racism

Alerts

0

alert@sfbg.com

WEDNESDAY, SEPT. 15

Solidarity Against Racism


If you’re angry at the revived campaign of racism being unleashed by the Tea Party and other right-wingers, fight back by attending this public forum. The discussion should be lively and serious and will focus on why racism still exists and what all we can do to combat it in the midst of a deepening economic crisis.

7 p.m., free

Red Stone Building

Luna Sea Room, second floor

2940 16th St., SF

www.norcalsocialism.org

FRIDAY, SEPT. 17

Park(ing) Day


Call attention to the need for more urban open space and help generate debate around how public space is created and allocated by transforming a metered parking space into a park-like space. Stay aware of local regulations and stay within the law . For more information on how to be arty and legal at the same time, go to www.parkingday.org.

All day, free

All around the Bay Area

www.parkingday.org

SATURDAY, SEPT. 18

Green Eye


Spend the weekend learning about climate change and how we got here at the series of films, talks, and workshops presented by 3rd i Films. Saturday, Ami and Amar Puri demonstrate the basics of bike maintenance, followed by a group bike ride through the city, ending at a fun food destination. On Sunday there will be screenings of Climate of Change, followed by the multimedia presentation Around the World Without Flying.

Bicycle Workshop


10 a.m., $20

The Bike Kitchen

650 H Florida, SF

Group Bike Ride


11:30 a.m., free

Meet at The Bike Kitchen

650 H Florida, SF

Film Screenings


3:30 p.m., $10

Artists Television Access

992 Valencia, SF

www.thirdi.org

Bike Church


Attend Manifesto Bicycles final bike church of the year, and event designed to bring the local community together and promote riding. Featuring live music by Winifred E. Eye, the Heated, and Anna Ash; half-price coffee from Subrosa; and gourmet brunch from Jon’s Street Eats.

11 a.m.–1 p.m., free

Manifesto Bicycles

421 40th St., SF

(510) 595-1155

Sunday Streets Western Addition

Take over some of the streets of the Western Addition with healthy and family friendly activities at this month’s Sunday Streets celebration. Open streets include Fillmore between Post and Golden Gate, Golden Gate between Laguna and Baker, Grove between Divisadero and Central, and more.

10 a.m.–3 p.m., free

Western Addition, SF

www.sundaystreetssf.com

TUESDAY, SEPT. 21

Oakland Peace Day

Celebrate an International Day of Peace at this free music festival happening at three different Oakland locations.

5 p.m., free

Preservation Park Bandstand

13th Street at Martin Luther King Jr., Oakl.

6 p.m., free

St. Paul’s Episcopal Church

114 Montecito, Oakl.

7 p.m., free

St. Augustine’s Church

400 Alcatraz, Oakl.

www.listenforlife.org

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Stage listings

0

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

THEATER

OPENING

Aida War Memorial Opera House, 301 Van Ness, 864-1330, www.sfopera.com. $25-320. Opens Fri/10, 8 pm. Also Sept 16, 7:30pm; Sept/19, 2pm; Sept 24, 8pm; Sept 29, 7:30pm; Oct 2, 8pm; Oct 6, 7:30pm. San Francisco Opera presents Verdi’s classic, a co-production with English National Opera and Houston Grand Opera.

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

Law and Order San Francisco Unit: The Musical! (sort of) Metreon Action Theater, Metreon Cineplex, second floor, 101 4th St; www.brownpapertickets.com. $10. Opens Mon/13, 8pm. Runs Mon, 8pm. Through Sept 27. Funny But Mean comedy troupe presents an original production.

Jerry Springer the Opera Victoria Theatre, 2961 16th; www.jerrysf.com. $20-36. Opens Fri/10, 8pm. Runs Wed-Sat, 8pm. Through Oct 16. Ray of Light Theatre presents the West Coast premiere of the operatic farce by Stewart Lee and Richard Thomas.

"San Francisco Fringe Festival" Various venues; www.sffringe.org. $6-10 ($40 for 5 shows; $75 for 10 shows). Dates and times vary. Through Sept 19. The marathon of indie theater returns, with a lineup that includes 43 companies.


BAY AREA

Bleacher Bums Contra Costa Civic Theatre, 951 Pomona, El Cerrito; (510) 524-9132, www.ccct.org. $18. Opens Fri/10, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through Oct 3. A sports comedy conceived by Joe Mantegna, directed by Joel Roster.

Compulsion Berkeley Repertory Theatre, Thrust Stage, 2025 Addison; (510) 647-2949, www.berkeleyrep.org. $29-85. Previews Mon/13-Tues/14, 8pm. Opens Thurs/16, 8pm. Dates and times vary. Through Oct 31. Mandy Patinkin stars in a world premiere of Rinne Groff’s play, directed by Oskar Eustis.

In the Red and Brown Water Marin Theatre Company, 397 Miller, Mill Valley; 388-5208, www.marintheatre.org. $32-53. Previews Thurs/9-Sat/11, 8pm and Sun/12, 7pm. Opens Tues/14, 8pm. Runs Tues, 8pm; Thurs-Sat, 8pm; Wed, 7:30pm, Sun, 7pm (also Sept 23, 1pm; Sept 18 and Oct 2, 2pm). Marin Theatre Company presents the West Coast premiere of Tarell Alvin McCraney’s play.


ONGOING

Bi-Poseur StageWerx Theatre, 533 Sutter; (800) 838-3006, www.brownpapertickets.com. $20. Thurs-Sat, 8pm. Through Sept 25. W. Kamau Bell directs a solo piece by Oakland native Paolo Sambrano.

Cat on a Hot Tin Roof Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Oct 2. Actors Theatre presents Tennessee Williams’ sultry, sweltering tale of a Mississippi family, directed by Keith Phillips.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness, 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

*Dreamgirls Curran Theatre, 445 Geary; (888) SHN-1749, www.shnsf.com. $30-99. Wed, 2 and 8pm; Thurs-Fri, 8pm; Sat, 2 and 8pm, Sun, 2pm; Tues, 8pm. Through Sept 26. The touring version of director-choreographer Robert Longbottom’s revamped revival of the 1981 Broadway sensation (with book and lyrics by Tom Eyen and music by Henry Krieger, under original direction by A Chorus Line‘s Michael Bennett) is a visually and aurally dazzling spectacle that is also a knowing (if now familiar) take on the history and business of latter-20th-century American pop music from the perspective of African American R&B. The cast, operating with ease against and within a remarkable videoscape projected onto large draped screens center stage, charms from the outset of this story about the rise of a female vocal group called the Dreams (a loose composite of the Supremes and the Shirelles). The first act enthralls with the plot’s gathering possibilities, the sparkling music and the irresistible performances—not least Moya Angela’s unstoppable Effie and Chester Gregory’s heroically soulful, funky Jimmy "Thunder" Early. But the second act stretches things unnecessarily with one too many power ballads (albeit lunged to perfection) and a slowpoke approach to the all but predictable plot resolution. Still, this is a masterful production on many counts and an infectious evening overall. (Avila)

How Lucky Can You Get? New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $20-28. Thurs-Sat, 8pm. Through Sat/11. Darlene Popovic sings Kander and Ebb under the direction of F. Allen Sawyer.

Olive Kitteridge Z Space at Theater Artaud, 450 Florida; (800) 838-3006, www.zspace.org. $20-40. Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Sept 26. Word for Word presents a premiere production of stories from Elizabeth Strout’s award-winning novel.

*Oscar Wilde’s The Picture of Dorian Gray Eureka Theatre, 215 Howard; 552-4100, www.TheRhino.org. $10-25. Wed-Sat, 8pm (also Sun/12 and Sept 19, 3pm). Through Sept 19. John Fisher adapts the Oscar Wilde novel for the stage and directs the production.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sun/12. A new show written by Morris Bobrow.


A Picasso Royce Gallery, 2901 Mariposa; (866) 811-4111, www.apicassoonstage.com. $12-28. Thurs-Sat, 8pm. Through Oct 9. Expression Productions presents Jeffery Hatcher’s drama about the authenticity of three Picasso paintings.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm (also Sept 17, 8pm). Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory ("Peaceweavers"), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of "Esta es Nuestra Lucha" passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

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


BAY AREA

Anton in Show Business Marion E. Green Black Box Theater, 531 19th St; (510) 436-5085; www.theatrefirst.com. $10-30. Thurs-Sat, 8pm; Sun, 2pm. Through Sept 26. TheatreFIRST presents Jane Martin’s theater comedy, under the direction of Michael Storm.

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

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

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Sat-Sun, 3pm. Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by Ian Tracy.

The Light in the Piazza TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-67. Tues-Wed, 7:30pm, Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sept 19. TheatreWorks presents Craig Lucas’s tale of love under the Tuscan sun.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Fri-Sat, 8pm; Sun, 4pm (also Sat/11, 2pm). Through Sun/12. Minneapolis’s Joel Sass returns to Cal Shakes to direct Macbeth with a pared down cast of 12, lead by Jud Williford in the title role of the prophesy-driven regicidal social climber and Stacy Ross as his ambitious and then guilt-crazed Lady M. The towering, two-tiered set (by Daniel Ostling) is a suitably eerie, decrepit-looking place, a "murky hell" with a sort of Old World clinical sleaze about it. The three witches come gowned (by costumer Christal Weatherly) in dingy white nurses habits and sickly green surgical gloves with black voids where their faces should be (their spectral speech projected over the audio system). But Cal Shakes’s production doesn’t really measure up to the atmospheric mise-en-scene, being more dutiful than heat-generating. A wily cut-and-paste job with one of the more famous lines doesn’t quite come off either, since it jars by its initial absence and then rings a bit self-consciously when it does surface as a downbeat coda. (Avila)

MilkMilkLemonade La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Oct 2. Impact Theatre presents Joshua Conkel’s off off Broadway play about a lonely gay man trapped in a chicken farm.

*The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $20-25. Dates and times vary. Through Sun/5. Shotgun Players has a way with modern classics like few other theaters its size. When the company gets it right, as not long ago with David Hare’s Skylight, the production can hold its own with just about any other anywhere. Judging by a visit to two of the three plays currently up, this is again the case with the ambitious repertory run of Alan Ayckbourn’s celebrated trilogy, The Norman Conquests, a shrewd and consistently hysterical sex farce about modern romance and relationships with real—but admirably understated—bite. Table Manners and Living Together feature the same brilliant cast (who also reappear in the third play, not yet reviewed, Round and Round the Garden) under astute direction by Joy Carlin and Molly Aaronson-Gelb, respectively. Each play is another vantage on the same rollicking weekend at an English country house, where our philandering hero Norman (a superlative Rich Reinholdt), alternately brooding and expansive, pitches woo with preternatural determination and consummate wit to two sisters-in-law (Zehra Berkman and Kendra Lee Oberhauser) as well as his own frosty wife (Sarah Mitchell), while a brother-in-law (Mick Mize) and a painfully shy local vet (Josiah Polhemus) move about more or less ineffectually. On a set (by Nina Ball) admirably atmospheric in its detailed solidity, the cast enchants from the first with special chemistry and exceptional chops. Reinholdt, however—with saucy beard, bounding playfulness and mischievous glint—is downright revelatory in the titular role, delivering a performance that not only gives boisterous heft to the proceedings but probes the moral dimensions of love in an age of crass individualism and lingering prudery. (Avila)

She Loves Me Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek; (825) 943-7469, www.CenterREP.org. $36-45. Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2:30 and 8pm; Sun, 2:30pm. Through Oct 10. Center REPertory company presents a musical choreographed and directed by Robert Barry fleming.

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

PERFORMANCE/DANCE

Alice NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. Wed/8-Sun/12, 8pm (continues through Sept 19). $15. An original revision of Lewis Carroll, devised by a company and directed by Allison Combs.

Aqui no pasa nada Mission Cultural Center, 2868 Mission; 821-1155, www.missionculturalcenter.org. Thurs/9-Sat/11, 8pm. $5-10. A new play by the Mission-based theater troupe Social Irruption.

"Bijou: Take a Walk on the Weill Side" Martuni’s, 4 Valencia; 241-0205, www.dragmartunis.com. Sun/12, 7pm. $5. The monthly live cabaret takes on the music of Kurt Weill.

"Blue Tango" SF Community Center, 544 Capp; 647-6015, www.sfcmc.org. Fri/10, 8pm. $10-15. A tango fusion concert by Tango Revolution.

"Call and Response" Meridian Gallery, 535 Powell; 398-7229, www.meridiangallery.org. Wed/8, 7:30pm. $5-10. An improvisational performance by poet Dottie Grossman and musician Michael Vlatkovich.

"Circus Vinelli Revue: Culinary Cabaret" Stage Werx Theatre, 533 Sutter; www.brownpapertickets.com. Wed/8, 8pm (also Sept 22, 8pm). $10-15. The bi-weekly all-women clown troupe takes on the subject of dining.

"Comedy returns to El Rio!" El Rio, 3158 Mission; www.brownpapertickets.com. Mon/13, 8pm. $7-20. Kung Pao Kosher Comedy presents an evening of stand up.

Dieci Giorni Thick House Theater, 1695 18th; (800) 838-3006, 282-5616. Fri-Sun, 8pm (through Sept 19). $25. A new collaborative opera inspired by Boccaccio’s Decameron, with music by Erling Wold.

"Dylan Moran Live!" Marines Memorial Theatre, 609 Sutter, second floor; www.marinesmemorialtheatre.com. Sat/11, 8pm. $36. The acclaimed Irish "Oscar Wilde of comedy" brings his standup to SF.

"Les Folies Champagne" Bubble Lounge, 714 Montgomery; 434-4204, www.bubblelounge.com. An ongoing monthly vaudevillian variety show.

"The Monthly Rumpus" Make-Out Room, 3225 22nd St; www.brownpapertickets.com. Mon/13, 7pm. The lineup includes four authors, music by John Craigie and Shovelman Isaac frankie, and a performance by Chicken John.

"Project BUST" The Garage, 975 Howard; www.brownpapertickets.com. Wed/8-Thurs/9, 8pm. $10-20. RAW and Project THRUST present the latest installment in the weekly performance showcase.

"RAW Presents Christine Bonasea and Paul Laurey" The Garage, 975 Howard; 518-1517, www.975howard.com. Fri/10-Sat/11, 8pm. $10-20. An evening of new contemporary dance.

"2nd Sundays" CounterPULSE, 1310 Mission; www.counterpulse.org. Sun/12, 2pm. Free. A works-in-progress showing co-presented by Dancers’ Group and CounterPULSE.

A Time to Dance The Marsh MainStage, 1062 Valencia; (800) 838-3006, www.themarsh.org. Tues/14, 7:30pm.A Marsh Rising performance of Libby Skala’s one-woman show.
"Word2Word" Shelton Theater, 533 Sutter; www.sheltontheater.com. Thurs/9, 8pm. $2-20. A festival celebration of poets, composers, and singer-songwriters.
"Yo Gotta hear This!" Rrazz Room, 222 Mason; 394-1189, www.therrazzroom.com. SF Chamber Orchestra presents a variety show with Michel Taddei, Tod Brody, and Teslim.

Alerts

0

alert@sfbg.com

THURSDAY, SEPT 9

Feminists for Pubic Education


Attend this meeting to kick off a door-to-door campaign to help defend and extend free public education in San Francisco and the Bay Area. All are welcome to participate in the discussion and planning. Dinner with vegetarian option will be available at 6:15 p.m. for $7.50.

7 p.m., free

Radical Women

New Valencia Hall

625 Larkin, SF

(415) 864-1278

Free community health


Support two free community health programs at this benefit concert featuring Embers, Speed of Darkness, Somnolence, and Crucifixion. One program, the Street Level Health Project, offers medical screenings, a lunch program, mental health support, herbal medicine and nutrition, and other services for urban immigrant communities in the Bay Area. Another program, Casa Besu, aims to bring alternative, holistic treatments to the people of the Navajo Nation in New Mexico.

8 p.m., $5–$10

El Rio

3158 Mission, SF

(510) 533-9906

"Nine Years Later"

Hear Stephen Zunes, professor of politics and international studies at USF and an expert on Middle Eastern politics, U.S. foreign policy, international terrorism, nuclear nonproliferation, strategic nonviolent action, and human rights, gives a talk titled "9/11: Nine Years Later. Where Has This Country Gone?"

6:30 p.m., free

Red Victorian Peace Café

1665 Haight, SF

www.pdamerica.org

Running Dry


National Geographic explorer and author Jonathan Waterman reads from and discusses his new book, Running Dry: A Journey from Source to Sea Down the Colorado River, about his trip down America’s most iconic whitewater river. The shrinking river irrigates 3.5 million acres of farmland and supports 30 million people on arid lands throughout the western U.S. and northern Mexico.

6 p.m., $10

The David Brower Center

2150 Allston, Berk.

(510) 848-1155

SATURDAY, SEPT 11

9/11 Rally and March


Honor the 104th anniversary of Ghandi’s nonviolent direct action practices by gathering in the Panhandle for speakers and performances promoting peace and an end to torture, occupations, racism, police violence, and other civil rights issues. Following the rally, there will be an 11 a.m. march through the Haight and Golden Gate Park to the Power to the Peaceful Festival.

10 a.m., free

Gather at the Panhandle

Fell at Ashbury, SF

(650) 857-0927

TUESDAY, SEPT 14

Choosing Children

Celebrate the 25th anniversary of the 1985 documentary that introduced viewers to the first generation of lesbians and gay men who chose to become parents after coming out, and to the challenges and joys faced by this early generation of parents. This screening and reception includes a discussion by Debra Chasnoff and Kim Klausner, the two Bay Area filmmakers who produced the film.

6:30 p.m., $25

Herbst Theater

401 Van Ness, SF

www.cityboxoffice.com

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

The Performant: Final Frontiers with “Sigh-Fi” and W. Kamau Bell

0

Scoping out the local arts and culture scene …

So much fascinating shit is rooted in science — from the way things work to the way they fall apart — that it seems passing strange that more performance pieces aren’t written using scientific law as a unifying theme. Not that you’ll find a whole lot in your physics texts about Saturnade a spoofed drink mix with a long list of dire side-effects that belongs more properly in the frame of a John Kricfalusi cartoon. You probably won’t find mention in your astronomy handbooks about alien surveyors with invasion viability agendas either, but why split atoms over it?

In “Sigh-Fi: An Evening of Science-fiction Themed Comedic Shorts” debuting at the Darkroom Theatre, fictions may trump facts, but the undercurrent is endearingly nerdy. Written by Philadelphia Fringe Festival veteran Shawn O’Shea, “Sigh-Fi” includes what is probably his best-known (and fully realized) work, “Starlight Supply,” which stars Jim Fourniadis as thoroughly under-socialized uber-dweeb William William Williams, and Craig Souza as an uptight insurance agent from Universal Business Insurance sent to deny him a $20 million claim for his registered star which has vanished from the night skies.

Other sketches of note include “Dinner Guest,” a Guess Who’s Coming to Dinner spoof involving an affable yet menacing extra-terrestrial Bob (Phil Ristaino) and “Hail to the Queen” in which a planet ruled by women accidentally hijacks a Freddie Mercury lookalike BJ (Richie Lillard) whose initials no longer describe his occupation, in order to force him to impregnate them all. Too bad for these galactic gals William Shatner is no longer traveling around the universe in spandex, because fancy-pants BJ only has eyes for the yummy male slaves in leather tunics—giving the appropriate measure of stage time to the social sciences as well in addition to the natural and applied strains.  

Meanwhile, in a galaxy not too far away, W. Kamau Bell has been trying to “end racism in about an hour”….for over three years. And for a split second there, it looked like he’d succeeded. You remember that split second—it occurred somewhere between November 4th and 5th, 2008. But here it is, 2010, and post-racial has become post-post-racial, and all in all, it’s been a frustrating time for a comedian who’s somewhat unwillingly become the spokesperson for comics-concerned-about-entrenched-racism to be that. Hence the title of Kamau’s new show-in-progress: “Aaaaaarrrrrrrrgh: A Solo Comedy about how Frustrating Frustration can be” (which he performed as part of the Solo Performance Workshop Festival at Stage Werx on Saturday).

It’s such a universal emotion: I could imagine Alien Bob getting stuck at the credit union while they tried to work out how to cash his check from Betelgeuse, or BJ the intergalactic love-slut trying to avoid old cranky critics who want to give unsolicited “feedback,” or cops cracking down on the illegal consumption of Saturnade on the beach. These are the things that happen to all of us—but only Bell has had the foresight to try and work it all into a narrative that tries to make sense of the myriad situations that defy reason and provoke ulcers all across the universe.

Stage listings

0

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

THEATER

OPENING

A Picasso Royce Gallery, 2901 Mariposa; (866) 811-4111; www.apicassoonstage.com. $12-28. Previews Thurs/2-Fri/3, 8pm. Opens Sat/4, 8pm. Runs Thurs-Sat, 8pm. Expression Productions presents Jeffery Hatcher’s drama about the authenticity of three Picasso paintings.

