Review

NSA spies on Google and Yahoo users

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More revelations on spying by the National Security Agency were published in the Washington Post on Oct. 31. Thanks again to whistleblower Edward Snowden, we now know that the NSA is capturing massive amounts of communications data flowing between data centers maintained by Bay Area-based Google and Yahoo.

According to the Post, digital information produced by Google and Yahoo account holders — texts, emails, documents, videos and yes, that does include content — is being copied by the NSA and sent to its Fort Meade headquarters, where some but not all is retained by the agency.

The NSA is intercepting Google and Yahoo user account information as it moves between data centers, but the exact collection points remain a mystery. A smiley face inserted into a hand-drawn sketch from a top-secret file was enough to cause a couple Google engineers to “explode in profanity,” the Post reporters noted.

That drawing demonstrated how encryption, a security measure meant to shield data from third parties, is “added and removed here,” at an intersection between the public Internet and Google’s internal cloud servers.

Seeing as how Google is a ubiquitous presence in our lives and a key player in Silicon Valley’s tech industry, it’ll be interesting to see how native San Franciscan US Sen. Dianne Feinstein responds to the news that the NSA has apparently been intercepting the tech giant’s data without its knowledge. Feinstein is uniquely positioned to weigh in on this activity in her capacity as chair of the Senate Intelligence Committee.

Since Snowden’s first leak, Feinstein has kept up the drumbeat that NSA’s spying program is good for national security. On Oct. 2, at a Judiciary Committee hearing on oversight of the Foreign Intelligence Surveillance Act, she delivered the following statement:

“Our great strength today, ladies and gentlemen, in protecting this homeland, is to be able to have the kind of technology that’s able to piece together data while protecting rights. I listened to this program being described as a surveillance program. It is not. There is no content collected by the NSA. There are bits of data—location, telephone numbers—that can be queried when there is reasonable, articulable suspicion. … I will do everything I can to prevent this program from being cancelled out. To destroy it is to make this nation more vulnerable.”

But more recently, following revelations of spying on foreign leaders, Feinstein changed her tune. In an Oct. 28 statement, she said the Senate Intelligence Community was “not satisfactorily informed.”

Suddenly, rather than being notified and informed, the committee members were seemingly kept in the dark while the NSA ran wild. She said, “It is abundantly clear that a total review of all intelligence programs is necessary so that members of the Senate Intelligence Committee are fully informed as to what is actually being carried out by the intelligence community.”

The Performant: This is Halloween

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Nothing quite says “Happy Halloween” like an evening full of splatter gore and general mayhem, and this year there were several options to choose from, including an interactive zombie apocalypse battle royale at Chez Poulet and a multi-level haunted house extravaganza at the Old Mint which promised similarly to let patrons “live the horror movie,” hopefully sans actual evisceration of ticket-holders, but these are dangerous times we’re living in. On the theatrical front we had the Thrillpeddlers strutting their creepy stuff onstage at the Hypnodrome (through Nov. 23), buckets of blood and teen angst at Ray of Light’s Carrie: The Musical, and a brief, yet enGROSSing run of the thematically-appropriate Grand Guignol, co-produced by Pianofight.

Not the straightforward revivalism practiced by the Thrillpeddlers, this Grand Guignol is both a play about, as well as a direct descendent of, the form. Penned by Kneehigh Theatre’s Carl Grose, the play centers mainly on one of the most prolific playwrights of the Théâtre du Grand Guinol’s heyday, André de Lorde (Christopher Sugarman) and his sometime collaborator, psychologist Alfred Binet (Thaddeus Bing). Plot points and diversions from several of de Lorde’s best known plays, including The System of Doctor Tarr and Professor Fether, Crime in a Madhouse, and The Laboratory of Hallucinations are woven throughout the piece, and the rogue’s gallery of characters are mostly pulled from the actual pages of history — such as Max Maurey (Brian Trybom), the theater’s tireless proprietor and promoter, inventive propsmaster Paul Ratineau (Raymond Hobbs), and actress Paula Maxa (Christy Crowley) “the most-assassinated woman in the world” and original “Queen of Scream”.

Opening with a scene set in a mental institution, the play pulls the oddience quickly into the exaggerated aesthetic of the Grand Guignol, as it becomes quickly apparent that the inmates are running the asylum, and blood-drenched violence ensues until an excitable patron runs up onto the stage and faints with shock, an act that heartens the small company as they think he is a critic who will give their play a rave (perhaps raving) review. Instead it turns out he is Binet, and the seeds for his future artistic collaboration with de Lorde are thus sown.

Bing as Binet bubbles over with nervous tension, while Sugerman’s de Lorde is so pale and withdrawn he appears a specter haunting the corners of his own life, though in truth it is the ghost of Edgar Allen Poe (Cooper Carlson) who comes to haunt him more frequently, a pushy creative partner offering his own work up for adaptation (such as the aforementioned Doctor Tarr). Pianofight regular Christy Crowley inhabits the body and reputation of Maxa with devilish relish, dying dramatically on demand, while Andy Strong rounds out the capable cast as actor George Paulais, whose ego is only exceeded by his extreme self-interest. A side-plot involving the identity of a real-life serial killer who stalks Montmartre results in the play’s most gleefully gross-out moment, and Binet’s unlikely collaboration with de Lorde results in perhaps the messiest artistic divorce since, well, ever.

