher in Stockton in 1955, but quickly tired of “seeing little children come to school hungry and without shoes.” That and her anger “at the injustices that happened to farm workers” in the area, led Huerta to quit teaching and join the Community Services Organization (CSO) which helped local Chicanos wage voter registration drives and take other actions to win a strong political and economic voice.

Chavez, who was general director of the 22-chapter CSO, stressed “grass roots organizing with vengeance” above all. Huerta agreed and generally agreed as well on tactics – including an unwavering commitment to non-violence. But where Chavez was shy, she was bold and outspoken. She had to be if she was to assume the leadership to which her commitment had drawn her. Mexican American men did not easily grant leadership to women, most certainly not to diminutive, attractive women like Huerta.

She was assigned to the State Capitol as the CSO’s full-time lobbyist. It was an unfamiliar task, but during two years in Sacramento, Huerta pushed through an impressive array of legislation, including bills that extended social insurance coverage to farm workers and immigrants and liberalized welfare benefits. I worked in the capitol as an Associated Press reporter and counted Huerta as one of the best – and certainly most principled – lobbyists in Sacramento.

Huerta soon realized, however, that legislation “could not solve the real problems” of the poor that she represented. What they needed was not government aid passed down from above to try to ease their poverty, but some way to escape the poverty. The way out, Huerta concluded, was farm labor organizing.

Chavez agreed, and in 1962, when the other CSO leaders and members rejected his plans for organizing farm workers, he quit to start organizing on his own, Huerta followed, helping create the organizations that eventually evolved into the UFW, with Chavez as president and Huerta as vice president and chief negotiator, later as secretary-treasurer. Like Chavez, she was paid but $5 a week plus essential expenses.

Huerta has paid a heavy physical price for her militancy. She nearly died in 1988 after being clubbed by a policeman while demonstrating with about 1,000 others outside a fund raiser in San Francisco for then Vice President George H.W, Bush, who had ridiculed the UFW and its grape boycott. Huerta’s spleen was ruptured and had to be removed, leading to a near-fatal loss of blood.

She was operated on for other serious problems in 2000. Huerta, long an active Democrat, stepped down as a UFW officer that year to join Democrat Al Gore’s presidential campaign, but remained active in Democratic Party affairs. She continued to lobby for immigrant rights, helping train a new generation of organizers and joining campaigns to improve the lot of janitors, nursing home employees and other highly exploited workers.

Dolores Huerta has shown us, beyond doubt, that injustice can be overcome if we confront it forcefully, if we heed the demand she has been known to shout in urging passers-by to join UFW picket lines:

“Don’t be a marshmallow! Stop being vegetables! Work for justice!”

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.

 

 

 

Dick Meister: si se puede!

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By Dick Meister

(The second part of a daily five part series)

For me, it all began on a hot summer night in 1965 in the little Kern County town of Delano. I’d been told repeatedly by people whose judgment I respected that, as the SF Chronicle’s labor editor, I should talk with some guy named Chavez who was pitting together an honest-to-God farm workers’ union in Delano.

I scoffed, but I went. Chavez, shining black hair trailing over the edge of a face brushed with traces of Indian ancestry, wearing a green plaid shirt that had become almost a uniform, sat behind a makeshift desk topped with bright red Formica.

“Si se puede!” he said repeatedly to me as we talked into the early morning hours there in the cluttered shack that served as headquarters for Chavez and the others who were trying to create an effective farm workers union.

“Si se puede – it can be done!

But I would not be swayed. Too many others, over too many years, had tried and failed to win for farm workers the union rights they had to have if they were to escape the severe economic and social deprivation inflicted on them by their grower employers.

The Industrial Workers of the World who stormed across western fields early in the last century, the Communists who followed, the socialists, the AFL and CIO organizers – all their efforts had collapsed under the relentless pressure of growers and their powerful political allies.

I was certain this effort would be no different. I was dead wrong. I had not accounted for the tactical brilliance of Cesar Chavez, a sad-eyed, disarmingly soft-spoken man who talked of militancy in calm, measured tones; a devout Roman Catholic; a gentle and incredibly patient man who hid great strategic talent behind shy smiles and an attitude of utter candor.

Chavez grasped the essential fact that farm workers had to organize themselves. Outside organizers, however well-intentioned, could not do it. Chavez, a farm worker himself, carefully put together a grass-roots organization that enabled the workers to form their own union, the United Farm Workers, which then sought out – and won – widespread support from influential outsiders, including major labor, religious and political figures.

The key weapon of the newly formed UFW was the boycott. The union’s boycotts against grape and lettuce growers and wineries in the late 1960s won the UFW union contracts that had been denied farm workers for more than a century.

That led ultimately to enactment of the California law that requires growers to bargain collectively with workers who vote for unionization, despite the workers exclusion from the federal law that grants most non-farm workers the legal right of collective bargaining. And with that came substantial improvements in the pay, benefits, working conditions and general status of the state’s farm workers.

The struggle was extremely difficult for the impoverished workers, and Chavez risked his health – if not his life – to provide them extreme examples of the sacrifices necessary for victory. Most notably, he engaged in lengthy, highly publicized fasts that helped rally the public to the farm workers cause and that may very well have contributed to his untimely death in 1993 at age 66.

Fasts, boycotts. It’s no coincidence that those were among the principal tools of Mohandas Gandhi, for Chavez drew much of his inspiration from the Indian leader. Like Gandhi and another of his models, Martin Luther King Jr., Chavez believed fervently in the tactics of non-violence. Like them, he showed the world how profoundly effective they can be in seeking justice from even the most powerful of opponents.

What the UFW accomplished, and how the union accomplished it, will never be forgotten – not by the millions of social activists who have been inspired and energized by the farm workers’ struggle, nor by the workers themselves.

The struggle continues, for despite the UFW’s successes, most farm workers are still mired in poverty. But because of the union, they have a genuine hope of bettering their condition.

The UFW won important legal rights for them. But more than union contracts, and more than laws, farm workers now have what Cesar Chavez insisted was needed above all else. That, as he told me so many years ago, “is to have the workers truly believe and understand and know that they are free, that they are free men and women, that they can stand up and say how they feel.”

Freedom. No leader has ever left a greater legacy.

 

Dick Meister, former labor editor of the SF Chronicle and KQED-TV Newsroom, has covered labor and politics for more than a half-century. Contact him through his website, www.dickmeister.com, which includes more than 350 of his columns.