Bi-Poseur StageWerx Theatre, 533 Sutter; (800) 838-3006; www.brownpapertickets.com. $20. Opens Thurs/2, 8pm. Runs Thurs-Sat, 8pm. Through Sept 25. W. Kamau Bell directs a solo piece by Oakland native Paolo Sambrano.

Olive Kitteridge Z Space at Theater Artaud, 450 Florida; (800) 838-3006; www.zspace.org. $20-40. Previews Wed/1-Thurs/2, 7pm; Fri/3, 8pm. Opens Sat/4, 8pm. Runs Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through sept 26. Word for Word presents a premiere production of stories from Elizabeth Strout’s award-winning novel.

BAY AREA

Anton in Show Business Marion E. Green Black Box Theater, 531 19th St; (510) 436-5085; www.theatrefirst.com. $10-30. Previews Thurs/2, 8pm. Opens Fri/3, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. TheatreFIRST presents Jane Martin’s theater comedy, under the direction of Michael Storm.

She Loves Me Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek; (825) 943-7469; www.CenterREP.org. $36-45. Previews Fri/3-Sat/4, 8pm; Sun/5, 2:30pm. Opens Tues/7, 7:30pm. Runs Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2:30 and 8pm; Sun, 2:30pm. Through Oct 10.Center REPertory company presents a musical choreographed and directed by Robert barry fleming.

 

ONGOING

*Cat on a Hot Tin Roof Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through Oct 2. Actors Theatre presents Tennessee Williams’ sultry, sweltering tale of a Mississippi family, directed by Keith Phillips.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

The Glass Menagerie Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Fri/2 and Sat/3, 8pm. The third production in Boxcar Theatre’s trio of Tennessee Williams plays in repertory is the biggest disappointment, not only because director Jessica Holt’s production comes bloated distractingly by “shadow” versions of the principals and other random characters, but because it’s the play that otherwise feels most apt and urgent. The “social background of the play,” as narrator Tom (a generally credible Brian Trybom) describes it, is a landscape characterized by depression at home and revolution abroad, as pent-up American energies shuffle along through hangdog subsistence, shallow hedonism and occasional “labor unrest.” This is the social projection of Tom’s private quandary, but that’s just how this partly autobiographical play speaks so eloquently and subtly to larger themes. When the unhelpful, enervating pantomiming and other stage business dies down a bit, you can see the principal roles—rounded out by Hannah Knapp as Tom’s too fragile sister, Laura, and Suzan A. Kendall as his indomitable mother, Amanda—breath more genuinely and the play actually take shape on the stage. The arrival of the Gentleman Caller (played with winning solidity by Boxcar’s Nick A. Olivero) marks the best part of the evening, even if the gentleman arrives too late to fully redeem the proceeding hour’s misconceived shenanigans. (Avila)

*Dreamgirls Curran Theatre, 445 Geary; (888) SHN-1749, www.shnsf.com. $30-99. Wed, 2 and 8pm; Thurs-Fri, 8pm; Sat, 2 and 8pm, Sun, 2pm; Tues, 8pm. The touring version of director-choreographer Robert Longbottom’s revamped revival of the 1981 Broadway sensation (with book and lyrics by Tom Eyen and music by Henry Krieger, under original direction by A Chorus Line‘s Michael Bennett) is a visually and aurally dazzling spectacle that is also a knowing (if now familiar) take on the history and business of latter-20th-century American pop music from the perspective of African American R&B. The cast, operating with ease against and within a remarkable videoscape projected onto large draped screens center stage, charms from the outset of this story about the rise of a female vocal group called The Dreams (a loose composite of the Supremes and the Shirelles). The first act enthralls with the plot’s gathering possibilities, the sparkling music and the irresistible performances—not least Moya Angela’s unstoppable Effie and Chester Gregory’s heroically soulful, funky Jimmy “Thunder” Early. But the second act stretches things unnecessarily with one too many power ballads (albeit lunged to perfection) and a slowpoke approach to the all but predictable plot resolution. Still, this is a masterful production on many counts and an infectious evening overall. (Avila)

How Lucky Can You Get? New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $20-28. Thurs-Sat, 8pm. Through Sept 11. Darlene Popovic sings Kander and Ebb under the direction of F. Allen Sawyer.

Oscar Wilde’s The Picture of Dorian Gray Eureka Theatre, 215 Howard; 552-4100, www.TheRhino.org. $10-25. Wed-Sat, 8pm (also Sun/ 5, Sept 12, and Sept 19, 3pm). Through Sept 19. John Fisher adapts the Oscar Wilde novel for the stage and directs the production.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sept 12. A new show written by Morris Bobrow.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through Sun/5. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Mon/6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory (“Peaceweavers”), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of “Esta es Nuestra Lucha” passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

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

*Streetcar Named Desire Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Wed-Sat, 8pm. Through Sat/4. It’s no small feat, creating a sultry southern summer circa 1940’s smack-dab in the middle of a typically frosty San Francisco summer circa right here right now, but Boxcar Theatre rises admirably to the challenge. Rebecca Longworth’s creative staging of Tennessee Williams’ “A Streetcar Named Desireincludes musical interludes, ghostly apparitions, and the clattering of a cleverly impersonated streetcar that shakes the walls of Matt McAdon’s simply-detailed tenement flat and the spirits of one Blanche DuBois (Juliet Tanner), while the deliberately-muted lighting (Stephanie Buchner) and period-appropriate sound (Ted Crimy), add the appropriate layers of southern discomfort to the unfolding action. Especially captivating to watch are the performances of supporting characters Stella (Casi Maggio) and Mitch (Brian Jansen), who seem to almost helplessly orbit the hot flame of Stanley Kowalski’s sun (Nick A. Olivero) and the grimly flickering satellite of Blanche’s waning moon. As he does in “Cat on a Hot Tin Roof,” Seth Thygesen stands in for one dearly-departed, in this case Blanche’s old beau, Allan Gray, whose abrupt suicide de-magnetized her moral compass. And in addition to a saucy turn as next-door neighbor Eunice, Linnea George tracks the fractured emotions of the main characters on her mournful violin. (Nicole Gluckstern)

*This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sat/4. $15-20. In our obsession with possessions, just who possesses who? Mugwumpin’s inventive, hilarious and repeatedly surprising new work—captivated and captivating—reminds us that a possession isn’t just a thing but also a (colonized) state of being. But there’s no manifesto here, so much as a multifaceted, deftly staged exploration of a theme so central to this bare and incredibly cluttered existence that we hardly even notice it. The four person ensemble (Madeline H.D. Brown, Joe Estlack, Erin Mei-Ling Stuart, and Christopher W. White), sharply co-directed by Liz Lisle and Jonathan Spector, brings various states of being and relation to life with aplomb—amid swift transformations of time and place, provocative contrasts and parallels, dexterous vocalizations, and supple and satisfyingly offbeat choreography. I’m purposely leaving out the details of the vignettes and the sometimes-startling mise en scène because it’s better that way. All you really need now is the price of a ticket. (Avila)

 

BAY AREA

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

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

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Sat-Sun, 3pm (also Sun/5, 3pm). Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by Ian Tracy.

Into the Woods 142 Throckmorton Theatre, 142 Throckmorton, Mill Valley; 383-9600, www.142throckmortontheatre.org. $14-30. Fri-Sat, 7:30pm, Sun, 2pm. Through Sat/4. Marin Youth Performers present James Lapine’s and Stephen Sondheim’s fractured fairy tale.

The Light in the Piazza TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-67. Tues-Wed, 7:30pm, Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sept 19. TheatreWorks presents Craig Lucas’s tale of love under the Tuscan sun.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Fri-Sat, 8pm; Sun, 4pm (also Sept 11, 2pm). Through Sept 12. Minneapolis’s Joel Sass returns to Cal Shakes to direct Macbeth with a pared down cast of 12, lead by Jud Williford in the title role of the prophesy-driven regicidal social climber and Stacy Ross as his ambitious and then guilt-crazed Lady M. The towering, two-tiered set (by Daniel Ostling) is a suitably eerie, decrepit-looking place, a “murky hell” with a sort of Old World clinical sleaze about it. The three witches come gowned (by costumer Christal Weatherly) in dingy white nurses habits and sickly green surgical gloves with black voids where their faces should be (their spectral speech projected over the audio system). But Cal Shakes’s production doesn’t really measure up to the atmospheric mise-en-scene, being more dutiful than heat-generating. A wily cut-and-paste job with one of the more famous lines doesn’t quite come off either, since it jars by its initial absence and then rings a bit self-consciously when it does surface as a downbeat coda. (Avila)

MilkMilkLemonade La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Previews Thurs/26-Fri/27, 8pm. Thurs-Sat, 8pm. Through Oct 2. Impact Theatre presents Joshua Conkel’s off off Broadway play about a lonely gay man trapped in a chicken farm.

*The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $20-25. Dates and times vary. Through Sun/5. Shotgun Players has a way with modern classics like few other theaters its size. When the company gets it right, as not long ago with David Hare’s Skylight, the production can hold its own with just about any other anywhere. Judging by a visit to two of the three plays currently up, this is again the case with the ambitious repertory run of Alan Ayckbourn’s celebrated trilogy, The Norman Conquests, a shrewd and consistently hysterical sex farce about modern romance and relationships with real—but admirably understated—bite. Table Manners and Living Together feature the same brilliant cast (who also reappear in the third play, not yet reviewed, Round and Round the Garden) under astute direction by Joy Carlin and Molly Aaronson-Gelb, respectively. Each play is another vantage on the same rollicking weekend at an English country house, where our philandering hero Norman (a superlative Rich Reinholdt), alternately brooding and expansive, pitches woo with preternatural determination and consummate wit to two sisters-in-law (Zehra Berkman and Kendra Lee Oberhauser) as well as his own frosty wife (Sarah Mitchell), while a brother-in-law (Mick Mize) and a painfully shy local vet (Josiah Polhemus) move about more or less ineffectually. On a set (by Nina Ball) admirably atmospheric in its detailed solidity, the cast enchants from the first with special chemistry and exceptional chops. Reinholdt, however—with saucy beard, bounding playfulness and mischievous glint—is downright revelatory in the titular role, delivering a performance that not only gives boisterous heft to the proceedings but probes the moral dimensions of love in an age of crass individualism and lingering prudery. (Avila)

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

PERFORMANCE/DANCE

“The Extreme Animals Sit Down” Southern Exposure, 3030 20th St; 863-2141; www.soex.org. Free. Tues/7, 9pm. Jacob ciocci and David Wightman of Paper Rad’s new project presents a mashup of live music, video, and theatrics.

The Front Row The Dark Room, 2263 Mission; www.TheFrontRow4.com. Sat/4, 7:30pm. $7. The all-female sketch comedy group is accompanied by Jesse Elias and Donny Davinian.

“RawDance Presents the Concept Series: 7” James Howell Studio, 66 Sanchez; www.rawdance.org. Sat/4, 8pm; Sun/5, 3 and 8pm. Pay what you can. An informal and intimate salon of contemporary dance, complete with popcorn.

Herrera’s gang injunction becomes part of D. 10 dialogue

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As stated in this week’s article about City Attorney Dennis Herrera’s Viz Valley gang injunction, Herrera’s move gives D. 10 candidates an opportunity to show they are tracking all the issues in a district that is home to the city’s largest public housing site.

As C.L.A.E.R. Project director Sharen Hewitt put it at a debriefing session about the injunction, “D. 10 has been reduced to the Lennar issue, and that’s what’s criminal.”

And the injunction is becoming part of the dialogue in the D. 10 race, with eleven candidates in that race sounding off on the injunction, many of them critiquing Dennis Herrera’s approach and/or advocating for legal representation for those named in the suit, and more services in this historically neglected district.

Candidates Isaac Bowers, Kristine Enea, Chris Jackson, Nyese Joshua, Steve Moss and Marlene Tran attended Hewitt’s August 12 gang injunction debriefing.

And by meeting’s end, Bowers and Enea said they would help community members get legal representation.
“A lot of people being served, don’t know what an injunction is, or don’t show up at the hearing and then they become subject to the injunction,”  Bowers said.

Enea said she was glad that City Attorney Yvonne Mere clarified at the debriefing that the 41 young men named in Herrera’s filing could not be included in the actual injunction until they have been served.

“It was important to clarify the notice process,” Enea said.

Jackson said he’s committed to helping these men access job and education opportunities.
“If you i.d. folks as low-income gang members, there is a lot more you can do than simply hand over their names to law enforcement,” Jackson said.
“Before the City Attorney puts in a gang injunction, that office should talk about it with the community.” Jackson continued. “Ultimately this is about land use.”

“For the City Attorney to have a top down approach to gang injunctions is unfortunate,” Jackson said, noting that Herrera’s injunctions have been in predominantly
African American and Latino neighborhoods.

“And in terms of taking away people’s civil rights, it’s unacceptable, “ Jackson added, noting that the City Attorney’s list of targeted individuals is public information.

Reached by phone, Moss says he’d like to see a time limit imposed on gang injunctions. Currently, injunctions are indefinite, once they have been granted.

“I haven’t studied the precise details,” Moss said, noting that he went to Hewitt’s debriefing and has leaved through materials the City Attorney’s Office provided.
“Generally, no one likes gang injunctions because they potentially threaten civil liberties and sometimes the city gets it wrong,” Moss said, referring to cases where folks have been wrongly named in previous injunctions. “But in places where injunctions have been brought, they do seem to have reduced the violence and calmed down the district. I’d like there to be a time limit, a sunset clause.”

D. 10 candidate Marlene Tran said she thinks the injunction could help reduce violence in the neighborhood.
“I was trying to listen to the different input at the debriefing session,” Tran said. “But on TV, I heard that when Herrera talked to the Chinese press, he cited some 200 incidents in the proposed safety zone. About 100 of those incidents involved guns, and there have been ten homicides in three years. Those are really glaring statistics. And this morning I read that there is another injunction in Oakland, and they talked about success with gang injunctions in Salinas, where the homicide rate dropped from 50 to 5, compared to 2008/2009.”

Tran, who sits on the Community Advisory Board for the Police Department’s Ingleside Station, said she heard from Ingleside Captain Louis Cassenego that he wants to serve all 41 respondents named in the injunction peacefully.
“If this is done without any casualties to the district and the community, and if it prevents any further violence, then this is the way to go,” Tran said.

Tran expressed some due process concerns.
“If they spend that much personnel and time [on putting the injunction together], it should be done with due process,” Tran said.

But she feels the current level of violence in Viz Valley is unacceptable.
“I’ve lived here for twenty something years, and if you talk to residents and children, who wants to hear gun fire,” Tran said. “So I think we have to work for a peaceful community to prevent these problems. That’s why we call ourselves the emergent district.”

D. 10 candidate Ed Donaldson believes the injunctions are a product of neglect.
“It comes back to a question of overall neglect in the district,” Donaldson explained.  When you have that level of social and economic neglect, gang injunctions become “necessary’. But when you look at the resources coming into the district through local non-profits, which comes, I believe to $110 million a year, 80 percent of which is city money, paid mostly to non-profits that may not be based in the district, you have to ask, Are we getting what we paid for? And do these non-profits have enough integrity to make sure there is a level of impact to transform people’s lives? “

Donaldson says that, given the overall level of neglect in public housing, it’s not surprising the district has challenges.

“So, are we willing to invest in the neighborhood in a very transformative way, or are we going to continue to give money to police and prisons?” Donaldson asked.
He notes that every year, 1,600 men and women return to the southeast side of San Francisco, and there is a 71 percent recidivism rate among these folks.

“Why is this rate so high in a progressive city like San Francisco?” Donaldson said. “Part of the answer lies with our public housing policy: if you can’t get public housing, you can’t apply for a job, you can’t go to school to better yourself.”

Donaldson says there is a direct connection between the district’s homicide rate and the people getting out of prison, returning to the district and re-offending.
“So, what’s so hard about getting our arms around 1,600 people a year and stabilizing them? Because then a lot of stuff about public safety will go away.”

D. 10 candidate Tony Kelly believes that if there were gangs in Viz Valley, then Herrera’s injunction would be valid.
 “There is gang-like activity, but it’s small scale turf wars, shootings and retaliations, and it’s not organized,” Kelly said. “ Instead, you’ve got unorganized young black men with no other options, doing whatever it takes to get ahead. But instead of doing something constructive, the City Attorney calls them gangs.”

Kelly notes that the City Attorney claims that most of the individuals named in the Viz Valley injunction don’t live in the proposed safety zone.
“But according to what I’m hearing on the ground, a bunch of them do live here and/or grew up here,” Kelly said. “So, we want their families to get involved. They need safe havens. But combined with last year’s budget cuts, all this does is criminalize young people and pushes the problem around. As long as we have 40-50 percent unemployment, we are not going to solve our crime problem.”

DeWitt Lacy, also a D. 10 candidate, said he is concerned that gang injunctions are circumventing people’s due process rights.
“In a criminal case, you have the right to an attorney, but that’s not so in a civil action,” Lacy said.

Lacy worries that gang injunctions lend themselves to racial profiling.
“Folks have to stay in their house or quickly go to and fro because they can’t hang out in the neighborhood,” Lacy said. “A smarter approach would be to do community policy that Sup. Ross Mirkarimi introduced in the Western Addition. It’s been shown to have a positive impact on criminal activity. We should have officers walking around in troubled areas. The more we change a foot patrol pilot into citywide policy, the more we actually address serious issues and problems. Everyone understands the value that police bring and everyone wants to be able to rely on them. When we only use police to bring a punitive action it reinforces the notion that they are evil enforcers.”

D. 10 candidate Malia Cohen said she was concerned by Herrera’s approach.
“I think we need a more comprehensive approach, otherwise, we’ll simply be moving crime two blocks over,” Cohen said. “We need long-term, not short-term solutions.”

Cohen noted that there are Chinese and Russian gangs in town, as well as African American ones, and Latino gangs like the Nortenos and Sudenos.
“But the style of how each gang manifests is different, which makes African Americans an easy target. We need to have a uniform approach to how we deal with this.”

The 41 men identified in Herrera’s latest injunction all appear to be African American, and many have family ties and roots in Sunnydale, meaning the injunction impacts a much larger circle of folks than those simply named in Herrera’s filings.
“The impact on families caught up in this can’t be overstated,” Cohen said.  “Either they’ll have to take bus down to court, or drag down and pay hella money for parking, and for food, and even take a day off from work if they are employed. And then there’s the emotional effect. We could be using our resources in a more productive way. I understand that Dennis Herrera is ambitious, but this is playing on people’s racism. It’s tantamount to ethnic cleansing. Maybe Herrera wants to be seen as tough on crime, but ut how about being seen as big on compassion? Or big on fair? This is not going to help people get jobs and housing. And it prevents American citizens from being able to travel.”

Eric Smith, also a D. 10 candidate, says it’s right to question the injunctions.
“David Campos and Eric Quezada both expressed concerns about Herrera’s injunction against the Nortenos, when they were running in the 2008 race for D. 9,” Smith observed.
“They talked about the unintended consequences of that injunction in terms of deporting folks who then train the next generation in the ways of gangs.”

Smith questions how effective gang injunctions are in the long-term.
“They are a band-aid,” Smith said. “This is like putting a finger in the dike, or using a hammer to kill a flea. Because the root causes are not addressed. If you don’t deal with young people’s lack of education and joblessness, their hopelessness, their choicelessness, the gang becomes their family. So, if the city did community policing and had great youth programs, it would help.”

Smith, who is a professional jazz musician, wants to see more music, poetry and spoken word programs and activities in the neighborhood.
“There’s a lot of untapped talent,” he said. “When you have arts, music and theater, those are life-saving opportunities.”

Also a bio-diesel advocate, Smith wants to see people who are returning to the community after a stint inside, being able to access green jobs, instead of doing more of the same stuff, only better, than the activities that landed them inside in the first place.

“I care about everyone in the district, but most of all about those who have been kicked to the curb and end up in gangs, on drugs, or dead.”

And D. 10 candidate Diane Wesley Smith believes there are better solutions than gang injunctions

“African American culture is almost opposite in terms of physical mannerisms and gestures and tone of voice, and that can be scary to someone who is used to being conservative,” Wesley Smith said, speaking to the rising tensions between some black and Asian residents in the district.

“I believe these things could be solved with town hall meetings, where there is food and translators so folks could talk things out, “ she said. “It’s never going to be worked out through the police. Only law enforcement benefits from these kinds of proceedings. We need to reach out and touch each other, so that the Chinese community knows that the black community has the same goals as they do, which are employment, housing and safety.”

“When we talk about violating people’s civil rights, posting people’s pictures on websites, preying on people’s fears, well, that’s how we got into the war,” Wesley-Smith said. “Unemployment. Lack of access to opportunity. Lack of education. No money for our schools, but an increase in spending on our jails. These all send the same message: You are not wanted.”