Messy is a byword of the Grand Guignol, and a segregated splatter zone surrounds the stage, crammed with patrons who have paid extra for the privilege of being randomly drenched by stage blood. It’s a bit of an awkward set-up, the gap between the zone and the rest of the seating is so large it’s almost as if one were perched in the balcony, or in the back of an art-house movie theater, a little too far removed from the up-close and too-personal proximity that really amplifies the Grand Guignol experience. Thankfully Pamila Z. Gray’s lighting, Hannah Birch Carl’s sound design, and Pandora FX helped amp up the bawdy, bloody atmosphere, and as far as All Hallows’ Eve experiences go, an evening at Grand Guignol was a worthy treat.

A big Oscar contender opens! Plus: two politically charged docs, ‘Diana,’ and more new movies

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The movie you need to see this weekend, ASAP, is 12 Years a Slave — one of the most important releases of the year, and a likely contender for all possible awards, including Best Actor and Best Picture. (Review here.) Also new to theaters is the Cannes-winning, controversy-stirring Blue is the Warmest Color. (Review here.)

Read on for more short takes on today’s new releases, plus a 1979 cult classic that’s ripe for rediscovery.

http://www.youtube.com/watch?v=Q2Ir5LsraA4

About Time Richard Curtis, the man behind 2003’s Love Actually, must be enjoying his days in England, rolling in large piles of money. Coinciding with the 10-year anniversary of that twee cinematic love fest comes Curtis’ latest ode to joy, About Time. The film begins in Cornwall at an idyllic stone beach house, as Tim (Domhnall Gleeson) describes his family members (Bill Nighy is dad; Richard Cordery is the crazy uncle) and their pleasures (rituals (tea on the beach, ping pong). Despite beachside bliss, Tim is lovelorn and ready to begin a career as a barrister (which feels as out of the blue as the coming first act break). Oh! And as it happens, the men in Tim’s family can travel back in time. There are no clear rules, though births and deaths are like no-trespass signs on the imaginary timeline. When he meets Mary (Rachel McAdams), he falls in love, but if he paves over his own evening by bouncing back and spending that night elsewhere, he loses the path he’s worn into the map and has to fix it. Again and again. Despite potential repetition, About Time moves smoothly, sweetly, slowly along, giving its audience time enough to feel for the characters, and then feel for the characters again, and then keep crying just because the ball’s already in motion. It’s the most nest-like catharsis any British film ever built. (2:03) (Sara Maria Vizcarrondo)

http://www.youtube.com/watch?v=8oOG3vUkKUM

A.K.A. Doc Pomus “All greatness comes from pain.” The simple statement comes from Raoul Felder, brother of legendary R&B songwriter Doc Pomus, in the beautiful, crushing mediation on his brother’s life, A.K.A. Doc Pomus, opening theatrically this week after serving as the closing-night film of the 2012 San Francisco Jewish Film Festival. Doc wrote some of the greatest music of a generation: R&B and early rock’n’roll standards such as “This Magic Moment,” “A Teenager in Love,” “Save the Last Dance For Me,” and “Viva Las Vegas” — songs made famous by the likes of Dion, the Drifters, and Elvis Presley. Jewish, debilitated by polio, and vastly overweight, Doc defied expectations while struggling with a lifetime of outsider status and physical pain. William Hechter and Peter Miller’s doc offers a revealing look at his remarkable life. (1:38) Vogue. (Emily Savage)

http://www.youtube.com/watch?v=axLcfpj7xeU

Diana The final years of Diana, Princess of Wales are explored in what’s essentially a classed-up Lifetime drama, delving into the on-off romance between “the most famous woman in the world” (Naomi Watts) and heart surgeon Hasnat Khan (Naveen Andrews). Relationship roadblocks (his Muslim family, back home in Pakistan, is hesistant to accept a divorced, Christian Brit as their son’s partner) are further complicated by extraordinary circumstances (Diana’s fame, which leads to paparazzi intrusions on the very private doctor’s life), but there’s real love between the two, which keeps them returning to each other again and again. By the third or fourth tearful breakup — followed by a passionate reunion — Diana’s story becomes repetitive as it marches toward its inevitable tragic end. Still, director Oliver Hirschbiegel (2004’s Downfall, another last-days-in-the-life biopic, albeit of a slightly different nature) includes some light-hearted moments, as when a giggling Diana smuggles Hasnat through the palace gates (past guards who know exactly what she’s up to). As you’d expect, Watts is the best thing here, bringing warmth and complexity to a performance that strives to reach beyond imitation. (1:52) (Cheryl Eddy)

http://www.youtube.com/watch?v=2UNWLgY-wuo

Ender’s Game Asa Butterfield (star of 2011’s Hugo), Harrison Ford, and Ben Kingsley appear in this adaptation of Orson Scott Card’s sci-fi novel. (1:54)

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

Free Birds Owen Wilson and Woody Harrelson lend their voices to this animated turkey tale. (1:31)

http://www.youtube.com/watch?v=m3_hKv4pEM4

God Loves Uganda Most contemporary Americans don’t know much about Uganda — that is, beyond Forest Whitaker’s Oscar-winning performance as Idi Amin in 2006’s The Last King of Scotland. Though that film took some liberties with the truth, it did effectively convey the grotesque terrors of the dictator’s 1970s reign. But even decades post-Amin, the East African nation has somehow retained its horrific human-rights record. For example: what extremist force was behind the country’s Anti-Homosexuality Bill, which proposed the death penalty as punishment for gayness? The answer might surprise you, or not. As the gripping, fury-fomenting doc God Loves Uganda reveals, America’s own Christian Right has been exporting hate under the guise of missionary work for some time. Taking advantage of Uganda’s social fragility — by building schools and medical clinics, passing out food, etc. — evangelical mega churches, particularly the Kansas City, Mo.-based, breakfast-invoking International House of Prayer, have converted large swaths of the population to their ultra-conservative beliefs. Filmmaker Roger Ross Williams, an Oscar winner for 2010 short Music by Prudence, follows naive “prayer warriors” as they journey to Uganda for the first time; his apparent all-access relationship with the group shows that they aren’t outwardly evil people — but neither do they comprehend the very real consequences of their actions. His other sources, including two Ugandan clergymen who’ve seen their country change for the worse and an LGBT activist who lives every day in peril, offer a more harrowing perspective. Evocative and disturbing, God Loves Uganda seems likely to earn Williams more Oscar attention. (1:23) Roxie. (Cheryl Eddy)

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

Kill Your Darlings Relieved to escape his Jersey home, dominated by the miseries of an oft-institutionalized mother (Jennifer Jason Leigh) and long-suffering father (David Cross), Allen Ginsberg (Daniel Radcliffe) enters Columbia University in 1944 as a freshman already interested in the new and avant-garde. He’s thus immediately enchanted by bad-boy fellow student Lucien Carr (Dane DeHaan), a veteran of numerous prestigious schools and well on the road to getting kicked out of this one. Charismatic and reckless, Carr has a circle of fellow eccentrics buzzing around him, including dyspeptic William S. Burroughs (Ben Foster) and merchant marine wild child Jack Kerouac (Jack Huston). Variably included in or ostracized from this training ground for future Beat luminaries is the older David Kammerer (Michael C. Hall), a disgraced former academic who’d known Carr since the latter was 14, and followed him around with pathetic, enamored devotion. It’s this last figure’s apparent murder by Carr that provides the bookending crux of John Krokidas’ impressive first feature, a tragedy whose motivations and means remain disputed. Partly blessed by being about a (comparatively) lesser-known chapter in an overexposed, much-mythologized history, Kill Your Darlings is easily one of the best dramatizations yet of Beat lore, with excellent performances all around. (Yes, Harry Potter actually does pass quite well as a somewhat cuter junior Ginsberg.) It’s sad if somewhat inevitable that the most intriguing figure here — Hall’s hapless, lovelorn stalker-slash-victim — is the one that remains least knowable to both the film and to the ages. (1:40) (Dennis Harvey)

http://www.youtube.com/watch?v=IMnr-R7BkkU

Last Vegas This buddy film may look like a Bucket List-Hangover hybrid, but it’s got a lot more Spring Breakers in it than you’d expect — who beats Vegas for most bikinis per capita? Four old friends reunite for a wedding in Vegas, where they drink, gamble, and are confused for legendary men. Morgan Freeman sneaks out of his son’s house to go. Kevin Kline’s wife gave him a hall pass to regain his lost sense of fun. Kline and Freeman trick Robert De Niro into going — he’s got a grudge against Michael Douglas, so why celebrate that jerk’s nuptials to a 30-year-old? The conflicts are mostly safe and insubstantial, but the in-joke here is that all of these acting legends are confused for legends by their accidentally obtained VIP host (Romany Malco). These guys have earned their stature, so what gives? When De Niro flings fists you shudder inside remembering Jake LaMotta. Kline’s velvety comic delivery is just as swaggery as it was during his ’80s-era collaborations with Lawrence Kasdan. Douglas is “not as charming as he thinks he is,” yet again, and voice-of-God Freeman faces a conflict specific to paternal protective urges. Yes, Last Vegas jokes about the ravages of age and prescribes tenacity for all that ails us, but I want a cast this great celebrated at least as obviously as The Expendables films. Confuse these guys for better? Show me who. (1:44) (Sara Maria Vizcarrondo)