Wesley Smith is concerned that the gang injunctions will accelerate the mass exodus of blacks and people of color from San Francisco.
“We all want a safe San Francisco,” she observed. “The solution is more jobs, not war. People are just going to go more underground in face of these injunctions. Meanwhile, the kids in my district don’t have toilet paper or computer paper in their schools.”

“I understand that Dennis Herrera is a career politician, and time will tell what his true aspirations are, but this is not legislation we propose in a caring society,” Wesley-Smith concluded. “We’re not showing any of these kids any love. All we need to do is partner with business and government and work this out. Te thought that four men standing on a corner drinking an energy drink could be considered gang members is shocking. That’s how they perpetuated slavery, and that’s why blacks have problems today. All my nephews dress similarly. So, are we going to consider them gang members? The good and the bad kids dress the same. We need people and parents to understand that none of us can be safe, until we take care of those who have the least in our community. I’d venture that everyone who is a safety concern has not pursued their education, has not been assisted in pursuing education, and has not been assisted in pursuing employment.”

D. 10 candidate Lynette Sweet promised to call me back to talk about the gang injunction, and if and when she does, I’ll be sure to include her comments here. The same goes for Nyese Joshua, Geoffrea Morris and Steve Weber  who had not returned my calls as of blog time, and for any other D. 10 candidates that I was unable to reach for this article. So, stay tuned…

Leap into fall

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Looking over the fall dance schedule, two ingredients jump out: celebration and experimentation. Given the depressed economy and vacuous political conversations, this optimism comes as a welcome surprise. But then dancers are a resilient lot; they are used to rock bottom or nonexistent budgets and functioning below the radar screen of the pundits who try to tell us which way the culture is tilting. They simply go about doing what they sense needs to be done and put their own stamp on the social ecology. Here is a glimpse at what you can expect until Nutcracker time. 

Flyaway Productions Jo Kreiter’s troupe of strong female warriors — one of our more innovative equipment-based ensembles — is taking to the air to celebrate the Women’s Building’s centennial. They have an open rehearsal Aug. 26 at 5:30 p.m. Sept. 10–18, Women’s Building; www.flyawayproductions.com.

Central Market Arts This is a truly exciting initiative by four Mid-Market Street arts organizations: Alonzo King’s LINES Dance Center, The Garage, Kunst-Stoff Arts and Project Bandaloop. Billed as “24 Days of Art, Music, Dance & Theater,” it presents art in the places where it is made. One idea is to show that the “theater district” exists on the streets. It kicks off with free performances by a who’s who of talents at the Mint Plaza by Fifth and Martet. Kunst-Stoff, LEVYdance, and Robert Moses Kin are the among those doing the honors. Sept. 24–Oct. 17, Market St. corridor; www.jonsimsctr.org.

San Francisco Hip-Hop Dancefest Taking its cue from the jam-packed auditions for the San Francisco Ethnic Festival, the San Francisco Hip-Hop Dance Fest is opening its local company auditions to the public. There are so many applicants, it had to create two separate Sept. 12 sessions at Cowell Theater: one from 11 a.m–2: 30 p.m. and another from 3:30 p.m. –7 p.m. (Out-of-town groups undergo separate evaluations.) This all-day event offers a fabulous opportunity to sample Bay Area hip-hop dance and should whet the appetite for the big event in November. Nov. 19–21, Palace of Fine Arts; www.sfhiphopdancefest.com.

West Wave Dance West Wave is back for its 19th season, this time structured as a monthly series falling on usually dance-free Sunday and Monday nights. Each program features five choreographers. Including a night devoted to dance on film, this is a must for anyone wanting a perspective on Bay Area dance. Sept.20–Dec. 13, Cowell Theater; www.westwavedancefestival.org.

Mark Morris Dance Company The much-welcome perennial returns with three West Coast premieres: this year’s Socrates, about dying; 2007’s Looky, about gallery-hopping; and 1990’s Behemoth, which has been described as “cold, abstract, and silent.” Doesn’t sound much like MM, does it? Sept. 30–Oct. 2, Zellerbach Hall, Berk; www.calperformances.org.

“Traditions Engaged: Dance, Drama, Rhythm” To celebrate its 30th anniversary, Chitresh Das Dance Company follows its 2006 “Kathak at the Crossroads” — which brought together an amazing assembly of dancers, teachers, scholars, and aficionados — with a performance that expands to other classical Indian dance forms: bharata natyam, kathakali, kuchipudi. and odissi. Oct. 1–3, Yerba Buena Center for the Arts; www.kathak.org.

Smuin Ballet Try McIntyre has made himself a reputation for skillful, congenial, and exuberantly danceable choreography. So his Smuin Ballet world premiere — set to indie rock by the Shins — is a good match for the company’s fine crop of dancers. It joins Michael Smuin’s Blue Grass/Slide (which involves pole dancing), and Brahms/Haydn Variation, one of Smuin’s more refined essays on a gorgeous piece of music. Oct. 1–19, Palace of Fine Arts; www.smuinballet.org.

ODC Theater (Oct. 1–3, ODC Theater, SF) is opening its new facilities with a firework of performances. First in line is the world premiere of Brenda Way’s “Architecture of Light”, then comes “JumpstART” (Oct. 16), a daylong celebration of dance, music, and theater, to be followed throughout the fall by a series of commissions, the first one for Kunst-Stoff and LEVYdance (Oct.21–28).

Na Lei Hulu I Ka Wekiu Happy 25th birthday to Patrick Makuakane’s company. If you have seen these remarkable hula dancers, you know that every concert by them is a celebration of contemporary and old-style Hawaiian culture. You can expect a cross-section of their repertoire as well as a special one-hour family matinee on closing day. Oct. 16–24, Palace of Fine Arts; www.naleihulu.org.

Scheherazade Today the Orientalism and racism of Mikhael Fokine’s 1910 extravaganza Scheherazade make the work just about unperformable. Not so, says Alonzo King of LINES Ballet Company, who accepted a commission from the Monaco Dance Forum to rethink the tale. Zakir Hussein does the honors for the Rimsky-Korsakov score. This is the U.S. premiere. Oct. 14–24, Yerba Buena Center for the Arts; www.ybca.org.

“Harvest: The Fall 2010 Choreographers Showcase” Dance Mission Theater’s fall showcase rides in on an unlikely premise. Unjuried and programmed on a first-come, first-serve basis, it includes beginners and experienced artists. The results should be surprising, and are frequently satisfying. Oct. 22–23, Dance Mission Theater; www.dancemission.com.

Sankai Juku For sheer elegance of presentation of a very demanding dance style, the 35-year-old Sankai Juku has few equals. It is bringing 2002’s mesmerizing Hibiki: Resonance from Far Away to San Francisco. If you want to see a newer work, head for Stanford, where it presents Tobari (As If In an Inexhaustible Flux), from 2008. Nov. 9, Memorial Auditorium, Stanford; www.livelyarts.stanford.edu. Nov. 11–13, Yerba Buena Center for the Arts; www.ybca.org.

Girlschool 2010

17

arts@sfbg.com

FALL ARTS/MUSIC When I last looked at the state of all-female bands in 2006, Sleater-Kinney, Destiny’s Child, and Le Tigre had hung up their guitars, mics, and samplers. Since then, the Bay Area has produced a motherlode of female-dominated rock outfits — including Grass Widow, the Splinters, Brilliant Colors, the Twinks, the Sandwitches, the Sarees, the Glassines, and Shannon and the Clams — while frontperson Dee Dee (née Kristin Gundred) of the Dum Dum Girls has moved back to SF, where she grew up.

Is there a girl band revolution on the horizon? Mainstream charts don’t reflect a change, despite the rising national profiles of the Dum Dum Girls, Vivian Girls, Frankie Rose and the Outs, and the all-female band backing Beyonce during her last tour. Yet since 2007, waves of all-female bands have been breaking locally — outfits often informed by girl groups, as well as garage rock and generations of punk. Jess Scott of Brilliant Colors told me she recently broached this subject with riot grrrl vet Layla Gibbon, editor of Maximum Rocknroll: “I think people are writing about the music itself, which is exciting. I’m always for new music, and I’m doubly for girls in music.”

But just because girl bands are becoming more of a norm doesn’t mean that sexism has evaporated, much like the election of Barack Obama hasn’t dispelled racism. “When we go on tour in the South or Midwest or anywhere else, you realize how different it is,” says Lillian Maring of Grass Widow. “You’re loading into the venue and hearing, ‘Where’s the band?’ ‘Heh-heh, it’s us — we’re the band.’ ‘You’re traveling by yourselves?'” She looks flabbergasted. “Are you fucking kidding me?”

Intriguingly, the very idea of foregrounding gender, above music, chafes against some musicians. “There’s definitely a history of women being objectified in all kinds of visual culture,” says Grass Widow’s Hannah Lew. “We’re thoughtful people who work hard at writing songs and are trying to challenge that whole system of objectification, so it would kind of be an oxymoron if we were to capitalize on the idea of being a girl group. Our gender is an element of what we do, but the first thing is our thoughts and our music.”

Still, others see gender as an inextricable part of writing music, often collaboratively, about their own experiences. “I think it’s a powerful thing to be a troupe of women together writing music,” says the Splinters’ Lauren Stern. “The lyrics are totally different, and there are certain things that a woman writer conveys differently.” Her bandmate Caroline Partamian believes the popularity of all-female combos like the Vivian Girls may be “subconsciously giving girl bands more power to keep writing songs and keep playing shows.”

The Girlschool class of 2010, would probably agree that a new paradigm is in order. Scott, for instance, confesses she’d rather align herself with politically like-minded labels like Make a Mess than simply other all-female bands that “want the same old things tons of guy bands have wanted.” The same old won’t get you a passing grade.

 

MEAT THE BAND: GRASS WIDOW

The dilemma of so many women’s bands — to be on the CD or LP cover, or not to be — is beside the point when it comes to SF’s Grass Widow, hunkering down over burgers and shakes in the belly of a former meatpacking building at 16th and Mission streets, in a onetime-meat locker-now-practice space jammed with drum kits, amps, and gear.

“I think it’s annoying to try and sensationalize girl groups, but at the same token maybe it’s cool because it might normalize, a bit, the idea of gender,” says bassist-vocalist Hannah Lew. “But it’s definitely the thing we don’t like to talk about first. I almost don’t want to use our image in anything. People are automatically, ‘They’re hot! Omigod, that one is hot!'”

The cover of Grass Widow’s second, newly released album, Past Time (Kill Rock Stars), appears to sidestep the issue, until you look closely and notice Lew, guitarist-vocalist Raven Mahon, and drummer-vocalist Lillian Maring poking their heads out a car window in the background. “We’re very blurry, but we could be really hot!” Lew jokes. “We probably are really hot!”

Some consider Grass Widow hot for altogether different reasons: the band is often brought up by other all-female local bands as a favorite, and Past Time stands to find a place beside such influential groups as the Raincoats for its blend of sweetness and dissonance, spare instrumentation and sing-out confidence, and interwoven vocals. In some ways, Grass Widow sounds as if it’s starting from scratch in a post-punk universe and going forward from there, violating rockist convention.

Are they, as their name might suggest, mourning an indie rock that might or might not be dead? Well, when Lew, Mahon, and Maring started playing together in 2007 under the moniker Shit Storm (“It was a self-fulfilling prophecy, like the facial tattoo of band names!” says Lew), they probably couldn’t predict how sadly apropos Grass Widow — a centuries-old phrase referring to a woman whose husband is away at sea or war or on duty — would become. Last year, among other events, Lew’s father, noted SF Rabbi Alan Lew, passed away. “We took a six-month break during this intense grieving period, and it was strange to come out of it and think, we’re in a band called Grass Widow,” Lew says now. “And we were grass widows to each other! Then playing again, it felt right to be in a band like that — it took on this other meaning.”

In a similar way, the group regularly works together to transform their experiences, thoughts, and dreams through allegory into song lyrics — and for its release party, it plans to incorporate a string section and a 35-lady choir. “We’re not a girl group mourning the loss of our boyfriends and waiting for them to return,” muses Mahon. “It’s more like we’re working together to create and we’re functioning just fine that way.”

BRIGHT STARS: BRILLIANT COLORS

“We’re associated with a lot of bands that came along a few years later, but when I started writing songs three or four years ago, it was a wasteland,” says Jess Scott, Brilliant Colors’ vocalist, guitarist, and songwriter. “It was really hard to find people who wanted to play pop, not hardcore. It seems like a given now, but it was hard to find people who were into Aislers Set.”

Scott’s tenacity and focus comes through — loud, clear, and as vivid as the brightest hues in your paint set, and the most resonant melodies of Aislers Set — on Brilliant Colors’ 2009 debut, Introducing (Slumberland). Her breathy vocals and rhythm guitar — a crisp combination of post-punk spunk and drone — bound off drummer Diane Anastacio’s frisky, skipping beats and bassist Michelle Hill’s simple, straight-to-the-gut bass lines like the most natural thing in the world, recalling punk classics by early Buzzcocks and Wire as well as later successors Delta 5 and LiliPUT and riot grrrl-era kin Heavens to Betsy and Huggy Bear.

Scott has been writing songs since she was 15, which, full disclosure, was around the time I first met her, the daughter of two moms, one of whom I worked with. At the time, her sound was softer, more melodic, and at times weirder than the punk outfits that frequented 924 Gilman Street Project, her pals’ preferred hangout. Nevertheless, Brilliant Colors has gone on to somehow fuse Gilman’s political-punk commitment with Scott’s obsession with perfecting pop songcraft.

“We get offers to do cheesy things and we don’t do it. We’re extremely liberal punk kids, y’know,” explains Scott, who sees all of her band’s numbers as love songs, with a few intriguing angles: “Motherland,” say, is “an overtly feminist song about solidarity between women,” while “Absolutely Anything” concerns vaginal imagery in art.

Call Brilliant Colors’ inspired tunes a true reflection of its music-obsessed maker: Scott studied political science and economics as an undergraduate at Mills College, and arts journalism as a fellow at University of Southern California, and she regularly writes for Maximum Rocknroll. She also runs a cassette label, Tape It to the Limit.

“You could say we’re conscious of who we play with and where we play and what we say,” says. That means saying “no way” to playing at chain clothing stores such as Top Shop, though she humbly adds, “I don’t want to seem ungrateful or rude about it, but we want to stick to shows that are all ages and cheap.”

Snackable: The Sandwitches

Give naivete a good, hard twist and you get something close to the rock ‘n’ roll-primitive originality of the Sandwitches. Little wonder that two of the winsome ‘Witches, vocalist-guitarists Grace Cooper and Heidi Alexander, were once backup vocalists for the Fresh and Onlys — the Sandwitches’ music rings out with the ear-cleansing clarity of smart girls who understand the importance of preserving the best, raw parts of their innocence, even amid the pleasures and perils of age, wisdom, snarking hipsters, and intimidating record collections.

One of the SF trio’s recent tunes, “Beatle Screams,” embodies that fresh, crunchy, approach: its lo-fi echo; lumbering, click-clack drums; and sad carnival-organ sounds are topped off with the comic pathos of girlish, ghoulish shrieks from the depths of groupie hell.

Live, the Sandwitches come across as offhand, upbeat, and surprisingly passionate, playing music that harks to lonely teardrops, mom ‘n’ pop low-watt radio stations, the Everlys and Gene Pitney, with a twinge of country and a dose of dissonance. The trio’s recordings have a nuanced view of love and lust. They assume the perspective of infatuated naifs on “Idiot Savant,” and warble “Fire … I fill the room, I fill the womb,” on “Fire” from the 2009 debut album, How to Make Ambient Sad Cake (Turn Up). Produced by the Fresh and Onlys’ Wymond Miles, the new Sandwitches EP, Duck, Duck, Goose! (Empty Cellar/Secret Seven) plunges even deeper into the shadows, tackling “Baby Mine,” Fresh and Onlys’ honcho Tim Cohen’s “Rock of Gibraltar,” and other eerie lullabies with confidence and tangible vision.

The Sandwitches materialized two years ago when Alexander and drummer Roxy Brodeur began playing together. “She said she really liked the way I drummed and we should play music sometime,” recalls Brodeur, who has also drummed in Brilliant Colors and Pillars of Silence. Alexander had also been playing with Cooper, and it seemed only natural for the three to join forces.

Brodeur was adept at following along: “I play to the vocals a lot, and it depends on the song because Grace and Heidi write in pretty different styles — with Grace it’s lighter and jazzier and with Heidi it’s a little heavier and thumpy.”

GRASS WIDOW

Sept. 10, 7 p.m., all ages

Cyclone Warehouse

Illinois and Cesar Chavez, SF

www.myspace.com/grasswidowmusic

POSITIVELY TEMESCAL: THE SPLINTERS

What do Canadian tuxes, temporary tats, TLC, and touring by pickup truck have in common? They’re all pleasures, guilty or not, for the Splinters. The soon-to-be-bicoastal Bay Area all-girl combo is all about fun and friendship, gauging the laughter levels as guitarist Caroline Partamian and vocalist-tambourine player Lauren Stern sip PBRs by the hideaway fireplace in the back of Oakland’s Avenue Bar. Some other choice subjects: seedy green rooms, messy Texas shows, honey-dripping Southern accents, and bandmates that make their own thongs.

“Sometimes being girls has gotten us out of trouble,” says Stern, chuckling. Like that time at an Austin house party when the Splinters got grossed out by the bathroom and decided to go pee next to their truck instead. “We had baby wipes,” Partamian explains. “And we had the truck doors open.”

“So we’re all squatting in a row, and this guy walks out with his dog and his friend,” continues Stern, “and he’s like, ‘You guys are peeing in front of our house!'” Girlish oohing and aahing over his pooch saved the day, and the aggrieved dog walker ended up replacing the truck’s brake pads at a drastic discount.

Likewise, positivity and camaraderie infuse the Splinters’ all-fun debut, Kick (Double Negative), though “Sea Salt Skin” injects melancholy into the garage-rocking shenanigans and “Oranges” levels its gaze at girl-on-girl violence with a withering Black Sabbath-style riff. “Cool” and “Dark Shades” flip the dance-party ethos on its side, playfully critiquing the hip crowd like wiseacre modern-day Shangri-Las. No surprise, then, that these women were friends and fellow students at UC Berkeley before they started playing together in late 2007, inspired by Partamian’s four-track birthday gift. The first show was an Obama house-party fundraiser. “It was $5 for a 40 and a corn dog,” Stern remembers.

The ensemble has turned out to be much more than an end-of-school lark. A New York City move is next for Stern and Partamian — the latter will be starting the museum studies graduate program at NYU. But the Splinters will stay together, in part for four female superfans who sing along to all the Splinters’ songs, and for a Bristol, U.K. father and son who have bonded over their affection for the group.

“I don’t know, we just love playing music together,” says Partamian.

“It’s so much fun,” Stern adds. “Almost in an addictive way.”

 

YOUNG AND FUN: THE TWINKS

Whether you see the term as sweet talk or a slam, the Twinks’ name couldn’t be more appropriate. After all, as drummer Erica Eller says with a laugh, “We’re cute and we like boys!”

True to form, they’re young — the foursome’s first show took place last month — and fun. The Twinks are all-girl, rather than a band of adorable and hairless young gay men. Their sugar-sweet, hip-shaking rockin’ pop unabashedly finds inspiration in the first wave of girl groups — vessels of femininity and Tin Pan Alley aspiration such as the Crystals, the Shirelles, the Dixie Cups, and the Shangri-Las. But in the Twinks’ case, girls, not the producers, are calling the shots. Tunes like “Let’s Go” and “There He Was” are tracked by the group on a portable recorder and overdubbed with Garage Band. It’s a rough but effective setup, capturing keyboardist and primary songwriter Kelly Gabaldon, guitarist Melissa Wolfe, and bassist Rita Sapunor as they take turns on lead vocals and harmonize with abandon.

The band came to life amid an explosion of creativity, when Gabaldon, who also plays in the all-girl Glassines with Eller, wrote a slew of songs last winter. “All of a sudden I had a burst of inspiration,” Gabaldon marvels. “I’d email them a new song every day.” The numbers seemed less suited to the “moodier, singer-songwriter” Glassines, so Gabaldon got her friend Wolfe and finally Sapunor into the act.

Says Gabaldon: “I started listening to a lot more oldies music than I had been before.”

“We also went to a bunch of shows in the past year,” adds Eller as the group sits around the kitchen table at her Mission District warehouse space. “Shannon and the Clams, Hunx and His Punx, a lot of local bands, for sure.”

“I got influenced by Girls,” interjects Gabaldon.

Eller: “All these concerts going on — Nobunny — “

“We went to a lot of shows in the past year!” says Gabaldon. “It was like, ‘We want to do that!'<0x2009>”

Now the Twinks are just trying to play out as much as they can and record their songs. They work ties and other menswear delights into their stage getups, and drink shots of Chartreuse before each show. “I think we all have similar ambitions,” says Sapunor, “but there’s a sense of lightness and playfulness and fun, so it doesn’t seem like work. I think that’s how female culture plays into the overall experience for us, and hopefully for audience members, too.”