http://www.youtube.com/watch?v=-v5ZXAxTGHg

Let the Fire Burn In 1985 a long-simmering conflict between Philadelphia police and the local black liberation group MOVE came to a catastrophic conclusion. Ordered to leave their West Philly building after numerous neighborhood complaints about unsanitary conditions, incessant noise, child endangerment and more, the commune refused. An armed standoff came to a halt when a helicopter dropped two FBI-supplied water gel bombs on the roof, killing 11 MOVE members (including five kids) and creating an uncontrollable fire that destroyed some 60 nearby homes. It’s hard to deny after watching Jason Osder’s powerful documentary that MOVE then looked like one crazy cult — its representatives spouting extreme, paranoid rhetoric in and out of court; its child residents (their malnutrition-bloated stomachs nonsensically explained as being due to “eating so much”) in visibly poor health; its charismatic leader John Africa questionably stable. But whatever hazards they posed to themselves and the surrounding community, it’s also almost undeniable here that city law enforcement drastically overreacted, possibly in deliberate retaliation for an officer’s shootout death seven years earlier. The filmed and amply media-reported trials that ensued raised strong suspicions that the police even shot unarmed MOVE members trying to escape the blaze. This outrageous saga, with numerous key questions and injustices still dangling, is an American history chapter that should not be forgotten. Let the Fire Burn is an invaluable reminder. (1:35) (Dennis Harvey)

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

Man of Tai Chi Keanu Reeves directs and plays a supporting role in this contemporary Beijing-set martial-arts drama. (1:45)

http://www.youtube.com/watch?v=N6lImifpiZM

The Pin Canadian film about a romance between two Eastern European youths, in hiding during World War II. (1:23)

The Visitor Directed by “Michael J. Paradise” (aka Giulio Paradisi), this 1979 Italian-US. co-production is belatedly starting to acquire a cult following. Joanne Nail is Barbara, mother of Katy (Paige Conner), a seemingly normal little girl with a disconcerting tendency to swear like a longshoreman when out of ma’s earshot. Also unbeknownst to mom is that her boyfriend (Lance Henriksen, no less), as well as characters played by Mel Ferrer, Glenn Ford, John Huston, Sam Peckinpah, and the inimitable Shelley Winters are all very interested — on the good and the evil side — in Katy, a “miracle of nature” with “immense powers.” Those powers apparently include making Kareem Abdul-Jabbar’s basketball explode at the hoop, and sending teenage boys through plate glass at an ice rink. Some of the adults nosing around Katy really, really want Barbara to give her a similarly gifted baby brother, others do not. It all involves some kind of interplanetary conspiracy to … well, beats me, frankly. Its utter senselessness part of the charm, The Visitor includes any number of bizarre moments, including Winters’ evident enjoyment of slapping some sense into Katy (the child thesp later confirmed that the Oscar winner went a little too Method in that scene), and crusty old Huston intoning the line “I’m, uh, the babysitter.” This glossy sci-fi horror mess. which the Roxie is showing in a new digital transfer, borrows elements freely from 1977’s Exorcist II: The Heretic (a fiasco that inspired very little imitation), 1976’s The Omen (or rather 1978’s Damien: Omen II) and, strangely, Orson Welles’ 1947 The Lady from Shanghai (directly ripping off its famous hall of mirrors scene). Yet there’s a certain undeniable originality to its incoherence. (1:48) Roxie. (Dennis Harvey)

Latest NSA spying news features emoticons and Google engineers exploding with profanity

More revelations on spying by the National Security Agency were published in the Washington Post today. Thanks again to whistleblower Edward Snowden (whose actions gave this cartoonist pause with a “Post-Snowden moment”) we now know that the NSA is capturing massive amounts of communications data flowing between data centers maintained by Google and Yahoo.

According to the Post, digital information produced by Google and Yahoo account holders – texts, emails, documents, videos and yes, that does include content – is being copied by the NSA and sent to its Fort Meade headquarters, where some but not all is retained by the agency.

It’s known that the NSA is intercepting Google and Yahoo user account information as moves between data centers, but the exact collection points remain a mystery. While some of that information evidently belongs to Americans, there doesn’t seem to be detailed information about how much of it originates in the U.S. versus foreign nations. The main tool for capturing this data is a project called MUSCULAR, operated in collaboration with British intelligence agency GCHQ. 

A smiley face inserted into a hand-drawn sketch from a top-secret file was enough to cause a couple Google engineers to “explode in profanity,” the Post reporters noted. That drawing demonstrated how encryption, a security measure meant to shield data from third parties, is “added and removed here,” at an intersection between the public Internet and Google’s internal cloud servers.

Seeing as how Google is a ubiquitous presence in our lives and a key player in Silicon Valley’s tech industry, it’ll be interesting to see how native San Franciscan Sen. Dianne Feinstein responds to the news that the NSA has apparently been intercepting the tech giant’s data without its knowledge. Feinstein is uniquely positioned to weigh in on this activity in her capacity as chair of the Senate Intelligence Committee.

Since Snowden’s first leak, Feinstein has kept up the drumbeat that NSA’s spying program is good for national security.

On Oct. 2, at a Judiciary Committee hearing on oversight of the Foreign Intelligence Surveillance Act, she delivered the following statement:

“Our great strength today, ladies and gentlemen, in protecting this homeland, is to be able to have the kind of technology that’s able to piece together data while protecting rights. I listened to this program being described as a surveillance program. It is not. There is no content collected by the NSA. There are bits of data—location, telephone numbers—that can be queried when there is reasonable, articulable suspicion. … I will do everything I can to prevent this program from being cancelled out. To destroy it is to make this nation more vulnerable. I just wanted to say that. I had to say it.” 

Speaking earlier this year, at a Sept. 26 Senate Intelligence Committee hearing on FISA, Feinstein delivered a reminder of what happened on Sept. 11, 2001 and sought to offer reassurance on the data collection program, saying:

“This committee as well as the Judiciary Committee have reviewed the legality of these programs, been briefed on their operation, and been notified of problems with their implementation. Further, this committee has previously informed all senators of additional classified information regarding these programs available for their review prior to Senate consideration of these measures. 

It is my opinion that the surveillance activities conducted under FISA, and other programs operated by the National Security Agency, are lawful, they are effective, and they are conducted under careful oversight.”

But more recently, following revelations of spying on foreign leaders, Feinstein changed her tune. In an Oct. 28 statement, she said the Senate Intelligence Community was “not satisfactorily informed.”

Suddenly, rather than being notified and informed, the committee members were seemingly kept in the dark while the NSA ran wild. “It is abundantly clear that a total review of all intelligence programs is necessary so that members of the Senate Intelligence Committee are fully informed as to what is actually being carried out by the intelligence community,” she said.

Seems the members of the Senate Intelligence Committee could start by reading Washington Post articles detailing the contents of Snowden’s leaks. There’s plenty of information in there.

Fight back to save your home

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By Tommi Avicolli Mecca and Fred Sherburn-Zimmer

OPINION The good news from San Francisco these days is that tenants are fighting back in a big way to save their homes. Speculators and investors intent on making a killing in a sizzling real estate market are not always having an easy time getting rid of those who stand between them and obscene profits.

While tenant resistance has become a hot ticket item in the local mainstream media, legislators are introducing a slew of new laws aimed at curbing speculation and the housing crisis. Even the Mayor’s Office has gotten into the act, intervening in at least two recent high-profile evictions: the Lee family and 1049 Market.

A low-income elderly Chinese couple and their disabled daughter, the Lee family chose to stay and fight when the Sheriff’s Department gave them notice that it was coming to lock them out after an Ellis Act eviction. Hundreds showed up in support, with a large number of people willing to block the door and risk arrest. TV went live from the protest. Within no time at all, the Mayor’s Office stepped in to negotiate with the landlord for more time so that the Lees could find an affordable place to live. While the Lee family didn’t ultimately get to stay, their struggle brought public attention to what is happening here in San Francisco.

When the tenants in the artist live/work lofts at 1049 Market received letters from their new landlord saying that the city was forcing him to evict them because of an outstanding code violation from 2007 that he inherited when he bought the building, they didn’t take it lying down. It wasn’t true that the city was making him evict anyone. He had the option to bring the building up to code, something he found “economically infeasible.”

Tenants from 1049 Market contacted Housing Rights Committee where we work, and we helped them organize. We were afraid the landlord’s other two buildings on the same block might meet the same fate. The story made the cover of the San Francisco Examiner about a week later.

Suddenly, the Department of Building Inspection announced that it had discretion in terms of the code violations, especially the costliest of them. DBI’s deputy director sent the notice of violation back to its staff for review. The city began meeting with the landlord to try and prevent the tenants from being evicted.

Negotiations are still in progress, but the fact that the City has stepped in so aggressively on the side of the tenants is a major victory. Of course, it’s due to tenants fighting back when so many people told them they couldn’t win.

Jeremy Mykaels, a gay disabled man who’s lived in the Castro for the past 40 years and in his current apartment for almost 18, decided not to move when new owners (investors from Atherton and Union City) threatened him with an Ellis eviction. They went through with it after he turned down a buyout.

Eviction Free San Francisco, a direct action group, organized protests in SF, Atherton, and Union City. Attorney Steve Collier of Tenderloin Housing Clinic challenged the eviction in court. A judge just threw out the eviction on a technicality. The jury is out on whether the investors will start the process all over again. Fight back. It could save your home. 

Tommi Avicolli Mecca and Fred Sherburn-Zimmer work at the Housing Rights Committee.

California joins Oregon, Washington and British Columbia in climate action plan

Gov. Jerry Brown announced a regional agreement Oct. 28 with Oregon, Washington, and British Columbia to align policies for combating climate change.

“This is what is totally unique: We have a problem whose timescale is beyond anything we’ve ever dealt with,” Brown said as he gathered with Oregon Governor John Kitzhaber, Washington Governor Jay Inslee and British Columbia Premier Christy Clark (who joined remotely) to sign the agreement. “So, we have to take action before we see or experience all the problems we’re dealing with.”

In most political venues, “to actually utter the word ‘global warming’ is deviant and radical in 2013,” Brown said. “But you just watch … this will spread until we have a handle on the world’s greatest existential challenge.”

Called the Pacific Coast Action Plan on Climate and Energy, the pact commits all the jurisdictions to take a leadership role in national and international climate change policy by agreeing to emissions reduction targets; to transition the West Coast to cleaner modes of transportation such as high-speed rail; and to invest in clean energy and infrastructure through actions like streamlining permitting of renewable energy infrastructure and supporting integration of the region’s electricity grids.