BRILLIANT COLORS

With Milk Music and White Boss

Sept. 9, 9 p.m., $7

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

GRASS WIDOW

Sept. 10, 7 p.m., all ages

Cyclone Warehouse Illinois and Cesar Chavez, SF www.myspace.com/grasswidowmusic

Stage listings

0

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

THEATER

OPENING

How Lucky Can You Get? New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $20-28. Previews Thurs/26, 8pm. Opens Fri/27, 8pm. Runs Thurs-Sat, 8pm. Through Sept 11. Darlene Popovic sings Kander and Ebb under the direction of F. Allen Sawyer.

Oscar Wilde’s The Picture of Dorian Gray Eureka Theatre, 215 Howard; 552-4100, www.TheRhino.org. $10-25. Previews Thurs/26-Sat/28, 8pm; Sun/29, 3pm. Opens Sept 1, 8pm. Runs Wed-Sat, 8pm (also Sept 5, Sept 12, and Sept 19, 3pm). Through Sept 19. John Fisher adapts the Oscar Wilde novel for the stage and directs the production.

BAY AREA

Into the Woods 142 Throckmorton Theatre, 142 Throckmorton, Mill Valley; 383-9600, www.142throckmortontheatre.org. $14-30. Opens Fri/27, 7:30pm. Runs Fri-Sat, 7:30pm, Sun, 2pm. Through Sept. 4. Marin Youth Performers present James Lapine’s and Stephen Sondheim’s fractured fairy tale.

The Light in the Piazza TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-67. Previews Wed/25-Fri/27, 8pm. Opens Sat/28, 8pm. Runs Tues-Wed, 7:30pm, Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sept 19. TheatreWorks presents Craig Lucas’s tale of love under the Tuscan sun.

MilkMilkLemonade La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Previews Thurs/26-Fri/27, 8pm. Opens Sat/28, 8pm. Runs Thurs-Sat, 8pm. Through Oct 2. Impact Theatre presents Joshua Conkel’s off off Broadway about a lonely gay man trapped in a chicken farm.


ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Fri/ 26, 9pm. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

The Glass Menagerie Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Fri/27 (also Sept. 2 and Sept. 3), 8pm. Through Sept 3. The third production in Boxcar Theatre’s trio of Tennessee Williams plays in repertory is the biggest disappointment, not only because director Jessica Holt’s production comes bloated distractingly by "shadow" versions of the principals and other random characters, but because it’s the play that otherwise feels most apt and urgent. The "social background of the play," as narrator Tom (a generally credible Brian Trybom) describes it, is a landscape characterized by depression at home and revolution abroad, as pent-up American energies shuffle along through hangdog subsistence, shallow hedonism and occasional "labor unrest." This is the social projection of Tom’s private quandary, but that’s just how this partly autobiographical play speaks so eloquently and subtly to larger themes. When the unhelpful, enervating pantomiming and other stage business dies down a bit, you can see the principal roles—rounded out by Hannah Knapp as Tom’s too fragile sister, Laura, and Suzan A. Kendall as his indomitable mother, Amanda—breath more genuinely and the play actually take shape on the stage. The arrival of the Gentleman Caller (played with winning solidity by Boxcar’s Nick A. Olivero) marks the best part of the evening, even if the gentleman arrives too late to fully redeem the proceeding hour’s misconceived shenanigans. (Avila)

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun/29, 8pm. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sept 12. A new show written by Morris Bobrow.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through Sept 5. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory ("Peaceweavers"), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of "Esta es Nuestra Lucha" passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

Skin Tight CounterPULSE, 1310 Mission; www.counterpulse.org. $20 ($35 for gala opening). Thurs-Sat, 8pm. Through August 28. Rapid Descent Physical Performance Company takes its debut bow with Gary Henderson’s oblique portrait of a lifelong love affair, directed and choreographed by Megan Finlay. The couple, the vivacious Elizabeth (Beth Deitchman) and her gentle but quick-witted childhood sweetheart (and later war veteran) Tom (Nathaniel Justiniano) tumble, wrestle and entwine in playful lovemaking and painful heartache across a stage largely bare but for a bathtub set prominently upstage and center, and a white-clad trumpet player (composer-performer Aaron William Priskorn) who observes and accompanies them at close quarters throughout as an invisible muse or piece of mobile furniture. The acting is strong and committed—Deitchman’s sharp and vibrant Elizabeth balances well with the brawny Justiniano’s slyly self-effacing Tom, and both are lithesome in the physically demanding staging—but the dramatic content is thin and hampered by a sentimental storyline that feels precious rather than genuinely romantic or truthful. Moreover, the movement, central to the piece, remains fitfully effective and repetitious. But there’s a promising intelligence at work throughout the production that makes Rapid Descent a welcome arrival. (Avila)

*Streetcar Named Desire Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Wed-Sat, 8pm. Through Sept 4. It’s no small feat, creating a sultry southern summer circa 1940’s smack-dab in the middle of a typically frosty San Francisco summer circa right here right now, but Boxcar Theatre rises admirably to the challenge. Rebecca Longworth’s creative staging of Tennessee Williams’ "A Streetcar Named Desire" includes musical interludes, ghostly apparitions, and the clattering of a cleverly impersonated streetcar that shakes the walls of Matt McAdon’s simply-detailed tenement flat and the spirits of one Blanche DuBois (Juliet Tanner), while the deliberately-muted lighting (Stephanie Buchner) and period-appropriate sound (Ted Crimy), add the appropriate layers of southern discomfort to the unfolding action. Especially captivating to watch are the performances of supporting characters Stella (Casi Maggio) and Mitch (Brian Jansen), who seem to almost helplessly orbit the hot flame of Stanley Kowalski’s sun (Nick A. Olivero) and the grimly flickering satellite of Blanche’s waning moon. As he does in "Cat on a Hot Tin Roof," Seth Thygesen stands in for one dearly-departed, in this case Blanche’s old beau, Allan Gray, whose abrupt suicide de-magnetized her moral compass. And in addition to a saucy turn as next-door neighbor Eunice, Linnea George tracks the fractured emotions of the main characters on her mournful violin. (Nicole Gluckstern)

*This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sept 4. $15-20. In our obsession with possessions, just who possesses who? Mugwumpin’s inventive, hilarious and repeatedly surprising new work—captivated and captivating—reminds us that a possession isn’t just a thing but also a (colonized) state of being. But there’s no manifesto here, so much as a multifaceted, deftly staged exploration of a theme so central to this bare and incredibly cluttered existence that we hardly even notice it. The four person ensemble (Madeline H.D. Brown, Joe Estlack, Erin Mei-Ling Stuart, and Christopher W. White), sharply co-directed by Liz Lisle and Jonathan Spector, brings various states of being and relation to life with aplomb—amid swift transformations of time and place, provocative contrasts and parallels, dexterous vocalizations, and supple and satisfyingly offbeat choreography. I’m purposely leaving out the details of the vignettes and the sometimes-startling mise en scène because it’s better that way. All you really need now is the price of a ticket. (Avila)

This World Is Good Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. Thurs-Sat, 8pm. Through Sat/28. $18-24. The 1990s are giving way to a millennial moment of anti-climax known as Y2K, but the anxiety and dread are real, and the bloodiest century in human history looks poised to be outdone by the doom-drones of the next. Making at least academic sense of all that angst is Ally (Dina Percia), a brilliant young Latina writing her doctoral dissertation on Grunge and its landscape of youth alienation. Her best friend and occasional lover is a smitten young English prof (Damian Lanahan-Kalish), a dork with a degree and the pet name Scrotum Face. But as she delves into the world of ideas, Ally loses track of her family: single mother Emmy (Tessa Koning-Martinez) and, more tragically, talented but emotionally tortured younger brother Sam (Shoresh Alaudini), whose battered mind and compassionate heart craft a graphic story around a new "super hero" with no costume, no parallel identity, and indeed no special powers. When her family collapses, Ally reassembles the pieces from a new vantage, outside the ivory tower, where she makes art from a sort of crystalline "ordinariness" that complements her brother’s all-too-ordinary super hero. This World Is Good is the opening gambit in a new trilogy by local playwright J.C. Lee called This World and After, all being presented by Sleepwalkers Theatre this season. Artistic director Tore Ingersoll-Thorp helms a competently acted production, which helps lend Lee’s ambitious scope its tangible human proportions, though in truth the characters do not always feel fully drawn. There’s a fine monologue from Sam, both chilling and exhilarating, but also a proclivity throughout for awkwardly poetical speeches over dialogue. Still, there’s subtlety and real humor in the best parts, and enough here to want to see more. (Avila)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Sept 12. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Sat-Sun, 3pm (also Sept 5, 3pm). Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by Ian Tracy.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Fri-Sat, 8pm; Sun, 4pm (also Sept 11, 2pm). Through Sept 12. Minneapolis’s Joel Sass returns to Cal Shakes to direct Macbeth with a pared down cast of 12, lead by Jud Williford in the title role of the prophesy-driven regicidal social climber and Stacy Ross as his ambitious and then guilt-crazed Lady M. The towering, two-tiered set (by Daniel Ostling) is a suitably eerie, decrepit-looking place, a "murky hell" with a sort of Old World clinical sleaze about it. The three witches come gowned (by costumer Christal Weatherly) in dingy white nurses habits and sickly green surgical gloves with black voids where their faces should be (their spectral speech projected over the audio system). But Cal Shakes’s production doesn’t really measure up to the atmospheric mise-en-scene, being more dutiful than heat-generating. A wily cut-and-paste job with one of the more famous lines doesn’t quite come off either, since it jars by its initial absence and then rings a bit self-consciously when it does surface as a downbeat coda. (Avila)

The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.com. $20-25. Dates and times vary. Through Sept 5. Shotgun Players presents Alan Ayckbourn’s comic trilogy.

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

PERFORMANCE/DANCE

"Buddy Club Children’s Shows" Botanical Garden, 9th Ave and Lincoln; (510) 236-7649, www.TheBuddyClub.com. Sun/29, 11am-noon, $5-10. Robert Strong performs magic.

"New Choreography" The Garage, 975 Howard; 518-1517, www.975howard.com Fri/27-Sat/28, 8pm. SPF5 presents two nights of dance.

Penny Dreadful Project Studio Theatre, Creative Arts Bldg, San Francisco State University, 1600 Holloway; 338-2467, www.creativearts.sfsu.edu. Wed/25-Sat/28, 8:30pm; free. A dark tale about an unnamed woman and three versions of her son, directed and co-written (with Alex peri) by Mario El Caponi Mendoza.

"San Francisco Circus Center Showcase" San Francisco Circus Center, 755 Frederick; www.brownpapertickets.com. Fri/27, 7pm; Sat/28 2 and 7pm; Sun/29, 2pm; $10-20. The Circus Center presents its annual showcase.

Sci-Fi Burlesque DNA Lounge, 375 11th; www.superhappyfuntimeburlesque.com. Thurs/26, 9pm; $10-15. Six-person Michigan burlesque group puts on a show.

BAY AREA

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. For complete listings, see www.sfbg.com.

THEATER

OPENING

BAY AREA

Antony & Cleopatra Forest Meadows Ampitheatre, 1475 Grand, San Rafael; 499-4488, www.marinshakespeare.org. $20-35. Previews Fri/20-Sun/22, 8pm. Opens August 28, 8pm. Runs Fri-Sat, 8pm; Sun, 4pm. Through Sept 25. Marin Shakespeare Company’s summer season continues with the tale of the Egyptian queen.

In the Wound John Hinkel Park, Berk; (510) 841-6500, www.shotgunplayers.org. $10 (no one turned away). Opens Sat/21, 3pm. Runs Sat-Sun, 3pm (also Sept 5, 3pm). Through Oct 3. Shotgun Players present a unique take on the Iliad, written and directed by ian tracy.

Macbeth Bruns Ampitheater, 100 California Shakespeare Way, Orinda; (510) 548-9666, www.calshakes.org. $34-70. Previews Wed/18-Fri/20, 8pm. Opens Sat/21, 8pm. Runs Fri-Sat, 8pm; Sun, 4pm (also Sept 11, 2pm). California Shakespeare Theater presents the tale of unbridled ambition and its consequences, directed by Joel Sass.

Trouble in Mind Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $10-55. Previews Fri/20-Sat/21 and Tues/24, 8pm; Sun/22, 2pm. Opens August 26, 8pm. Run Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through Sept 26. Aurora Theatre presents Alice Childress’ look at racism through the lens of theater.

 

ONGOING

Abigail: The Salem Witch Trials Temple SF, 540 Howard; www.templesf.com. $10. Thurs/19, August 26, 9pm. Through August 26. Buzz Productions, with Skycastle Music and Lunar Eclipse Records, presents an original rock opera based on the Salem witch trials.

Divalicious New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $22-28. Wed-Sat, 8 p.m.; Sun, 2pm. Through Sun/22. Leanne Borghesi takes on the music of legends ranging from Garland to Midler.

Don’t Ask New Conservatory Theatre Center, 25 Van Ness; 861-8972; www.nctcsf.org. $24-36. Wed-Sat, 8pm; Sun, 2pm. Through Sept 19. New Conservatory Theatre Center presents the West Coast premiere of Bill Quigley’s play about the affair between a Private and his superior.

Gilligan’s Island: Live on Stage! The Garage, 975 Howard; (800) 838-3006, www.brownpapertickets.com. $15-20. Sun, 8pm. Through August 29. Moore Theatre and SAFEhouse for the Performing Arts brings the TV show to the stage, lovey.

Party of 2 Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $25-29. Sun, 3pm. Through Sept 12. A new show written by Morris Bobrow.

Peter Pan Threesixty Theater, Ferry Park (on Embarcadero across from the Ferry Bldg); www.peterpantheshow.com. $30-125. Tues and Thurs, 7pm; Fri-Sat, 7:30pm (also Sat, 2pm); Wed, 2pm; Sun, 1 and 5pm. Through August 29. JM Barrie’s tale is performed in a specially-built 360-degree CGI theater.

*Posibilidad, or Death of the Worker Dolores Park and other sites; 285-1717, www.sfmt.org. Free. Sat-Sun, 2pm; also Sept 6, 2pm; Sept 17, 8pm. Through Sept 17. It may have been just a coincidence, but it certainly seems auspicious that the San Francisco Mime Troupe, itself collectively run since the 1970’s, would preview their latest show Posibilidad on the United Nations International Day of Cooperatives. The show, which centers around the struggles of the last remaining workers in a hemp clothing factory (“Peaceweavers”), hones in on the ideological divide between business conducted as usual, and the impulse to create a different system. Taking a clip from the Ari Lewis/Naomi Klein documentary The Take, half of the play is set in Argentina, where textile-worker Sophia (Lisa Hori-Garcia) becomes involved in a factory takeover for the first time. Her past experiences help inform her new co-workers’ sitdown strike and takeover of their own factory after they are told it will close by their impossibly fey, new age boss Ernesto (Rotimi Agbabiaka). You don’t need professional co-op experience to find humor in the nascent collective’s endless rounds of meetings, wince at their struggles against capitalistic indoctrination, or cheer the rousing message of “Esta es Nuestra Lucha” passionately sung by Velina Brown, though in another welcome coincidence, the run of Posibilidad also coincides with the National Worker Cooperative conference being held in August, so if you get extra inspired, you can always try to join forces there. (Gluckstern)

Sex Tapes for Seniors Victoria Theatre, 2961 16th; (800) 838-3006. $20-40. Fri-Sat, 8pm; Sun, 2pm. Through Sun/22. Older people have sex. It’s a revelation, incredibly, for the new, blandly do-goody yoga instructor (Erin Reis) at a retirement village called Shambhala Springs in the premiere of Mario Cossa’s sweet, sassy, but somewhat sterile and long-winded new musical. It’s maybe an eye-opener too for anyone in the audience too young to remember doing it in the Sixties—let alone in your sixties—and by eye-opener we mainly mean the ability to keep at least one eye open the entire show. Older audiences may find more to appreciate here. The odd cast of characters includes three couples—one straight (Charmaine Hitchcox and Terry Stokes), two gay (Phillipe Coquet and John Hutchinson; Rebecca Mills and Carolyn Zaremba), and a single widow (Nancy Helman Shneiderman) who dates but keeps another marriage at bay. (I promised myself I wouldn’t use the word feisty, but she is, as are several of the others.) They come up with a plan to make and sell the titular product, much to the horror of relatives and some other residents. But the storyline has more do to with individual relationships and the challenges of aging gracefully and living well. Performances are uneven, entrances routinely late, but there’s a built-in charm to that. Tyler Flanders’ music, however, generally limps along (despite dutiful treatment by a three-piece band) and Cossa’s lyrics only rarely stir. Although at least once all hell breaks loose: in the rousing, if not exactly arousing, number devoted to the fellatic benefits of dentures. Indeed, this play should probably have an NC-71 rating. (Avila)

*Show and Tell Thick House, 1695 18th St; (800) 838-3006, www.symmetrytheatre.com. Thurs-Sat, 8pm; Sun, 5:30 pm. Through Sun/22. $25. Symmetry Theatre Company, an impressive new group dedicated to addressing gender disparity in the casting of professional actors, makes a memorable debut with this expertly crafted, sinuous drama about the psychological aftermath—and tangled social roots—of a bombing in a small-town schoolroom from playwright (and former SF rez) Anthony Clarvoe (Control+Alt+Delete). The sole survivor of the horrific and mysterious attack is the stunned, deeply perplexed teacher (an affecting, quietly intense Chloe Bronzan), soon surrounded by grief-stricken parents demanding their childrens’ remains and a tight-knit, jaded forensics team led by a gradually smitten FBI agent (a suavely imposing Robert Parsons). Julia Brothers, Wylie Herman, Jessica Powell, and Erika Salazar round out a strong ensemble under the assured direction of Laura Hope, whose engaging production leaves much to think about in the realm of private turmoil and public chaos—including the nature of grief, modernity’s systemic violence, and the disorder generated and managed by the self-same state. Kate Boyd’s lush, strikingly ambiguous video design (featuring a set of evocative childrens’ drawings) and Cliff Caruthers’ beautifully spare and haunted sound (featuring a delicate stream of child voices) add measurably to the expanse of the play’s existential and political universe. (Avila)

Skin Tight CounterPULSE, 1310 Mission; www.counterpulse.org. $20 ($35 for gala opening). Thurs-Sat, 8pm. Through August 28. Rapid Descent Physical Performance Company presents the SF premiere of Gary Henderson’s play.

*Streetcar Named Desire Boxcar Playhouse, 505 Natoma; 776-1747, www.boxcartheatre.org. $15-25. Wed-Sat, 8pm. Through Sept 4. It’s no small feat, creating a sultry southern summer circa 1940’s smack-dab in the middle of a typically frosty San Francisco summer circa right here right now, but Boxcar Theatre rises admirably to the challenge. Rebecca Longworth’s creative staging of Tennessee Williams’ “A Streetcar Named Desireincludes musical interludes, ghostly apparitions, and the clattering of a cleverly impersonated streetcar that shakes the walls of Matt McAdon’s simply-detailed tenement flat and the spirits of one Blanche DuBois (Juliet Tanner), while the deliberately-muted lighting (Stephanie Buchner) and period-appropriate sound (Ted Crimy), add the appropriate layers of southern discomfort to the unfolding action. Especially captivating to watch are the performances of supporting characters Stella (Casi Maggio) and Mitch (Brian Jansen), who seem to almost helplessly orbit the hot flame of Stanley Kowalski’s sun (Nick A. Olivero) and the grimly flickering satellite of Blanche’s waning moon. As he does in “Cat on a Hot Tin Roof,” Seth Thygesen stands in for one dearly-departed, in this case Blanche’s old beau, Allan Gray, whose abrupt suicide de-magnetized her moral compass. And in addition to a saucy turn as next-door neighbor Eunice, Linnea George tracks the fractured emotions of the main characters on her mournful violin. (Nicole Gluckstern)

*This Is All I Need NOHspace, 2840 Mariposa; www.mugwumpin.org. Thurs-Sun, 8pm. Through Sept 4. $15-20. In our obsession with possessions, just who possesses who? Mugwumpin’s inventive, hilarious and repeatedly surprising new work—captivated and captivating—reminds us that a possession isn’t just a thing but also a (colonized) state of being. But there’s no manifesto here, so much as a multifaceted, deftly staged exploration of a theme so central to this bare and incredibly cluttered existence that we hardly even notice it. The four person ensemble (Madeline H.D. Brown, Joe Estlack, Erin Mei-Ling Stuart, and Christopher W. White), sharply co-directed by Liz Lisle and Jonathan Spector, brings various states of being and relation to life with aplomb—amid swift transformations of time and place, provocative contrasts and parallels, dexterous vocalizations, and supple and satisfyingly offbeat choreography. I’m purposely leaving out the details of the vignettes and the sometimes-startling mise en scène because it’s better that way. All you really need now is the price of a ticket. (Avila)

This World Is Good Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. Thurs-Sat, 8pm. Through August 28. $18-24. The 1990s are giving way to a millennial moment of anti-climax known as Y2K, but the anxiety and dread are real, and the bloodiest century in human history looks poised to be outdone by the doom-drones of the next. Making at least academic sense of all that angst is Ally (Dina Percia), a brilliant young Latina writing her doctoral dissertation on Grunge and its landscape of youth alienation. Her best friend and occasional lover is a smitten young English prof (Damian Lanahan-Kalish), a dork with a degree and the pet name Scrotum Face. But as she delves into the world of ideas, Ally loses track of her family: single mother Emmy (Tessa Koning-Martinez) and, more tragically, talented but emotionally tortured younger brother Sam (Shoresh Alaudini), whose battered mind and compassionate heart craft a graphic story around a new “super hero” with no costume, no parallel identity, and indeed no special powers. When her family collapses, Ally reassembles the pieces from a new vantage, outside the ivory tower, where she makes art from a sort of crystalline “ordinariness” that complements her brother’s all-too-ordinary super hero. This World Is Good is the opening gambit in a new trilogy by local playwright J.C. Lee called This World and After, all being presented by Sleepwalkers Theatre this season. Artistic director Tore Ingersoll-Thorp helms a competently acted production, which helps lend Lee’s ambitious scope its tangible human proportions, though in truth the characters do not always feel fully drawn. There’s a fine monologue from Sam, both chilling and exhilarating, but also a proclivity throughout for awkwardly poetical speeches over dialogue. Still, there’s subtlety and real humor in the best parts, and enough here to want to see more. (Avila)

What Mama Said About Down There Our Little Theater, 287 Ellis; 820-3250, www.theatrebayarea.org. $15-25. Thurs-Sun, 8pm. Through August 28. Writer-performer-activist Sia Amma presents this largely political, a bit clinical, inherently sexual, and utterly unforgettable performance piece.