Apart from this accord, Brown noted that “California has already signed a memorandum of understanding with several provinces in China,” concerning the need to work together on climate change, “and in fact with the national government itself.”

Meanwhile, a group of protesters gathered outside the Cisco-Meraki offices in Mission Bay, where the event was held, to oppose Brown’s unwillingness to support a statewide ban on fracking, an oil and gas extraction technique that environmentalists fear could contribute to groundwater contamination and increased greenhouse gas emissions.

“It’s starkly hypocritical for Governor Brown to be inking climate agreements while he’s at the same time green-lighting a massive expansion of fracking for dirty oil in California,” said protester Zack Malitz.

Asked to respond to the protesters’ concerns, Brown responded, “I signed legislation that will create the most comprehensive environmental analysis of fracking today,” referring to a bill that requires environmental review but has been criticized as flawed because it does not impose an outright ban.

“The big issue is the Monterey Shale,” he added, referring to an expansive underground oil reserve that environmentalists fear could be opened up to fracking, “and nobody is talking about doing anything there for an extended period of time, and not before the environmental document.”

Fame and blame

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cheryl@sfbg.com

LIT Every student of salacious San Francisco history knows the tale of Roscoe “Fatty” Arbuckle. Over Labor Day weekend in 1921, the silent-film comedian hosted a rager at Union Square’s Hotel St. Francis (now known as the Westin St. Francis), the largest hotel on the West Coast at the time. Starlet Virginia Rappe fell ill at the party, and when she died days later as a result of internal injuries, Arbuckle went on trial (three times) for the crime.

The resulting media frenzy was the first of its kind, a show-biz scandal in the earliest days of movie stars. The public greeted it with both disgust and relentless curiosity. The industry reacted first by shunning Arbuckle — to this day, he’s rarely championed on the level of Buster Keaton or Charlie Chaplin — and then ushering in nearly four decades of the Motion Picture Production Code, “moral” guidelines by which studios self-censored film content.

Delving into l’affaire de Arbuckle is Room 1219: The Life of Fatty Arbuckle, the Mysterious Death of Virginia Rappe, and the Scandal that Changed Hollywood (430 pp., Chicago Review Press, $29.95), Greg Merritt’s page-turner that explores not just the trial, but the often-misunderstood lives of both Arbuckle and Rappe. I called him up to further discuss the book, a must-read for film-history buffs.

SF Bay Guardian Why were you drawn to this story?

Greg Merritt To me, it had always been the ultimate Hollywood scandal. And there just wasn’t a good book that really dealt fairly with the two principals, Arbuckle and Rappe.

SFBG How did Arbuckle’s fame impact his trial?

GM People were just getting to know these movie stars. They saw them in their little towns, up on the big screen. And suddenly, this character that people thought of as a friend — they changed their opinion of him basically overnight. There were headlines calling him a beast. That is paramount to this whole story, that he was one of the first people to experience what it was like to be a movie superstar, and then he was accused of rape and murder.

SFBG What bearing did the Arbuckle case have on the film industry?

GM It stopped his career in 1921, which is huge; we never got to see what he could have done, especially since [at that time] comedy features were a phenomenon that hadn’t really developed yet. And it changed the public’s whole relationship with movie stars. Suddenly, people wanted to know what these stars were really like, not just the PR from the studios. Not just the bad, but what they were really, truly like.

And then probably the most important way that it affected the industry was the wave of movie self-censorship [that followed in its wake]. [The case] received so much condemnation that Hollywood had to censor itself to avoid actual censorship.

SFBG What role did Prohibition play?

GM It was all part of the changing society. This was the beginning of the Jazz Age, a time when women were coming out to nightclubs — before that, public drinking had been kind of a guys’ thing. When this erupted in 1921, a lot of the [outrage] was about how Fatty was at a party with these women who weren’t his wife, and effectively breaking the Prohibition laws, although the laws were complicated about where or when you could drink. It was the Victorian Age versus the Jazz Age — it was kind of the first culture war.

SFBG Was it hard finding information on Virginia Rappe? Why has she been so misunderstood?

GM Surprisingly, it wasn’t hard to find out information about her. She was putting herself out there in the papers, doing interviews when she was a model and a costume designer, and I was able to find out so much about her story.

As for why she was treated so poorly, I think both sides just used her during the case. The press built her up as this innocent, and then the defense did the opposite. Decades afterwards, no one stood up for her, and she was called a slut or a prostitute or whatever. The case was eventually, essentially, blamed on her.

SFBG Why do you think history has distorted so many of the facts of this case?

GM I think the rumors were probably so spectacular that they eventually sort of replaced the facts. Now, when I talk to people, most haven’t heard of Fatty Arbuckle. Or if they have, they only know that he supposedly raped someone with a bottle. That story just took off, and now it seems to be the only thing people know about this case. It’s incredible, because he was the second-biggest movie star at the time after Charlie Chaplin. People ask me, “Can you imagine a scandal being this big today?” It’s really hard to imagine someone so hugely popular being accused of murder today. O.J. Simpson wasn’t Fatty Arbuckle, you know. It just doesn’t compare. *

In charge … sort of

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joe@sfbg.com

Former Compton Community College Special Trustee Dr. Arthur Q. Tyler was formally announced as City College of San Francisco’s new chancellor on Oct. 16. The decision ends a months-long search and comes at a time when CCSF is under state control and facing the loss of its accreditation.