BAY AREA

Blithe Spirit Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkely.org. $12-15. Fri-Sat, 8pm; also Thurs/19, 8pm. Through Sat/21. Actors Ensemble of Berkeley essays the eternal Noel Coward comedy, about a (naturally) Coward-esque writer (Stanley Spenger) who for the purposes of research and any passing amusement it may provide invites over a celebrated medium (an amusingly puffed-up Chris Macomber), only to have her inadvertently summon the ghost of his ex-wife (Erin J. Hoffman), who mischievously begins to drive a wedge between him and his new wife (Shannon Veon Kase). Director Hector Correa’s not-always-fitting casting choices contribute to a drearily perfunctory tone at the outset, which makes the first scenes somewhat painful going. However, Spenger proves admirably dry and restrained in the lead, and things pick up measurably with the arrival of the titular ghost, played with playful, bounding energy and notable grace by Hoffman. (Avila)

*East 14th: True Tales of a Reluctant Player Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $20-50. Dates and times vary. Through Sept 12. Don Reed’s solo play, making its Oakland debut after an acclaimed New York run, is truly a welcome homecoming twice over. (Avila)

*Machiavelli’s The Prince Berkeley City Club, 2315 Durant, Berk; (510) 558-1381, www.centralworks.org. $14-25. Thurs-Sat, 8 p.m.; Sun, 5pm. Through Sun/22. Set in an intimate salon-space in the Berkeley City Club, this stage adaptation of one of the most famous documents on political power ever written gains a certain conversational quality. In fact, the script, penned by Gary Graves, is really just one long conversation—an imagined encounter between Nicolo Machiavelli and the man he dedicated his treatise to, Lorenzo de Medici II. Machiavelli (Mark Farrell) has been called by de Medici (Cole Alexander Smith) to possibly regain favor in his court after a long banishment. With him he brings a notebook of his musings on gaining and retaining political power, which he bestows on Lorenzo for him to read. As the Duke of Florence, Smith plays his character with the measured dignity and watchful countenance of a career mobster. He protests the extremism of his former teacher’s philosophy of rule even as he is casually seduced by its implications. Farrell’s Machiavelli tries to play his position with calculated Mephistopheles cool. However, he cannot escape the obvious taint of his own failures, and eventually, for all his talk of power, he is revealed to be ultimately powerless, though his ideas remain with de Medici, long after he himself is let go. (Gluckstern)

The Norman Conquests The Ashby Stage, 901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.com. $20-25. Dates and times vary. Through Sept 5. Shotgun Players presents Alan Ayckbourn’s comic trilogy.

The Taming of the Shrew Forest Meadows Amphitheatre, 1475 Grand, San Rafael; (415) 499-4488, www.marinshakespeare.org. $20-25. Fri-Sun, 8pm; also Sun, 4pm and 5pm. Through Sept 26. Marin Theatre Company presents a swashbuckling version of the classic.

PERFORMANCE/DANCE

Bay Area Rhythm Exchange War Memorial and Performing Arts Center, Herbst Theatre, 401 Van Ness; 392-4400, www.stepology.com. Fri/20-Sat/21, 8pm. $17-25. Bay Area Tap Festival artists perform.

“Disoriented” Stage Werx Theater, 533, Sutter; www.brownpapertickets.com. Thurs/19, 8pm, $20. A trio of solo performances by Zahra Noorbakhsh, Colleen “Coke” Nakamoto, and Thao P. Nguyen.

“House Special” ODC Dance Commons, 351 Shotwell; www.odctheater.com. Sat/21, 8pm, $15. New work by Pearl Ubungun, Jesseilto Bie, and others.

Landscape With the Fall of Icarus Climate Theater, 470 Florida; www.brownpapertickets.com. Fri/20-Sat/21, 8pm, $15. Samauel Topiary presents an evening-length performance work.

“Sinners and Salivation-Themed Drag King Contest” DNA Lounge, 375 11th; www.sfdragkingcontest.com. Fri/20, 8pm (band) and 10pm (show), $20-35. The 15th annual contest, with special guest Jane Wiedlin, benefiting PAWS.

BAY AREA

“New Works Festival” Lucie Stern Theatre, 1355 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. Dates and times vary. Through August 22. $15-25 ($75 for festival pass). TheatreWorks presents its ninth annual festival.

Veterans of discrimination

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So you’re a gung-ho Hawaiian high schooler who wants to protect your country back in the early ’40s. You join the ROTC, which leads to a spin through the Territorial Guard. You’re then kicked out of service, because of where your family’s from. In fact, you’re now considered an enemy alien! Fancy. Such was the plight of the protagonists of Junichi Suzuki’s 442: Live With Honor, Die With Dignity (which starts Fri/13 at Viz Cinema), Japanese-Americans who went on to become one of the most decorated squadrons in U.S. military history.

How would you react in a similar situation? In anger, disgust, maybe by sewing a maple leaf on your rucksack and thumbing for passage to points north on passing ocean liners? Oddly, the young men from the film did the opposite. They reinvested in their home, forming a club that reflected the closest thing to service in the military they could still rope down and jumping in flat bed trucks to help their peers still in the armed forces out with construction projects around Honolulu (in Hawaii, it was deemed “not practicable” to export the vast Japanese immigrant to internment camps and instead strict curfew laws and energy blackouts were enacted). The Varsity Victory Volunteers, they called themselves. 

Junichi Suzuki’s 442: Live With Honor, Die With Dignity

Eventually, the army realized the guys weren’t terrorists and put them to work, stationing them on the front lines of WWII’s most dangerous conflicts. They done real good in battles – but paid for it, suffering 93% casulty rates by the military’s conservative counts (9,486 Purple Hearts were awarded and the company started out with only 3,000 soldiers!), all while many of their family members on the mainland were imprisoned in massive U.S. detention centers. 

It’s a compelling story about racism in our country, and I’m glad Suzuki tracked it down. But at its heart, 442 is still a war movie: grainy original footage and those slow zoom-ins on photos that the History Channel so dearly wishes was an appropriate stand-in for action. The most vivid scenes are those of the surviving members of the company that the filmmaker tracked down for an interview. They’re men who move slow, play golf, farm plots of land with their families. Veterans, dig? Doing what they wanted to do all along: be a legitimate, unconditional citizen of our country. 

The film is being shown as part of Viz Cinema’s multi-movie look at the work of Junichi Suzuki, whose been kicking around in director’s chairs forI over 27 years. Previously, the theater showed Suziki’s Toyo’s Camera, which includes footage from a camera that Toyo Miyatake snuck into the internment camp where he was sent during the war. From whence does Suzuki’s motivation spring to make such exhaustively well-researched looks at our country’s past and the history of his people? You can as him yourself — he’ll be at every screening of 442 on Fri/13 and Sat/14 at Viz.

 

442: Live With Honor, Die With Dignity

opens Fri/13 (through Thurs/19) 2:50, 7 p.m., $10

Viz Cinema

New People

1746 Post, SF

(415) 525-8600

www.newpeopleworld.com

 

Alerts

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alert@sfbg.com

WEDNESDAY, AUG. 11

Anarchists Salon


Join this monthly discussion, sponsored by Bay Area anarchists, aimed at encouraging constructive dialogue and debate about strategies for social transformation. People from diverse anarchist perspectives are welcome to help brainstorm projects and organizing efforts. Proceeds benefit the Oakland 100.

7 p.m., $3–$5 suggested

Station 40

3030B 16th St., SF

www.myspace.com/station40

Bay Area Timebank

Learn how you can exchange services, save money, and build a stronger community using this new timebank website that allows you to earn one "time dollar" for every hour you spend doing something for another member. Time dollars can then be traded for something you need, like goods and services. Half the bar tips from this informal luncheon will be donated to the project.

9 p.m., free

Elixir

3200 16th St., SF

www.timebank.sfbace.org

THURSDAY, AUG. 12

"Problema 1070"


Poet and MC Yoshimar Reyes leads a night of creative expression by Bay Area performers, spoken word artists, poets, and artists "reflecting on an Arizona state of mind." The event is intended to heighten awareness and broaden perspective on recently enacted xenophobic laws as well as ongoing attacks on the Latino immigrant communities in Arizona, Utah, and California.

7 p.m., $7 suggested donation

Mission Cultural Center Theater

2868 Mission, SF

(415) 821-1155

Women of Color Theory


Join radical feminists for a discussion from the feminist anthology, This Bridge Called My Back. The event features excerpts from Racism in the Women’s Movement, including writers Judit Moschkovich, Rosario Morales, Audre Lorde, and Doris Davenport. A summer buffet will be available beforehand for $7.50.

7 p.m., free

New Valencia Hall

625 Larkin, SF

(415) 864-1278

SATURDAY, AUG. 14

Conspiracy Tour 2010


This nationwide tour aims to raise awareness for the political activists from Minneapolis who are facing felony charges under the Patriot Act for conspiracy to commit riot and criminal damage during the 2008 Republican National Convention. Featuring performances and presentations. Proceeds benefit the RNC 8 legal defense fund.

7 p.m., donations encouraged

Station 40

3030B 16th St., SF

www. conspiracytour.wordpress.com

Defend Social Security


Join the California Alliance for Retired Americans (CARA) and the San Francisco Central Labor Council to celebrate and defend Social Security, on it’s 75th anniversary. The protest aims to raise awareness for the negative impacts that cuts to Social Security programs will have on seniors, people with disabilities, kids, and low-income families.

11 a.m., free

New Federal Building Plaza

Mission at Seventh, SF

(415) 215-7575

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

Editor’s Notes

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tredmond@sfbg.com

Broken windows can be replaced, and in two weeks, they will be. Stolen merchandise can be replaced, and it will be. But who’s going to replace this justice system that got looted? What insurance policy takes care of that?

Davey D Cook, Hard Knock Radio, KPFA, July 9

I’m not going to argue with the jury that convicted Johannes Mehserle of involuntary manslaughter in the death of Oscar Grant. I didn’t sit through the entire trial; I didn’t hear all of the testimony; I didn’t get the judge’s instructions on the law. I know it looks a lot like murder when you take a gun and shoot someone in the back, but the law requires intent, and the jury clearly believed — based on the evidence presented at trial — that the white officer made a mistake and never wanted to kill the young black man.

Based on the evidence I’ve seen — the videotape of the shooting, which, like many Bay Area residents, I’ve watched dozens of times— Mehserle had plenty of opportunity to back off, to recognize that he was about to fire a weapon at a man who was already on the ground and under police control. And remember: a Taser can also be lethal.

But the jury didn’t see evidence of murder, and voluntary manslaughter is a strange amalgam that’s very hard to fit with this case. If the judge sentences Mehserle to something close to the maximum (14 years), then some form of justice will have been done.

I say some form because it’s impossible to talk about this case without talking about race.

If Oscar Grant had been a white guy — even a drunk, belligerent, obnoxious white guy — I don’t think he ever would have been shot. The cops deal with annoying white people all the time, and they don’t get beat up, shot, or abused anywhere nearly as often as black people. That’s just reality.

Well-trained police officers working for professional law enforcement agencies are taught to be sensitive to race issues. They’re also taught how to make sure not to confuse a pistol with a Taser. It doesn’t always work — anyone who follows the criminal justice system knows that racism is very much a part of life. (And, of course, the BART police force is not a professional operation, and its officers aren’t well trained.)

If Mehserle had been a black kid from Hunters Point who was involved in a shooting death — even if he didn’t pull the trigger, even if he never meant to kill anyone — he’d be going to prison for a long, long time. The very fact that people are discussing the possibility of probation or a short sentence for Mehserle is a statement about the unfairness of our justice system.

And that’s not going to get fixed in two weeks. *

Anti-war groups disappointed with Obama’s speech

3

By Kristen Peters

Bay Area-based anti-war organizations were disappointed that President Barack Obama reaffirmed his support for war in Afghanistan while ousting the commanding general there, saying the doomed and dangerous military intervention is a bigger problem than the generals involved in executing it.

General Stanley McChrystal was today relieved from his post by the president for exhibiting an openly contemptuous view of the Obama administration and other civilian leaders in a recent interview with Rolling Stone magazine, replacing him with General David Petraeus, pending approval from Congress.

“There is a change in personnel, but not a change in policy,” President Obama said during his announcement in the Rose Garden.

That was precisely what the anti-war crowd didn’t want to hear.

“Although there is a personnel change, there is no change in the occupation of Afghanistan,” Nancy Mancias of Code Pink told the Guardian. “The troops are still present. Local groups need to remain focused on bringing our troops home, halt funding and stop the continued occupation overflowing into Pakistan.”

Instead of finding red flags in McChrystal’s insubordinate comments or the RS article’s quotes from disgruntled soldiers and dubious diplomats, Obama simply used the occasion to mix up the staff hierarchy running a war that few think is going well.

“It has proven an incredible waste of resources,” Richard Becker, regional director of the Act Now to Stop War and End Racism (ANSWER) Coalition, told the Guardian. “No one can pretend that anything resembling progress has been made. In fact, it’s just the opposite.”

More deaths have occurred over the last 10 months than have taken place in the last five years of combat. In addition to the staggering number of casualties accompanying the war, it also boasts a hefty price tag. According to organizational leaders, expenditure on the war has just exceeded the $1 trillion mark with no end in sight.

“The war — which will soon enter its tenth year – has meant a complete disaster for the people of our nation, a continuation of disasters for U.S. policy, and has inflicted disaster on the people of Afghanistan,” Becker said.

Festival front lines: Harmony 2010

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Aerial photo by DJ Guacamole

Santa Rosa got a little more groovy this weekend for the estimated 30,000 to 35,000 that attended the 32nd annual Harmony Festival, three days that were so epic my ability to narrate them cohesively has been called into question. Assembled here are some bits and pieces from the scene.

*****************************************************************

Best year ever?

The longest running West Coast music and lifestyle festival seems to have resolved many of the problems it’s had with turning a profit in years past. “We tightened our ship, we did less with more, and we sold more tickets,” says festival CEO, Bo Sapper. Sapper cited the Eco Rally skate contest as a particular success – Harmony teamed up with eight local skate shops, and a passel of pros to put on an amateur mini ramp competition. They had 1,000 skaters sign up to ride, mainly from the local area. The festival also sold out it’s Saturday night shows, a rare occurrence for past years of Harmony.

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Vendor madness

Call me monetarily minded (you’d be the first), but I said it before, and I’ll say it again; the stuff that’s selling can encapsulate the event itself. So what kind of hawkers of wares greeted you upon arrival a the front gates? Amongst the psychics and Mayan chocolate was a woman selling personal sized, portable saunas (she said she was having trouble getting people to experiment with it, temperatures topping out in the nineties and all), some berries from Ghana whose claim to fame were that they could effectively mess your sense of taste up (suggested to buyers as possible cocktail garnishes), and my favorite; Asturias, the sonic didgeridoo man who charms lions and tigers (and for $200/two hours, you too!) with his big, hollow, vibrating stick. 

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Swami sanity

Don’t mourn last night’s loss of those fairy wings! “Everything is set, but the people are upset,” said Swami Chidanandji from his comfy pillow at the Wisdom Speakers Stage. Take it from a man who spent ages nine to 17 practicing solitude and yoga in the Himalaya; no matter how much festival flair you’ve stuffed into your backpack, happiness lies within. 

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Seeding the future

The basket of striped fava beans were what brought me to the West County Community Seed Bank‘s booth, but hearing about their mission to provide Sonoma County with GMO-free seeds for sproutin’ kept me fingering favas for awhile. At the moment, they’re meeting at St. Stephen’s Episcopal Church in Sebastopol every last Saturday of the month, and the seeds are stored in their founder’s basement. Harmony Fest gave them their vendor booth for free; the same price they charge their seed buyers.

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Yoga for the party kids

“Well, I got two hours of sleep last night. I’m not sure how, but we’ll make it through this,” said Yogaworks instructor Eric Monkhouse. Monkhouse took us through a few moderately paced asanas at the Eco-Wellness Sanctuary at 10:15 a.m. on Saturday morning — part of a full slate of yoga classes I thought I’d make it to, but obviously didn’t.

*****************************************************************

Goddess Grove

One of the festival’s most rockingest scenes was this shady little side stage, where crowd pleasers Delhi to Dublin and Diego’s Umbrella rolled about gleefully onstage and off (Diego’s guitarist at one point plunged into the crowd to squirm about in the grass). At night, laser lights tickled the tree leaves above the concerts, setting an entirely different stage for the late night lovin’ that any good festie inspires.

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Festival babies: cooler than I am

Where do these little rascals come from? Big ups to the munchkin who was walking around performing courtesy sprays with his bubble gun, but my favorites were the pretty little girl and her buddies perched on the back of a truck that was making its slow way past the Goddess Stage. Next to her were two boys on skateboards, holding onto the fender for dear life. I attempted to make contact with the little thing,  but she shushed me through her ice cream cone, and pointed urgently, soundlessly to the truck’s cab. Festivating stowaways. Love it.

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Crime! 

Of course, it wasn’t all ice cream cones and good vibrations. There’s the matter of the Saturday night theft of a borrowed moped, which Sapper cited as the weekend’s sole unpleasant incident (if you don’t count beer prices).

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Lauryn Hill: ragingly good

So what if she spent a large portion of her first US concert in three years harassing the sound guys – the woman’s a legend, and if she wants to get a little surly, she’s entitled. “We’re all big fans of Lauryn Hill,” Sapper says. “We were aware she was quite reclusive, but she’s ready to come out of that now. Her agency was looking for a safe place for her [to restart her US performing career], and they thought Harmony Festival would be that place –and they were right.” Sapper recalls waiting with his wife and daughter backstage for Ms. Hill to emerge as one of the festival’s more magical moments.

Hill’s heavily remixed versions of such classics as “Turn Your Lights Down Low,” and “Ready or Not” struck a fine balance between crowd pleasing and innovative — and her red, white, and blue jumpsuit she wore struck an equally fine balance between Southern belle and Soul Train. Well worthy of a headliner. Thanks for coming out to play, Miss Hill. Now that she’s played a California hippie fest, can we finally quit with those stupid racism rumors?

 

Alerts

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alert@sfbg.com

THURSDAY, JUNE 10


“This Bridge Called My Back”

Radical Women, an international socialist feminist organization, begins its summer Fiery Feminist Theory Series with selected readings from This Bridge Called My Back: Writings by Radical Women of Color. Home cooked dinner with vegetarian options available at 6:15 p.m. for $7.50.

7 p.m., free

New Valencia Hall

Suite 202

625 Larkin, SF

(415) 864-1278

FRIDAY, JUNE 11


ARCO/BP Boycott Party

Join this peaceful protest calling for the shut down of BP franchises. If you feel helpless as oil continues to kill wildlife and poison the Gulf of Mexico and its shores, make your voice heard with your dollars. Boycott BP and it’s franchises, including Amoco, Castrol, ARAL, ARCO, AM/PM, and Wild Bean Café.