As everyone fears for the future of City College, the key to understanding its new chancellor may lie in his history with similarly troubled community colleges, and to CCSF’s own turbulent history.

City College is in the fight for its life as the deadline of July 2014 looms, at which point the Accrediting Commission of Community and Junior Colleges says it will revoke CCSF’s accreditation. But Tyler has been in a similar position before, in Compton.

Tyler held the same position overseeing the troubled Compton Community College that Special Trustee Bob Agrella held as CCSF lost its accreditation. But more importantly, Tyler was at the helm when it was told its accreditation was revoked in 2005.

In a letter to the community, Compton’s Board of Trustees outlined what they’d need to do: regain their footing and win an appeal to the accreditation commission. They filed for review, much like City College of San Francisco recently did. And they lost.

Compton Community College never regained its accreditation. It was absorbed into a neighboring district, El Camino College, and is now known as The El Camino Compton College Center, essentially another campus in the El Camino system.

“They had problems with integrity,” he said at the Oct. 16 press conference, addressing Compton’s failure under his watch. “It was a different situation.”

Tyler is now tasked with saving San Francisco’s only community college. At the ceremony, Tyler was told that he’d be held liable for CCSF’s future.

“Dr. Tyler, you have many people here, whether they’re students, faculty, staff, and administrators… to stand behind you as you take on this important responsibility,” said Hydra Mendoza, Mayor Ed Lee’s education advisor. “We’re also here to hold you accountable.”

After CCSF was notified it would lose accreditation in a year, the state gave Agrella the full powers of City College’s Board of Trustees, leaving San Francisco’s elected board powerless.

Just exactly how much power and influence Tyler will have while the state-appointed trustee remains at City College is still a mystery. But then again, the history of leadership of CCSF has been cloaked in secrecy and dubious dealings.

 

DAY’S LEGACY

 

Former Chancellor Philip Day was head of City College in 1998, and he left under a criminal indictment, pleading guilty and later convicted of misuse of $100,000 of college funds. His chancellorship ended in 2008, but his scandal was not his only contribution to the school.

“In a lot of ways he was a great chancellor. He had some vision,” Fred Teti, who was City College’s Academic Senate president under Day, told the Guardian.

Day was a divisive figure, and the politics around him has split the college to this day. Teti said that rightly or wrongly, Day’s legacy was mainly tied to the construction boom at City College.

“When the state Legislature passed (a law allowing) bonds for schools, he jumped on it immediately. It was really him that got all those buildings up,” Teti said.

The construction boom built the college’s new Multi-Use Building, and the towering Chinatown Campus. Many we talked to attributed this to Day’s coalition style leadership, bringing together disparate groups of the college to a single purpose.

It was also what led him to falter, as Day’s misuse of funds conviction was directly centered around funding he was using to promote more bonds for City College. He put laundered district money into an ad campaign for a facility related bond measure, and he was caught.

Even after Day was gone, the legacy of bitter divisions among trustees and lack of proper fiscal checks-and-balances that Day fostered contributed to CCSF’s downward spiral — and now, the hiring of a hobbled new chancellor to try to pick up the pieces.

Tyler may not have the chance to enact his own City College vision for awhile, and when asked at his introduction to the school “What can and will you do here?” he said “I’ll make recommendations to the board, in this case to Dr. Agrella, on the things we believe… will heal and fix this institution.”

Former City College administrator Stephen Herman, who shared a criminal conviction with Day over the misuse of district funds, told us that Tyler will have few powers until Agrella steps aside.

“Dr. Tyler is going to be a little hamstrung to begin with,” Herman said. “Ultimately, if the college gets its accreditation and is able to survive, then (Tyler) can spread his wings and take over some policy decisions.”

But the history around Tyler’s policy decisions are equal parts heartening and worrisome.

 

TYLER’S HISTORY

Tyler was charming and self-effacing at his press conference, saying “I’m privileged to stand before you as your new chancellor,” building on what he called “the legacy” that the interim-chancellor Thelma Scott-Skillman will leave for him: “I know I’m filling a large pair of lady shoes.”

Tyler’s resume seems to glow. He’s an anti-terrorism expert who served in the US Air Force, was vice president at Los Angeles City College, and was in charge at Sacramento City College. He also speaks Farsi.

But it was his time as deputy chancellor of Houston Community College where he walked through fire, allegedly resisting bribes and sexual advances from contractors in the corruption-plagued district. Dave Wilson, 66, runs the investigative website “Inside HCCS” in Texas that’s a tell-all about alleged dirty dealings at Houston Community College.

One gold mine of documents he obtained came when the Harris County District Attorney’s Office was investigating alleged corruption at HCC. Family members and friends allegedly helped questionable construction contracts get approved by the HCC Board of Trustees, according to the Houston Chronicle’s stories at the time.