5:30 p.m., free

ARCO Gas Station

1175 Fell, SF

Berkeley Critical Mass

Advocate for the creation of human speed transportation zones while having fun with other members of the bicycling community at this “bike prom” themed critical mass through the streets of Berkeley.

6 p.m., free

Gather at Berkeley BART

Center and Shattuck, Berk.

www.berkeleycriticalmass.org

SATURDAY, JUNE 12

 

Drone Warfare

Join this community forum on the moral, ethical, and legal implications of drone warfare. Use of drones by the U.S. military has increased and is responsible for the deaths of numerous civilians. The U.S. military argues that using drones in sensitive areas reduces the risks to American lives. Hear experts and activists against drone warfare weigh in on this debate.

1:30 p.m., free

Berkeley Public Library

Third Floor Community Room

2090 Kitteredge, Berk.

(510) 845-3815

www.gawba.org

 

Toxic Triangle Hearing

Speak out against the environmental racism and cumulative pollution affecting poor communities in San Francisco, Oakland, and Richmond. Demand action from the Environmental Protection Agency, Bay Area Air Quality Management District, State Department of Toxics, Health Department, Navy, and elected officials.

9 a.m., free

St. John’s Baptist Church

825 Newhall, SF

(415) 284-5600

 

World Naked Bike Ride

Help get the message out about America’s inadequate energy policy, which is harming our economy, the environment, and the planet by catering to oil cartels and increases dependency on oil imports. Go as bare as you dare and arrive early for body paint. Special attention will be paid to protesting BP. Simultaneous worldwide bike rides also scheduled.

Noon, free

Meet at Justin Herman Plaza

Market at Embarcadero, SF

wiki.worldnakedbikeride.org

TUESDAY, JUNE 15

 

Peace Pie Cookbook

CodePink tells the story of women “waging peace” in a new book, Peace Never Tasted so Sweet: Deliciously Sweet and Savory Pie Recipes from Women around the World. Attend this release party and pie-tasting featuring speakers Medea Benjamin, cofounder of CodePink and Global Exchange; recipe contributor Samina Faheem, founder of American Muslim Voice; and recipe contributor Lorene Zouzounis reading poetry.

6 p.m.; free, $5–$10 suggested donation pies

Mission Pie

2901 Mission, SF

www.codepinkalert.org

Mail items for Alerts to the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 437-3658; or e-mail alert@sfbg.com. Please include a contact telephone number. Items must be received at least one week prior to the publication date.

 

Mexico warns citizens: use extreme caution in Arizona

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It’s no surprise to anyone who has watched Newsom stubbornly refuse to take responsibility for the consequences of his flawed juvenile immigrant policy that the mayor is playing coy when it comes to the Board of Supervisors’ and the City Attorney’s attempts to institute a boycott of Arizona.


The real surprise in the fallout around Arizona SB 1070 is that the legislation doesn’t include a clause whereby all “aliens” must find a picture of the Arizona state flag, cut out the star in it, and wear it as a “badge,” much like the Nazis required of the Jews.


But Mexico does gets the threat this hateful legislation poses to its citizens. In a new twist on travel advisories, the Ministry of Foreign Affairs of Mexico has warned its citizens in Arizona to exercise extreme caution, whether they are demonstrating against Arizona SB 1070, going about their everyday affairs, attending classes or contemplating accepting work offered from a car on a highway.


“It is important to act with prudence and respect local laws,” the Mexican consulate states. It notes that the new law won’t take effect until 90 days after the end of the current session of the Arizona state legislature, but warns, “however, as was clear during the legislative process, there is a negative political environment for migrant communities and for all Mexican visitors.”


The consulate recommends that Mexican nationals carry available documentation, even before the new law takes place so as to “help avoid needless confrontations.”


“As long as no clear criteria defined for when, where and who the authorities will inspect, it must be assumed that every Mexican citizen may be harassed and questioned without further cause at any time,” the consulate states.


“The new law will also make it illegal to hire or be hired from a motor vehicle stopped on a roadway or highway, regardless of the immigration status of those involved. While these rules are also not yet in force, extreme caution should be used.”


The consulate concludes by reminding folks that “Mexican nationals who are in the United States, regardless of their immigration status, have inalienable human rights and can resort to protection mechanisms under international law, U.S. federal law, and Arizona state law. The functions of the five Mexican consulates in Arizona (Phoenix, Tuscon, Yuma, Nogales and Douglas) include providing legal advice to all Mexicans who consider that they have been subjected to any abuse by the authorities.”


It recommends that Mexicans requiring consular assitance in Arizona use the following toll-free number, available 24 hours a day, seven days a week:1.877.6326.6785 (1.877.63CONSUL).


John Ross: Time travelling down the Mississippi

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 Editors note: John Ross is wandering the country on a book tour, sharing his observations of Obamalandia, 2010. You can read his previous dispatches here and here  

I. Role models

 

When I finally made Chicago, they were all waiting for me down there two blocks south of the end of the Blue Line, through the wrought-iron gates of Forest Home Cemetery, past the ostentatious mausoleums of fabulous gypsies and clustered around the heroic monument to the Haymarket Martyrs: Red Emma, looking a little dingy these days; Elizabeth Gurley Flynn, the Rebel Girl; William Z. Foster, the CPUSA’s most rigid ideologue and the leaders of its black sector Henry Winston and William Patterson; the anarchist femme fatal Voltairine de Cleyres; hobo-ologist Ben Reitman; and, of course my personal role model, Lucy Parsons, who outlived her Albert (hung by the State for the Haymarket frame-up) by 50 years, traveling this poisoned landscape from sea to stinking sea speechifying to the masses and hawking her incendiary pamphlets to make ends meet. A single wilted rose adorned the soft granite pillow that bears her name and dates.


Scattered amidst the tombstones of the 70-plus anarchists and communists, radicals and rabble-rousers that Irving Abrams and the Pioneer Aid Society planted here are the DNAs of Joe Hill and Big Bill Haywood and Eddie Balchowsky, the one-winged barrelhouse piano player who gave up his arm to Franco’s fascists in the Spanish Civil War. Irving himself has a box seat at the foot of the Haymarket marker, now a National Historical Landmark managed by the government that these brave souls in residence once sought to overthrow.

Emma Goldman and her condescending epitaph (“a people must rise up to liberty”) was unquestionably Irving’s greatest steal, having won the bidding war for her cadaver after she croaked up in Toronto, to bring her home to the country from which she had been deported decades before for counseling young men not to sign up for the First Imperialist War. But despite the old-time luminaries in repose, I had journeyed down to Forest Home to visit with a recent implant, Franklin Rosemont, the anarchist writer and majordomo of Charles Kerr, the oldest radical publishing house in the U.S., now being sustained by his widow Penelope.  

“Surrealism Forever!” reads Franklin’s slab, in keeping with the celebratory tone of this section of the old boneyard. Franklin, who passed abruptly last year, is buried within the arc of the Haymarket monument.  The Cottons, Clara and Warren (not known to be subversives), keep him company.    

I doubt that our current president, whose adopted city Chicago is, has ever communed with these noble spirits, but it would be an educational experience if ever he should make his way down to Forest Home. Enveloped by deal-making devotees of Chicago’s backroom Democratic Party politics like Rahm Emmanuel, Valerie Jarrett, and Education Secretary Arne Duncan (now neck-deep in a hometown scandal for A-listing the scions of the influential in Chicago’s elite public schools), the examples set by Lucy Parsons and Emma Goldman might have stiffened Obama’s shaky backbone and taught him to stand up for the principles he has abandoned as the CEO of the planet’s longest-running criminal conspiracy.

Michael James rules the venerable Heartland Café in Rogers Park in the extreme northwest of this windy metropolis, a schmooze and booze venue for the left side of the local Democratic Party machine for the past three decades.  Both Obama and Bill Ayers have crossed its threshold occasionally at the same time, and Michael, the facilitator of “Rising Up Angry,” a militant Uptown youth group at the tail end of the turbulent ’60s, is now the chairperson of the local Demo ward committee. Although he will never concede that Baracko has squandered the faith that millions invested in him, I sense growing disappointment with Hope Man’s wishy-washy performance 15 months into his tainted term in office.  

As always, I bunked with the James Gang — Paige, the kids, and the estimable Che, a Labrador with a most dignified demeanor — and plunged into Chicago’s stimulating cultural mix. Also in residence: the foot-stomping Irish fiddler Paddy Jones, just in from Tralee — three years ago, Mike dragged Paddy and I off to the Korean baths where the local political class conspires. We sat buck naked in the sauna and Paddy insisted I regale him with the cautionary tale of El Che (the revolutionary martyr not the mutt).  

This time around, Michael escorted me to the late Nelson Algren’s birthday party in a church close by this quintessential Chicago scribbler’s beloved Division Street neighborhood, during which mash notes from his lover Simone de Beuvoir were read, lending credence to Frankie Lyman’s pointed inquiry “Why Do Fools Fall In Love?”

Yet another highpoint of my weeklong pilgrimage to the Hog Butcher of the World were a pair of meetings in Pilsen, an industrial enclave where the U.S. Communist Party first convened hard by Blue Island Avenue back in 1919 and now the most pertinent barrio in Mexico’s second U.S. city. More than a hundred Latino activists showed up to hear me rant and rave about the prospects for a new Mexican revolution and plot this year’s May 1st march in a city where immigrant workers first took to the streets 124 years ago to demand redress for crimes inflicted upon the working class by the bosses of industry and commerce. Four years ago, a half million immigrant workers marched here to demand recognition of their rights and despite the broken promises encapsulated in the Schumer-Graham proposed Immigration “Reform” bill, Chicago’s Mexican community is warming up for another red-hot May Day.  

II.  Resurrection

I followed the contours of the mighty Mississippi from Chicago to St. Louis through rich bottomland that is now the domain of Archer Daniels Midland. St. Louis is an urban hub that features wide, well-kept lawns and bushels of dirty money — Monsanto, Boeing, Peabody Energy, and Talx, which counsels greedy congloms on unemployment compensation, are all headquartered here.  

Yet, despite the capitalist connivance, the city has its own sui generis radical history. The 1877 railroad strike spread from the east to St. Louis and set the style for labor strife in the west, and the anarchist Flores Magon brothers published “Regeneracion,” the bible of the 100 year-old Mexican revolution, here before they were run out of town in the teens of the past century.

My days in St. Louis were well spent. I preached an Easter Sunday sermon at the Mid Rivers Ethical Society, sharing my vision of resurrection and insurrection in the aforementioned Forest Home boneyard, and offered up my palaver at a Black Green Party forum in a soul food parlor off Delmar, spreading the news of the Mexican government’s execrable persecution of  electrical workers pushed out of their workplaces last October at bayonet point by the military and police in a scheme to privatize electricity generation south of the border.  

I walked the St Louis Walk of Fame, stepping over the stars of the likes of William Burroughs, Chuck Berry, Walker Evans, and Fontella Bass, all of whom had to leave town to achieve a modicum of notoriety. I even encountered my very first St. Louie Cardinal, a crimson-hued bird perched in a sapling, spring zephyrs ruffling its crest, from which the Anheuser Busch dynasty drew the logo for the local nine in this beisbol-intoxicated town (they were previously dubbed the “Perfectos” after a popular cigar.)

III. Black & Brown

Further down river, the scrublands of Mississippi spread into the horizon beneath the cramped commuter flight in from Memphis. I had not touched down in the state since Freedom Summer 1964, when I arrived on the very day that the bodies of three civil rights workers (Michael Schwerner, Andrew Goodman, and James Chaney) were unearthed beneath a dam in Philadelphia, Miss.  

Although Black and White speak more cordially to each other these days and there are few black bodies swinging from the poplar trees, Mississippi God Damn (dixit Nina Simone) is still moldering down below. I could feel the heat at my hotel just off the Millsaps College campus in Jackson, where a statewide PTA meeting was in progress. In the conference rooms, black parents squared off against white school administrators over curriculums and the unequal quality of education. This is a commemoration year for black activism, the 40th anniversary of the killings at Jackson (and Kent) State and the 50th for SNCC — and old grievances burn long and deep.

The old civil rights movement achieved only token parity in this the poorest state in the union. Now a new civil rights movement is focusing on the flood of Mexican and Latino workers who poured into Mississippi in the wake of Katrina, and brown people are today’s niggers down at the bottom of the food chain.

Only 34,000 “Hispanics” were officially counted in the 2000 state census but Bill Chandler, a veteran of the Texas farm workers union and spokes for the Mississippi Immigrant Rights Alliance (MIRA), thinks that three times as many undocumented workers, lured to the state by casino construction, were overlooked back then. In 2010, Chandler calculates that the immigrant numbers have swelled to 200,000, nearly 10% of the state population, and taken together with close to a 40% Afro-American share, Mississippi now verges on becoming a majority People of Color entity. A similar equation is at work throughout the Deep South with Alabama and South Carolina and Georgia also hanging in the balance. Such changing demographics help to explain the vitriol the Teabaggers and White Citizen Council types shower upon the newcomers.

Back in August 2008, Immigration Control and Enforcement broke its own despicable workplace raid record by imprisoning (in Jena La., the site of other racist outrages) and deporting 595 Mexican and Latino workers who had been employed by Howard Industries down in Laurel. Chandler thinks the pogram was accomplished with the complicity of the company which was intent on cheating workers out of their wages. MIRA eventually won checks for most of those detained and deported.

An even more outrageous incidence of lingering Mississippi bigotry was the treatment of Cirila Balthazar Cruz, a mono-lingual Chatino indigena from Oaxaca who was picked up by police as she stumbled along the highway shoulder trying to get to a local hospital to give birth. Her baby daughter Ruby was subsequently stolen from her by child welfare authorities who deemed her an unfit mother because she couldn’t speak English and given to a well-appointed childless white couple. As might be anticipated, such blatant racism struck a tender nerve south of the border and a year later, Ruby was returned to her birth mother.  

Justice in Mississippi, as in much of Obamalandia, remains elusive but every once in a while the push of the people from down below captures such small prizes.

On their East Coast swing, John Ross & “El Monstruo” will visit Washington/Baltimore (Red Emma’s April 19th/ University of Maryland – Baltimore on the 20th/ Institute for Policy Studies the 21st); New York (NYU the 22nd/ Sixth Street Community Center the 23rd/Bluestockings the 25th); and Boston (Harvard Coop the 27th/David Rockefeller Center for Latin American Studies the 28th/Mass Global Action the 29th/IPS-Jamaica Plains the 30th/ topped of by a May 1st rally on the Boston Commons between Noon & Two.) All events are all free.

 

Ross on the road: The great white north

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Editors note: Guardian correspondent John Ross is traveling across the nation pomoting his new book, El Monstruo — Dread & Redemption in Mexico City, and is sending us dispatches from the road. This week: Twin Cities, Madison and Northern Michigan.


 1. BLUE IGLOO


As I deplaned the Southwest Shuttle from Denver wrapped in my blue igloo, a puffed up garment that doubles my skeletal girth, a sudden spasm of panic punched me in the gut. Had I slept through my stop and disembarked in Fargo, North Dakota instead?
Minneapolis might just as well have been Fargo. The dead winter landscape lay frozen under week-old snowdrifts and the Twin Cities shivered in negative wind chill numbers beneath a leaden sky from which a cold hard rain would pelt down for a week. Fargo or Minneapolis? It didn’t much matter where I had landed – just don’t toss me into the wood chipper.


On my first evening in this desolate region, I was invited to dialogue with the Minnesota Immigrant Freedom Network at a community center in St. Paul. About 15 transplanted Mexicans, many of them related by marriage or friendship, pulled together in a circle in the gymnasium while the kids romped in the other room. Each called out his or hers’ “patria chica,” their home state or region or town. I talked about Mexico down on the ground today in the cheerless winter of 2010, the 100th anniversary of a distant revolution. How four out of every ten heads of households are out of work. 10,000 farmers and their families forced to abandon their milpas as millions of tons of NAFTA corn inundate the country. 19,000 dead in Felipe Calderon’s disastrous attempt to beat down the drug cartels. Who will be next?


Those in the circle leaned forward on their folding chairs, bending into my words as if I was a messenger bringing bad news from home. One woman began to weep and another rose to comfort her.


Later, I pulled out my book, El Monstruo – Dread & Redemption in Mexico City to show them what I had written. Families who would probably not eat meat for a week if they bought one snapped up three Monsters and asked me to sign them for their children — Alejandra, Yesica, Jeni, Alfonso, Jonaton — so that they could learn about the country they had been forced to abandon, in their new language.


As the session wound down, Mariano (not his real name) invited the families to a Jewish Seder the next week at a progressive Minneapolis schul. Then they would get on the buses and head for Washington D.C., a 150 hour round trip, to march for immigration reform on March 21st, the first day of spring. In the nooks and crannies of Obama’s America, Mexicans were beginning to come out of four years of social hibernation to rally for immigration reform, not a hot button issue in this economically strewn landscape.


I hung up with my old camarada Tomas Johnson, one of the apostles of fair trade Zapatista coffee — similar dispensaries like Just Coffee in Madison and Higher Grounds in Michigan are sprinkled over the frigid Midwest. Café has played a diminished role in the slender Zapatista economy ever since Muk’Vitz, a Tzotzil Indian cooperative, imploded when coffee prices soared — coyotes, bottom-feeder speculators, started showing up on the members’ doorsteps offering a few pesos more than the fair trade price.


Coffee is not an ideal resource upon which to build Zapatista autonomy — the price is set far away on commodity exchanges in London and New York and the product itself is destined for the jaded palettes of the connoisseur class in the cities of the north. Moreover, the coffee crop soaks up corn land and adds nothing to indigenous nutrition.


I marked my journey into my 73rd year at a house fiesta hosted by Tomas’s steady squeeze, an audiologist who gifted me with a hearing aid so that I might be able to decipher that questions hurled at me from the small audiences I address. This time last year, I was being wheeled into a green, antiseptic operating room for a round of chemotherapy that would k.o. the tumor that had taken over my liver. This birthday is the real gift.


I entertained privileged white students at several universities during my stay in the Twin Cities, got hopelessly lost in a frigid wasteland trying to find a Lutheran college, told tall tales to a handful of Raza at the U. of Minn, and attended a showing of the Benny More bio-pic at a jam-packed local theater. Benny’s scintillating calor radiating from the screen in waves of tropical heat juxtaposed oddly against the backdrop of the frozen north. Minneapolis-St Paul, with their new populations of color – Somalis, Ethiopians, Eritreans, Hmung, and Latinos – spice up this staid old state with exotic flavors. The music has changed: Reggaeton and Rancheros have replaced Spider John Koerner. I drink in the Albert Ayler-like contortions of a longhaired white boy at a jam session downstairs at the Clown Lounge.


Politics too are not as usual in this once-upon-a-time farmer-labor socialist paradise: Keith Ellison is the nation’s first Muslim congress person and a middle-of-the-road Democrat comedian stands small in the shoes of Paul Wellstone. In the other corner, the pit viper Michelle Bachman spits her venom into the black lagoons of Obamalandia.


II. TURKEY MOLE


I’m back on the Big Dog — there are plenty of Mexicans here but no Mexican bus. On the jump over to Madison, I chat with a well-seasoned black man during a smoke break. He wants to know where I’m headed. I’m on a low-rent book tour, I explain, I move from city to city to sell my books. “I’m on a book tour myself,” he laughs, “I get off where I want to and see if I like it or not. Hung up in Oswego for eight days but wasn’t anything there for me…”


There is a down-at-the-heels traveling class — the evicted and foreclosed, laid off and uprooted — rolling around the underbelly of this damaged country with no fixed destination in mind, looking for a place to light, some place that feels like home.


Norm Stockwell, who keeps WORT-FM, the Voice of Madison’s Voiceless, choogling, picks me up at the Greyhound depot, a furniture-less warehouse that resembles an immigrant detention center on the outskirts of town, and drives me over to the once-a-month Socialist pot-luck, but only scraps and few stained paper plates are left. A few hours earlier, the Madison P.D. visited the premises at the behest of the Wisconsin Socialist Party to remove a truculent member who had been abruptly expelled from its ranks, an astonishingly unpolitical resolution to a political dispute.


Madison is a city that doesn’t leave much up to chance. Cops are ever at the ready to surveil radical meetings. One cannot post a hand-scrawled street sign protesting injustice without first obtaining a permit from the city. No household is allowed to house more than three chickens (no roosters), a law that necessitates chicken inspectors and has given birth to the Chicken Liberation Front.


The State Capitol, a knock-off the Nation’s, is forever on the eyeline in Madison to remind one of the power of the State, I expect. The city is laid out on a grid so that all avenues spoke off from its monstrous dome – you have to move out of town to escape the radiation.


On Saturday, March 20th, a fistful of eternal protestors gathered at the foot of this granite beast to mark the start of the eighth year of the illegal invasion and occupation of Iraq and the decimation of millions of its people. As I trudged up State Street towards the Capitol, I flashed back to our feverish days as Human Shields in Baghdad in March 2003 and thought about Sasha for whom the war never goes home, climbing the hills of Amman, delivering collateral repair from dawn to dusk to the million Iraqi refugees that forgotten war has exiled to the Jordanian capitol.


Our presidents invade so many foreign countries that they can’t even remember the name of the last one they destroyed. Iraq has been erased from the North American mind screen in favor of Afghanistan, the Good War on Obama’s agenda. Last month, Sasha and Mary’s Collateral Repair Project took in just $50 in donations and CRP is in danger of folding. Send them some Yanqui shekels at (www.collateralrepairproject.org.)


The annual commemoration of the Iraqi genocide draws smaller and smaller knots of humanity each year — 80 or so souls in Madison, 500 in San Francisco, not 10,000 in Washington. But the next day, as Baracko’s Dems braved the racist jibes and hard fruit of the Teabaggers to enter the hallowed halls of Congress and narrowly vote up a phony health care reform bill that excludes immigrants from coverage and leaves the insurance congloms on top, 200,000 assembled outside to back up a proposed immigration reform that smells just as cheesy as Obamacare.


The rally proved to be the largest confluence of immigrant workers since that miraculous May 1st four years ago when millions came out of the shadows to shout “aqui estamos y no nos vamos.” After that milestone moment, the immigrant rights movement was driven into the underground by Bush’s ICE raids, Lou Dobbs, the Minutemen, real-time Mexico bashing with knives and bottles, Sheriff Joe’s Arizona storm troopers, good ol’ American-as-apple-pie racism, and the squeamish response of the official Latino leadership.


Now the indocumentados are taking their first baby steps back into the maelstrom of U.S. politics. Hundreds of grassroots groups like the Minnesota Immigration Freedom Network rented buses and drove off to Washington on the first day of spring and May 1st, the day on which immigrant workers first took to the streets of America 124 years ago in the battle for the eight hour day, now looms large on the calendar of resistance.


Lester Dore is a graphic artist who operates under the influence of the king of the calaveras Jose Guadalupe Posada, the brothers Flores Magon, and the breathtaking explosion of popular art that detonated on the walls of Oaxaca during the 2006 uprising in that southern city. Lester whips up a pair of prints to celebrate the publication of “El Monstruo” and the life after death of Praxides G. Guerrero, the first anarchist to fall in the 100 year-old-this-year Mexican revolution. He serves up a big pot of Mole de Guajalote (Turkey) and invites us over. Three compas from Toluca in Mexico State share the sumptuous repast and the conversation quickly slides into Mexican. I learn the origin of the Chilango-ismo “teparocha” (falling down drunk) but eschew the vino (the liver lives on.)


III. SANCTUARY IN THE HEARTLAND


Driving the long route around Lake Superior into northern Michigan, the first tentative fingers of spring have brought a thawing to the land. The cherries that draw thousands of migrant workers to the Lower Peninsula are threatening to burst into bud. Gladys Munoz (her real name) directs Migrant Health Services for seven northern Michigan counties. She is based in Traverse City, a comfortable upper crust enclave — the billion buck mansions out on the peninsula are in the El Chapo Guzman category of ostentation (Michael Moore is rumored to be in residence in the environs ensconced in a lavish log cabin roughly the size of downtown Flint.)


Gladys knows where the bodies are buried. We ply the backroads to the labor camps hidden away down in the dank gullies. Guatemalans and Mexicans stream into this region each spring to do the stoop labor no gringo will do and pick the Maraschinos that top off the parfaits of the few upwardly mobile Americans left in the wake of the ravaged economy (Michigan unemployment clocks in around 15%.) Gladys tells me about three babies born without brains — she suspects pesticides. She speaks about a man from Chiapas who hung himself when he found out that he had contacted AIDS — a priest was called upon to perform an exorcism at the house where he expired. And a young Triqui Indian mother from Oaxaca picking cucumbers for a Vlasic pickle contractor who was stranded in a country that doesn’t recognize her language after her husband went fishing for supper without a license and Fish & Game turned him over to the Migra.


We visit with Liliana (not her real name) from the drug war-riddled hot lands of Guerrero state. The patron is a kindly old farmer who has installed cable TV for the workers and we watch Barack Obama extol the wonders of his tarnished health care bill. Liliana’s husband is picking oranges in Florida but will soon return to work the cherry. She says he doesn’t much believe that an immigration reform measure will make it out of congress – “just some more blahblahblah…” But Liliana will march this May 1st if she can get a ride — undocumented workers are not permitted drivers’ licenses in the state of Michigan.


Traverse City is good to me. I perform at a local organic coffee roaster for a roomful of social change agents. The next morning, Jody T. who gave up her life to drive this garrulous old gaffer around the bioregion, steers the Viva into a trepidatious triangle. Cadillac was once the home base for Timothy McVeigh and the Michigan Militia, a recent flashback on the Ten O’clock News after a Christian posse purportedly targeted cops for blood sacrifice in preparation for the appearance of the Anti-Christ. To the west, small towns with Dutch-inflected names like Holland and Zeeland and Vreland dot the lakeside.


White clapboard outposts of the Dutch Reform Church, the architect of South African apartheid, their steeples spiring piously into the spring breeze, hug the highway. The Dutch Reform Church is the spiritual home of the Prinz family whose most celebrated spawn, Eric, is the go to guy at Blackwater. Further south we slide into Grand Rapids where the similarly affiliated DeVos dynasty’s Amway holds sway. The Prinzes and the DeVoses (a good reason not to root for the Orlando Magic) finance such repositories of right-wing fanaticism as Focus On The Family and Operation Rescue. The largesse of Dick DeVos rivaled the Mormon Church in putting California’s homophobic Proposition 8 over the top.


Grand Rapids, once the furniture capitol of the known universe and now the home of the Gerald Ford Museum of Presidential Imbeciles, is a good boxing town (Buster Mathis and Roger Mayweather have gyms here) and a swelling Latino population has changed the complexion of the city. Despite the downturn, Grand Rapids is trying to upgrade its downtown but the further one gets from the core of the city, the seedier things look.


Koinonia House is a sanctuary near the old demolished heart of Grand Rapids — in fact, it is the only structure left standing on its block. Established by disaffected seminarians like Jeff Smith in the early 1980s when the U.S. waged war on Central America, K House became a station on the underground railroad built by the Sanctuary Movement. The first refugees were Guatemalan Indians fleeing the scorched earth genocide of Efrain Rios Montt. In recent years, K House has taken in Mexicans fleeing that “desgraciada pobreza” back home, like Carlos and Alynn (their real names) who have brought their remarkable art with them to El Norte.


Jeff kicks back and reminisces about the fates of former tenants. The big-bellied wood stove belches out waves of warmth on a chill late March morning. The big arms of the fluffy old lounger envelop a weary traveler and hold him close. K House remains a sanctuary deep in the heart of a wounded land.


Stay tuned. Chicago, St Louis, Jackson Mississippi – there is still a whole lot of traveling to do as the Monstruo tour moves eastwards.               


FIN


John Ross and “El Monstruo – Dread & Redemption in Mexico City” will visit St. Louis April 4th-7th, and Millsaps College Jackson Mississippi April 9th for a symposium on Mexico City – he will tour Baltimore, Washington, New York, and Boston April 19th through May 1st. For details write johnross@igc.org.

Stage listings

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

THEATER

OPENING

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

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

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

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

BAY AREA

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

ONGOING

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BAY AREA

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

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

PERFORMANCE/DANCE

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

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

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

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

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

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

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

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

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

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

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

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

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

Anti-war movement seeks allies

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By Jobert Poblete

This Saturday (March 20) will mark the seventh anniversary of the Iraq war and local groups are mobilizing for another round of protests to oppose the occupation of Iraq and the expansion of the war into Afghanistan. But this year’s program will also highlight local struggles as well, with speakers delving into the fight for more public education funding and the march passing by two hotels where union workers are in strained negotiations for a new contract.

The protest is being organized by ANSWER – Act Now to Stop War and End Racism – a coalition notorious for its everything-but-the-kitchen-sink approach to protest. Besides its plugs for Iraq, Afghanistan, public education, and local labor struggles, flyers promoting Saturday’s protest include demands around jobs, Palestine, Latin America, and Haiti. ANSWER organizer Chris Banks told us that these seemingly disparate issues are connected.

“There is a finite amount of resources in our society,” Banks said. “And if those resources are used on wars and to bail out banks, then we can’t use them for schools, health care, and public transit. The wall between foreign policy and domestic policy is a fictitious wall.”

This year’s protest will focus on the economic crisis and on “bailing out people instead of banks.” Students who helped organize the recent March 4 Day of Action are part of the coalition mobilizing for the Saturday protest and students and teachers will be among the speakers at the rally at Civic Center. Protest endorsers include the United Educators of San Francisco, a union that represents more than 6,000 public school employees. Dennis Kelly, president of UESF, told us that the protest “ties directly in with our concerns about the California state budget, that the priorities being set are the wrong priorities.”

The rally will be followed by a march that will pass by the Hilton and the Four Seasons, two hotels where members of Unite Here Local 2 are without a contract because of a negotiating impasse with management. The biggest point of contention between the hotels and union is over health care. (Union members currently pay $10 a month for family coverage but the hotels want to increase that to $200 a month.)

Israel Alvaran, a community organizer at Local 2, said that the health care issue provides a connective thread between the anti-war movement and his union’s struggles. “We believe in stopping the wars in the Middle East,” Alvaran said. “They’re driving the war economy that’s preventing people at home from getting affordable health care, public education, programs for creating jobs and building the economy.”

Alvaran hopes the March 20 protest will help raise the visibility of hotel workers and show the hotel corporations that the union has broad community support. He also said that including workers’ struggles in the protest is important because it exposes young activists joining the anti-war movement to labor and union issues.

Banks echoed this desire to raise public consciousness about local issues. “As much as possible, we want people to make the connection between local struggles and imperialist wars,” Banks said. “People go into political motion for different reasons. We want them to come out on March 20 and they’ll have opportunities to hear speakers representing different movements.”

Saturday’s protest will begin with a rally at Civic Center Plaza at 11 a.m. At noon, protesters will march through downtown San Francisco before returning to Civic Center. 

Occupation! exhibit highlights racism at SF businesses

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By Cécile Lepage

San Francisco has always had a liberal streak, but not so its business community, as a current exhibit highlights. In 1963 and ‘64, San Francisco was hit with massive demonstrations that denounced businesses’ discriminatory hiring practices and demanded equal work opportunity for African-Americans. Crowds picketed on Auto Row, in front of Mel’s Drive-In, Lucky Store, the Sheraton Palace Hotel, and Bank of America.

The Main Library exhibit “Occupation! Economic Justice as a Civil Right in San Francisco, 1963-64” retraces a struggle for economic justice that was specific to the city by the Bay, where thousands of African-Americans had moved to during World War II to work on the shipyards. When the war effort wound down, they were the first to be fired. Only direct actions—sit-ins, sleep-ins, and shop-ins—were able to shake the status quo: they led to more than 260 employment agreements for minority workers. There’s only a few days left to discover this important yet underrepresented piece of SF history: the display ends on March 27.

We spoke with curator Nancy J. Arms Simon about the exhibit and its relevance:

SFBG: How did this exhibition come to be?

NAS: It was actually the brainchild of Susan Goldstein, from the San Francisco History Center, and Catherine Powell, the director of the Labor Archives and Research Center. They had talked about collaborating on an exhibit related to labor, drawing from both collections.

In the meantime, I had fallen in love with the photographs of the photojournalist Phiz Mezey that I had discovered at the Labor Archives. She documented the April ‘64 demonstrations on Auto Row. So, it was a perfect blending. Those pictures are amazing because esthetically they’re incredible. On every single one of them, the layout just keeps your eyes circling. And the other part is that Phiz Mezey had been removed from her position at San Francisco State University, where she had been a professor. She had refused to sign the Communist Levering Act that all public employees were required to sign. In the 1950s, anyone who worked for a state agency had to sign an anti-communist oath.

While she was petitioning San Francisco State for years to get her job back, which she did in 1978, she was also trying to support herself and her kids. And so she became a documentary photographer. So I had become intrigued with her and with that story. When I started the project, I thought it would be an exhibit on the Auto Row protests. I didn’t even realize that this was part of a greater series of events that had spanned for two years.

SFBG: What were people asking for?

NAS: What they wanted was jobs, what I refer to as front-end jobs. I don’t like the idea of using the terms skilled and unskilled labor, because too many things that are very skilled get lumped under unskilled labor.

Blacks in San Francisco were assigned to jobs where they didn’t interact with the public. Basically, they weren’t allowed to. So they were allowed to be mechanics, janitors, but they weren’t allowed to be service people: bank tellers, waitresses, salesmen. There were two big pushes conjointly going on. There was the push for equality in housing, to end the segregation in housing, and also this push for jobs. If you don’t have access to jobs, there’s so much that you lose along with that. There’s that compounded effect of not saving to send your kids to college or provide for your own retirement… 

SFBG: But during the Second World War, [President] Roosevelt had enacted the Fair Employment Practices Act that made discrimination unlawful with companies that held government contracts.

NAS: But it was slated to end once the war was over. It was voted through to continue slowly across the country state by state, but it wasn’t nationwide until ‘64, when LBJ signed the Civil Rights Act. So for 20 years, from 1945 to 1964, people who had known a certain quality of life were fighting just to maintain it. Laws to promote equality might have been enacted, or agreements might have been signed, but having the law didn’t mean anything. There was this understanding that you can never let out the pressure; you have to keep pushing to make sure that that equality is actually enacted.

SFBG: How did the protesters organize their actions?

NAS: There’s a lot of lessons on how you effectively make change. There was a lot of unity amongst the groups, CORE, the WEB Du Bois Club, and the Ad-hoc Committee to End Discrimination. They had lawyers in place. Before a protest, they would decide who could afford to get arrested, and who couldn’t. So the people who could afford to get arrested would go to a certain level, they would maybe go inside the building. And all the leaders always made a point to get arrested, because they knew that that would get more press. And they also intentionally clogged the courts. They made sure that hundreds of people would get arrested just to slow things down and make it more difficult on the system.

It was really effective. And I think there’s a lot of these lessons that we miss today. They started with Mel’s Diner and they did get the owner to sign the agreements. Over at Lucky Store grocery, they did a shop-in. This is non-violent protest at its most beautiful! They went in and filled their shopping carts, they got to the counter and got them all run through. Remember, this is all scanned by hand. And then, once everything was scanned, they would say, “I will pay for these groceries once you give better jobs to Blacks,” and then they would leave. And all these bagged groceries filled the entire floor! All this stuff had to be put away. Plus people were picketing outside the store. So not only are you creating this major headache and throwing this wrench in the wheel, you’re also blocking people from shopping. So they were significantly cutting into their income.

SFBG: The Sheraton Palace Hotel rally was the biggest protest to take place.

NAS: It was really hard to narrow it down to a few statements to get into a showcase! About 1,500 protesters surrounded the hotel on March 6, 1964. There were other events leading up to that, though, they had tried negotiations, they had started smaller pickets outside. There would have been a court order to end the picket. So this is all building up.

During the major protest, I think 450 people entered the building and wouldn’t leave the lobby. The police carried them out, but they came back. They slept in overnight. And then the mayor, Jack Shelley, stepped in. He worked on the negotiation process and made it happen. After that, literally, the day they signed the agreement, they started picketing on Auto Row. This is how well organized they were. At the same time, other businesses were signing agreements for hiring Blacks, because they didn’t want this kind of press to happen. Remember, this is all happening in “liberal” San Francisco, so the fact that this is not good press for them counted.

SFBG: In the outcomes, you were careful to underline how these events had an impact on individuals’ lives.

NAS: It’s so easy for us in hindsight to know that civil rights were the right thing to fight for. But just think about what it would take out of somebody to get arrested. Tracy Sims, who later became Tamam Tracy Moncur, basically took the fall for her group. Because there were so many people arrested, they sent them to court in groups of 10 to12 people. She ended up getting 60 days in jail, plus a $200 fine. It was horrible for her. She was an idealistic 18-year-old. She knew she was doing the right thing. They were successfully changing laws just to confirm she was doing the right thing. And then she’s punished. After she served her time, her mother was already back on the East Coast, and she went to live with her mom.

SFBG: You were able to gather artifacts to tell this story, pins in particular.

NAS: These are all part of the Labor Archive collection. Graphically, they’re so simple, easy to read. You see them in photographs and they absolutely pop out. My favorite one is this “= Quality” one. It’s timeless. You’ve got the word play of equality equals quality. It’s got the silhouettes of a white child and a black child. What does equality really mean? It means equal quality for everybody. It’s not just a word. I really love that one, because it’s still so contemporary. Objects have got a power of their own. If you can stop and think of what’s involved, why they were created, and all the places they’ve been to… Some of the old pins will have the printer’s union stamp and the sheet metal workers’ stamp Look at that! That’s pride in your work right there.

The battle for the forgotten district

24

sarah@sfbg.com

This November, when voters in District 10 — the largest, sunniest, and most diverse of the city’s 11 supervisorial districts — replace termed out Sup. Sophie Maxwell, they’ll be making a selection that could have pivotal implications for the entire city.

That’s because the next supervisor from southeast San Francisco inherits a district that is home to some of the city’s biggest environmental and public health challenges, as well as the most potential for development that will determine what kind of city San Francisco becomes.

District 10 is where you’ll find the most polluted and most underdeveloped lands in San Francisco, areas that could either be transformed into models of a sustainability or, in the words of Tony Kelly, the president of Potrero Boosters Neighborhood Association, “be turned into a toxic Foster City.”

District 10 is where the slaughterhouses, tanneries, and glue factories set up shop and used the bay as a dumping ground. It’s where the smokestacks of coal and oil fired power plants polluted the air. It’s where the Navy filled the Bay, built a shipyard at Hunters Point and loaded parts of the first atomic bomb onto the USS Indianapolis in 1945.

District 10 is where the bottom fell out of this industrial economy in 1974, when the Navy left, taking with it people’s jobs, pay, and hopes for a home of their own and a better future, particularly for what was then a predominantly African American population.

And District 10 is ground zero for plans that will triple the population and double the number of homes — homes that likely will only be “affordable” to Google executives and retirees from Marin, forever changing the face of San Francisco’s southeast sector. Critics fear that will accelerate what has been a steady exodus of black residents, replaced by megadeveloper Lennar’s vision for a new D10.

It’s against this dark history and difficult present that a wide open field of more than a dozen candidates are vying to replace Maxwell, who came to power in 2000 and has had a mixed voting record in her decade on the board. Sometimes, Maxwell was the eighth vote that let the progressive majority on the Board override Mayor Gavin Newsom’s veto and pass trailblazing legislation. Other times, she was the swing vote that allowed the moderate minority to carry Newsom’s water.

So, in addition to D10’s many internal challenges, this seat could determine the political balance of power on the Board of Supervisors, placing all the more importance on voters in this long-marginalized part of town.

 

DISTRICT OF DISCONTENT

Eric Smith, a biodiesel activist who has thrown his hat in the D10 ring, says that there is a lot of frustration in the air, and looking at the problems the district is facing, it’s hardly surprising that it has what nearly every candidate agrees is a fractured political culture.

“The Bayview, the Hunters Point Shipyard’s toxic Superfund site, the homicide rate, unemployment, poor public transportation, dwindling services and community resources have made D10 one of the city’s largest melting pots of discontent,” Smith said.

Smith’s words were spoken while the Elections Department was verifying signatures earlier this month on a second failed effort to qualify a petition to recall Maxwell.

Bayview resident and D10 candidate Marie Franklin didn’t support the attempt to recall Maxwell, but she understood it as “a frustration movement.”

“People are sinking in the sand, we’ve already lost so many of them, and they felt Sophie wasn’t doing anything for them,” said Franklin, who praised Maxwell for helping get Franklin’s apartment building complex renovated — a job that was completed 18 months ago, at a cost of $65 million, creating 500 local jobs.

“There are 654 units here, and they were uninhabitable,” Franklin said. “There was black mold, rain falling inside. We had people living worse than Haiti.”

Franklin, who said she is running because she “knows the history,” came here in 1978, when she and her son were living in a car after a fire left them homeless. She said the Bayview was a totally isolated area, barely part of mainstream San Francisco.

“There were no taxis, no services,” she recalled. “Nobody would come here, it was the stigmatized area where no one was accountable to provide services.”

The Bayview — which in some ways is the heart of D-!0 — wasn’t always a black community. But African Americans have been living here for 70 years, dealing with all the racism, denial of services, poverty, and pollution. And it bothers Franklin that 85 percent of the 10,500 homes that Lennar plans to develop won’t be affordable to the elderly, disabled, unemployed and low-income people who currently live in the Bayview.

“We need to preserve the diversity of the community and make sure their issues and information will flow to City Hall,” she said. “You must give the people a handle. If you don’t reach out, they’ll slip. That’s why folks out migrated.

Whoever succeeds Maxwell will be a central player in addressing some very big and dirty issues: the future of the Navy’s radiologically impacted shipyard at Hunters Point, Lennar’s massive redevelopment plan for the Shipyard and Candlestick Point, the polluting power plants, replacement of stinky digesters at the sewage plant, and the SF Hope public lousing rebuild.

There’s also the chance to address violence and crime. James Calloway, a candidate who has long worked in Bay Area schools, told us he believes that education and jobs are part of the keys to rejuvenating the district.

“Job opportunities are not as plentiful in the district,” Calloway said. “When I was a kid, you could walk down Third Street at 2 a.m. Now I wouldn’t walk down it at 9 p.m., and I know the area.”

Calloway is hopeful that the massive redevelopment plan, if done correctly, could start the district’s comeback. “Not a lot of black folks stay here when they have extensive education,” he said. “But it’s not only them. Many were displaced by redevelopment and had no way to go back.”

 

ELECTION UP FOR GRABS

The largest of the city’s 11 electoral districts, D10 is a huge triangular piece of land in the city’s southeast sector that was used as an industrial dumping zone for decades. Today, the district runs from the Giants stadium at AT&T Park to the 49ers stadium at Candlestick Point and encompasses Mission Bay, Potrero Hill, Dogpatch, India Basin, Portola, Little Hollywood, and Visitacion Valley. It’s also crossed by two freeways that isolate it from the rest of the city, and is home to a large number of crumbling housing projects that are in the process of being rebuilt.

Candidate Ed Donaldson grew up in the projects until he was 10 years old, when the Redevelopment Agency kicked his family out in the 1970s. “We landed on our feet, but others weren’t so lucky,” said Donaldson, who works as a housing counseling director at the San Francisco Housing Development Corporation.

“There is a sense that the Bayview and Visitacion Valley have not been included within the San Francisco family,” Donaldson said. “There is a sense of being forgotten.”

In 2007, Donaldson co-founded the Osiris Coalition to tackle the city’s dormant Certificate of Preference program, in which the Redevelopment Agency issued a document to displaced residents and businesses in the 1960s promising that they could return.

He also tried to rescue some 700 foreclosed properties and recycle them as affordable housing stock. And now he is trying to prevent the city from bulldozing seven SF Hope projects without guaranteeing residents that they have right to remain.

In 2007, Mayor Gavin Newsom and Maxwell convened an African American Outmigration Task Force that didn’t get a public hearing about its findings until August 2008. The timing angered some, who questioned why the report’s findings and implications for urban planning weren’t released before June 2008, when the residents of San Francisco voted for the Lennar-led Proposition G, a proposal to build 10,000 market rate homes at one of San Francisco’s last remaining black communities, which Newsom and Maxwell endorsed.

The taskforce didn’t publish its recommendations until the end of 2009, allegedly because of insider squabbling. Meanwhile, gentrification was going on actively, and many blamed Newsom, and by extension Maxwell, for failing to do anything with the group’s findings as D10 residents continued to suffer from high rates of asthma, cancer, unemployment and an ongoing black exodus.

It wasn’t always this way. In the 1940s, the district’s black population exploded when migrants from the south and World War II veterans came to work at the Hunters Point Naval Shipyard. Some moved to Alice Griffith Public Housing complex, or Double Rock, which was built as military housing in 1962. Others relocated to the Bayview when the Redevelopment Agency took over the Fillmore/Western Addition in the ’60s and ’70s as part of a controversial urban renewal effort.

But when the Navy abandoned the shipyard in 1974, unemployment hit the black community hard. Today, hundreds of the city’s lowest income residents live in Alice Griffith’s crumbling units and endure sewage backups, no heat, cloudy drinking water and leaking ceilings, as they wait for the projects to be rebuilt.

“Generations have been trapped in the silo of public housing and cannot get out, because of lack of opportunity and education, so when we legislate, we need to take that into consideration,” said candidate Malia Cohen, whose grandfather came from Texas to work at the shipyard where he met her grandmother, whose family came from New Orleans.

“My grandfather’s father was a longshoreman. He worked with the infamous Leroy King [a commissioner at the city’s Redevelopment Agency] and he has fantastically vivid stories of racism,” said Cohen, who works for the Federal Reserve Bank of San Francisco, previously served on the executive staff of Mayor Gavin Newsom, and has already raised over $18,000 in the D10 race and qualified for public matching funds.

“My family came here to work hard, they lived on Navy road in the projects, and then they bought a house here. My parents were born here, and we were all public schooled,” Cohen recalled as she took me on a tour of D10 that ended up in Visitacion Valley, an increasingly Chinese-American neighborhood that reflects a district-wide trend.

Census data show that by 2000, Asians were the largest racial group in the district (30 percent), followed by blacks (29 percent), whites (26 percent), and Latinos (19 percent). By 2003, according to the California Urban Issues project, the trend continued. Asians were the largest racial group (32 percent), followed by blacks (27 percent), whites (21 percent) and Latinos (17 percent) of the population.

This means that D10 candidates will have to garner support from more than one ethnic group to win. Over a dozen candidates have already filed papers in the race, but so far there is no clear front-runner.

Also frustrating the prognosticators is that fact that D10 has had the lowest voter turnout in the city, so the winner will also depend on who goes to the polls.

D10 candidate Geoffrea Morris, who is the grand daughter of longtime Bayview activist Charlie Walker, has been knocking on doors and participating in voter registration drives.

“We need new blood,” Morris said

Getting elected will be a complicated equation. Although Bayview’s population was 50 percent African American at the time of the 2000 census, it didn’t turn out the vote. In the 2006 election, only 14,000 of the district’s 37,000 registered voters went to the ballot, and 50 percent were from whiter, richer, and more Asian neighborhoods.

“It’s very important to the future of the city that the ethnicity diversity of the board be maintained and that the African American community have representation,” former Board President and current Democratic Party chair Aaron Peskin told the Guardian.

Maxwell recently told the Guardian that she’s not ready to endorse any D10 candidates yet. “I’m waiting for people to have a better understanding of what this community is, what the common thread running through it is, and how to use rank choice voting,” she told us.

The only candidate who currently holds elected office is BART director Lynette Sweet, who had her answers down pat when we reached her by phone, and even used wording that was eerily similar to Maxwell’s words.

“D10 is a pretty diverse district, but there is only one common thread: the need for economic development,” Sweet told me. “That’s true in Potrero Hill, Portola, Dog Patch and the Bayview. It’s the same mantra: a lot of small businesses need help, and the only way to help them is through economic development. In Potrero Hill it’s about land use. In the Bayview, it’s about the shipyard and better transportation and truancies.”

 

THE COMMON THREAD

District 10 is ground zero for the Lennar’s $2.2 billion plan to develop 10,500 market rate condos at the Shipyard and Candlestick Point. The plan will allegedly create thousands of jobs and new parks, deliver on an historic community benefits agreement that labor groups claim is so “lawyered up” that the developer can’t renege on its promises.

The package is framed as the one and only way to revitalize the southeast’s formerly vibrant economic engine. Indeed, any time anyone tries to slow down the process—to take time to thoroughly read the draft EIR and see if it adequately addresses the impacts of this massive urban reengineering project — a chorus of “no delays” starts up, either from residents of the housing projects desperate to see their homes rebuilt, or the labor contractors who hope to get jobs.

“It’s as if the city is playing checkers, while Lennar is playing three-dimensional chess,” Eric Smith observed.

Lennar has stated that it will contribute $711 million to finance this massive project. The remainder will be leveraged by Mello-Roos bonds, state taxes based on the use and size of a property and intended to raise money for needed services, and tax increment financing, which creates funding for projects by borrowing against future property tax revenues.

The conceptual plan won Maxwell’s backing but environmental groups are critical of the draft EIR.

During DEIR hearing, environmentalists questioned the wisdom and the cost of filling the Bay to build a bridge over Yosemite Slough, and building condos on Candlestick Point state recreation area, the only open major open space in the district.

But the city’s Planning Department also has 20,000-30,000 units of housing in its pipeline. This means that if all these plans get approved in the next decade, they’d account for 80 percent of residential development citywide. And D10’s population could triple, further skewing the district’s already shifting demographics.

In other words, D10 as we know it could become nothing more than a historic relic in a few years, and the next supervisor will play a key role in deciding whether that happens. SFHDC’s Ed Donaldson warns that any supervisor who does not understand the complexity of the city’s largest district can expect a similar recall backlash in future.

“There is no one homogenous voice in the community,” Donaldson said. “The grass-roots organizing that brought about the recall effort was a result of a changing political structure in the area, but is not yet on par with other districts in town. We still allow our politics to be controlled from downtown.”

Fellow candidate Eric Smith warns that the issues—and politics—are complex.

“People were emotional, angry, and desperate because they feel no one listens to them,” Smith said. “That’s part of the problem here; they would rather have a supervisor go down swinging for them, rather than watch one seemingly side with Lennar, PG&E and the mayor on issues contrary to their interests. That’s the terrible irony and one of the biggest problems in District 10. Folks are so mad, they’re willing to do whatever it takes to make them feel they have a voice in the outcome, even if it’s potentially worse.”

Smith cited the sequence of events that culminated last year in the Navy dissolving the community-based shipyard Restoration Advisory Board (RAB), which for years has reviewed technical documents and commented on the Navy’s clean-up proposals. But in December, the Navy made its official decision to disband the RAB, citing dysfunctional behavior and off-topic discussions that got in the way.

“Some of the same folks who were frustrated by the process, tried to send a signal to the Navy that they weren’t being heard and for all their well-intentioned efforts got the RAB dissolved,” Smith said. “I truly feel for them, it’s absolutely heartbreaking, but at times, they can be their own worst enemy.”

One of the looming issues about the shipyard is that the land has been polluted and needs to be cleaned. The shipyard contains radioactive debris from ships towed to the shipyard, after a 90-foot wave washed over them during an atomic test gone awry. The Navy burned 610,000 gallons of radioactively contaminated ship fuel at the shipyard, and workers showered on the shipyard, raising concerns that radioactive materials got into the drains and sewers. And questions have been raised about radiological tests on animals at the yard.

 

LEAKS AND FLOODS

It’s not just the shipyard that’s toxic. Even the buildings that were constructed to house workers 50 years ago are a serious mess.

Realtor Diane Wesley Smith, who grew up in public housing projects, took me on a walking tour of Alice Griffith last week to see conditions that tenants will likely have to endure until at least 2014, if the city sticks to its plan to relocate people into a new replacement unit in the same geographical area, if not the exact same site.

What we found was pretty messed up.

“The water sometimes comes out brown and feels like sand. It’s been like that for a year,” one resident said.

“The water is cloudy, the bath tub isn’t working and the sink keeps stopping up,” said another.

A woman named Silvia showed us how the water from the tap in her elderly mother’s kitchen flows out cloudy and then doesn’t settle properly, like foamy beer.

“The roof’s been leaking for years, the sewage backs up, but they just fixed the lights,” Silvia said. A neighbor named Linda was using her oven as a heater.

“The toilet backs up a lot, and my grandson’s been coughing a lot from asthma,” Linda said.

“Roaches is always a problem,” said a woman named Stormi, dressed in black sweats and a black T-shirt that read, “Can’t knock the hustle.”

“They’re trying,” said Stormi, a member of the Alice Griffith Residents Association, as a couple of Housing Authority trucks pulled up to do repairs.

“They promise that you will not have to leave your unit, but if they try to move us down to the waterfront, well, there’s a reason there’s no housing there, and it’s because the land will flood,” Stormi said.

“If we don’t end up at the table, we’ll end up on the menu,” Wesley Smith warned, as she stopped to chat with a group of young men, who were worried they would pushed out of the Alice Griffith rebuild through the criteria being established.

“Fred Blackwell, the executive director of the Redevelopment Agency, assures me that’s not the case, but Alice Griffith is a Housing Authority property, and empty promises have the potential to be great promises provided they are made in writing,” Wesley Smith said as we walked out of the projects and onto the road where a yellow and black sign announced “flooded” next to Candlestick Point park, where Lennar wants to build.

Malia Cohen expressed concern about Hope SF residents, as we drove through the Sunnydale housing project.

“We have to be diligent and mindful that people are not pushed out,” Cohen said, noting the sweeping views at Gleneagles golf course above Sunnydale, and the value of housing for a golf course community. “When public housing gets taken offline, we must work with Redevelopment and the Housing Authority to make sure no one is changing the rules halfway. We have to make sure the talks and walks line up. We need to be equal partners. We cannot be bulldozed by City Hall.”

Geoffrea Morris is a Calworks employee, at the Southeast Community College facility on Oakdale, which was built to mitigate the city’s expansion of the sewage plant in 1987. She cited concerns about the literacy levels of people who live in the 2200 public housing units that cluster D10. “A lot of people in Alice Griffith don’t even know the dates or when it’s going to be reconstructed,” Morris said. “Folks like to be told stuff like that, but the city gives you a stack of papers. Some will read them, but others rely on folks they think are trustworthy. They need stuff in layman’s terms written on one sheet of paper.”

Morris is a fan of the Internet who posted a community survey online, and made sure every housing project got some literature telling people to get informed. She worries about the digital divide in D10:

“A lot of folks don’t have computers and access to important information,” Morris said. “And let’s talk about the way ‘affordable’ is used to trick people.”

Michael Cohen, Newsom’s top economic adviser, recently stated in a memo that over the expected 15-20 year phased build out, Lennar’s Candlestick-Shipyard development would include, “up to 10,500 residential units, about 32 percent of which (3,345) will be offered at below market rates.”

“But 892 units of this ‘affordable category’ will be sold to folks earning $100,000,” Morris said. “So if you subtract 892 units from affordable unit category, you’re back to 25 percent affordable.”

Candidate Kristine Enea, an attorney and a former RAB member, chairs the India Basin Neighborhood Association, which administers a US EPA grant to hire experts to translate the Navy’s cleanup documents into plain English and comment on them She was frustrated by the Navy’s decision to dissolve the RAB.

“The lack of a forum does nothing to bolster the community’s trust in the cleanup or the redevelopment process,” Enea said.

Enea generally supports the Lennar project, but has concerns about whether it will adequately mitigate increased car traffic, or result in commercial development that benefits her neighborhood.

“India basin is a pocket of Hunters Point right along the shoreline,” Enea said. “Right now, we have no shops or restaurants, no ATM, no groceries, nothing beyond one liquor store and a few industrial businesses.

Potrero Boosters president Tony Kelly told us that District 10 residents can think for themselves. “D10 residents don’t need to rely on corporations to solve their problems,” he said.

“Folks in the eastern neighborhoods came up with a better revitalization plan than what the city proposed and community activists managed to close the power plant, after the city said it was impossible,” Kelly recalled.

And there’s no shortage of good ideas.

Kelly suggested that an urban agriculture center could immediately put low-skilled folks to work by erecting greenhouses on unused land. Smith said the industrial zone could be “incredible eco-park made from sustainable sources.

‘D 10 is the dumping ground for everything, including all the city’s waste,” he said. “We could be a shining example, not just for D 10, but the rest of the state.”

The D 10 candidate line up includes Calloway, Cohen, Donaldson, Smith, Enea: civil rights attorney Dewitt Lacy, Morris, Potrero View publisher Steve Moss; District 7 BART director Lynette Sweet, Wesley-Smith. Bill Barnes, who works for Sup. Michela Alioto-Pier, and Linda Richardson, who was appointed to the Human Rights Commission in 2007 by Mayor Newsom, have also expressed interest in the race.

In such a huge field, name identification will play a major role. Sweet is in office, but BART Board is not a high-profile job and won’t give her a huge advantage.

Cohen has a slight edge right now in that she’s raised $18,505, including $500 from former Newsom flak Peter Ragone, making her the first D. 10 candidate to qualify for campaign financing. The oldest of five girls, Cohen recalls how her mother got laid off from her city job as a school-based mental health worker and then rehired, as part of the city’s budget cuts.

“We felt that pinch and the frustrating games that are played out between the leadership and the rank and file,” she said.

Cohen who worked for Newsom in his first term as mayor, but has since left his administration , said she is uncomfortable at being framed as Newsom’s candidate.

“Because I’m not, but I am one of the few candidates who has seen how the mayor and the Board work—and don’t work—together,” she said.

Moss sees the city’s southeast as a “district in transition.” Over coffee at Farley’s in Potrero Hill, he told me that the southeastern neighborhoods could be “launching pads for environmentally sustainable growth.”

“The district’s been in a frozen period for 30 years, But despite the problems, people are deeply committed to and in love with their community.

“This district is the future of San Francisco and its social fabric—the diversity, income –and its problems are leftovers from the city’s industrial age.”

 

 


 

DISTRICT 10, BY THE NUMBERS

Total Acres: 5,650

Average household income: $85,000

Population: 73,000

Registered voters: 37,700

Average housing price: $335,000

Ethnicity (2003 figures): Asian 32%, African American, 27%, white 21%, Hispanic 17%

Development status of land: 18% residential, 38% is commercial, 38% undevelopable

All figures the latest available. Sources: SFGIS, Association of Bay Area Governments, U.S. Census, California Urban Issues Project. Ethnicity and income data is from 2003 and almost certainly has changed.

Reality bites

0

arts@sfbg.com

THEATER Feb. 5 saw a varied but collectively incensed body of American conservatives unfurl itself all red-white-and-blue in Nashville’s Gaylord Opryland Hotel for the first Tea Party Nation convention. The delegates, dubbed “teabaggers” by media wags and hailing from all parts of the land, responded enthusiastically to a keynote speech bewailing the “Islamification” of a nation overrun by foreigners and subverted from within by the Obama administration, the green movement, and the “cult of multiculturalism.”

Many in the Bay Area might look upon such a grouping, and the groundswell it purports to represent, with a vaguely uneasy sense of amusement, not to say superiority. But the name itself begs the question: are these people really patriots, or just pudheads? Maybe the only thing to do is gas up and head out for some reconnaissance. After all, there’s a legitimate wave of anger across the downsized middle of this otherwise clinically obese country, and it behooves us smug coastal dwellers to know something about it.

Or better idea: let Dan Hoyle go and report back from the stage. Like many a 20-something seeker before him, the restlessly peripatetic San Francisco–based writer-performer set out last year in a custom van to, as he put it in one of his dispatches to the San Francisco Chronicle, “find out what makes America’s heartland tick.” What he discovered during the three-month, 27-state odyssey may not be all that surprising in the end — indeed, the liberal biases Hoyle looks to complicate come back more or less intact — but it makes for a deft, sharply funny, and entirely engaging night of theater.

In the episodes brought to theatrical life here — astutely and meticulously shaped in collaboration with director Charlie Varon (Rabbi Sam) and reminiscent of the humanist satire of Garry Trudeau — Hoyle heads out from his charmingly incongruous but insular circle of friends (and their “liberal bubble”) straight to Texas, where he joins hands in mealtime prayer with a born-again Vietnam vet and his family, including a grandson about to ship off to Iraq with the Marines.

The dinner conversation is largely devoted to a defense of creationist history: “Now,” his kindly host asks with rhetorical relish, “How did Noah fit all those dinosaurs in the ark?” Afterward, Hoyle deflects a postprandial pass from the man’s son, who’s clearly surprised a guy from San Francisco could ever be so straight. Retreating to his van, Dan is not above doing some praying of his own, including hoping for the safety of the young soldier about to do “what I could never do” in Iraq.

Then it’s off to Alabama, Hoyle toggling expertly between, on the one hand, the casual racism of a moonshine-sipping paraplegic ex-trucker and his apologetic wife, and, on the other, an African American casino worker and ex-con (“livin’ the mutherfuckin’ American dream”) who expounds with gritty eloquence upon the impact of Obama on white and black minds.

Reagan Democrats, gun-show vendors, and aging Midwestern hippies-turned-reactionaries, among others, all lie on the road ahead. Hoyle finds much to sympathize with and honor along the way — an all-American cross-cultural encounter related by Ramón, a Dominican from New York whom Hoyle meets in Michigan, is particularly supple and hopeful — but the going is rough. Frequently Hoyle gives vent to his frustration in song, picking up the guitar and letting go a melodic tirade of inspired lyricism. “Americans” is pervaded with a sense of the playwright’s own loneliness, a frustrated desire for connection in the face of a reactionary populism that will not meet an earnest liberal halfway.

Maybe there is no halfway? Or maybe a halfway line requires more rigorous interrogation of the play’s own political assumptions. That might have cast the ideological landscape in a somewhat different light. After all, the widespread conviction that Obama is a “Moozlum” is one thing; a more general distrust of the state and big business as dangerously encroaching powers is another.

THE REAL AMERICANS

Through April 18

Thurs.–Fri., 8 p.m.; Sat., 5 p.m.

Sun/21, Feb 28, and all Sundays starting March 14, 3 p.m.

Marsh

1062 Valencia, SF

(415) 826-5750

www.themarsh.org