Ultimately, those accused had to take ethics training courses, but it’s the investigation itself that’s really revealing.

Law Firm Smyser Kaplan & Veselka interviewed college officials at the behest of HCC’s board in 2010. Its goal was to get to the bottom of who had anything to do with getting the dirty contracts passed. Houston Community College’s attorney turned investigator, Larry Veselka, interviewed Tyler as part of this investigation and Wilson obtained Veselka’s notes.

When looking into a construction project, Tyler told Veselka he found about $14 million in questionable spending. The interview details allegations that Tyler was receiving vague promises of sexual favors and bribes from a pair of would-be contractors, which he refused.

Veselka would not return phone calls from the Guardian, but the Harris County District Attorney’s Office, which was involved in the investigation of Houston Community College, confirmed that it had documents regarding the college from Veselka’s law firm but would not release them to the Guardian.

The documents paint a rosy picture of Tyler, who cleaned house, and even claimed to have shrugged off shady dealers at Houston Community College.

“I can tell you I did speak to the law firm,” Tyler said when the Guardian asked him about the alleged attempted bribe. “Because that was a violation of trust. Anyone who knows anything about me can confirm that I’ve been about trusting my own instincts about what’s right and what’s wrong. It’s a keynote of my value set that I will never compromise, now and in the future.” But in the same documents that confirmed Tyler talked to attorneys about the alleged bribe, one trustee was concerned enough about Tyler’s close relationship with another trustee that Tyler’s future authority regarding contracts was limited. And while different news outlets reported that Tyler resigned from Houston Community College, that’s not exactly the story the Houston Chronicle told in July. “The trustees agreed Thursday to a settlement with Deputy Chancellor Art Tyler for $600,000, confirmed his attorney, Vidal Martinez. Tyler relinquished all duties Friday,” the paper wrote. “Art is part of the old chancellor’s team. This was part of finishing the past,” Vidal Martinez, Tyler’s attorney, told the Houston Chronicle. Ultimately, they reported, the buyouts of the two administrator’s contracts cost Houston Community College over a million dollars. Tyler would not return follow-up phone calls on the matter. When asked if he was worried about Tyler’s history, CCSF Board President John Rizzo said that none of it came up in the chancellorship interviews — but even if there was truth to it, he wasn’t worried. “He’s going to have a lot of eyes on him,” Rizzo said. “He’ll have the state chancellor and special trustee looking over his shoulder, more than a normal chancellor would.”

Brown takes heat on fracking

On Thursday Oct. 17, more than fifty people gathered in front of the Parc 55 Wyndham Hotel in downtown San Francisco to protest Governor Jerry Brown’s reception of an environmental award. 

Every year, the BlueGreen Alliance hosts its Right Stuff Awards dinner to honor prominent individuals promoting a sustainable environment and economy. This year, they selected Governor Jerry Brown as a winner in the government category. The choice enraged environmentalists, who congregated where the awards dinner was being held to voice their indignation.

Brought together by several collaborating organizations, including Idle No More and Gathering Tribes, the protesters blocked the entrance to Parc 55 as they awaited the governor’s arrival. Bearing signs with messages such as “Jerry Brown is Not BLUE or GREEN,” they yelled to drivers who honked horns in support as they sailed past.

They were upset by Brown’s support for Senate Bill 4, which he signed into law in September. SB-4 is California’s first legislation regulating hydraulic fracturing, more commonly known as fracking, which involves shooting massive amounts of water and toxic chemicals deep into the earth to crack rock formations and release otherwise trapped oil and natural gas deposits.

Widely viewed as flawed legislation that is far from what environmentalists had in mind when they called for the practice to be regulated in California, the bill allows fracking permits to be approved as long as oil and gas companies publicly disclose which chemicals are used in the process. The legislation also requires groundwater and air quality monitoring before operations begin. Environmentalists fear that SB-4 will lead to a dramatic expansion of fracking in California, by allowing access to the state’s vast Monterey Shale deposit, estimated to hold 15.4 billion barrels of recoverable oil.

“This award from BlueGreen is a travesty,” declared protester Steve Ongerth, after a flash mob of young people danced to the song “Toxic” by Brittney Spears, dressed in shirts spelling out TOXIC while donning surgical masks.

In the past several years, Governor Brown has accepted at least $2.49 million in financial donations from oil and natural gas interests. Environmentalists point to these donations as an explanation of Brown’s refusal to impose a moratorium or an outright ban on fracking, despite pressure from a statewide coalition of organizations calling for such protective measures.

They also blame him for the changes made to SB-4 in the final week before the bill was voted on, which followed intense lobbying by oil and gas interests. The amendments substantially weakened restrictions on fracking by removing some of the bill’s tougher regulations and diluting language intended to ensure that new wells go through adequate environmental review.

“Jerry Brown has sold out the California public for his own self-serving interests. He made a deal with the devil,” said protester Pamela Zuppo of 350 Bay Area. “This is a fracking bill gone wrong. It is referred to as a regulation bill, but it is not. It is an institutionalization of fracking bill and it’s the destruction of our democracy.”

When he signed SB-4, Brown said it “establishes strong environmental protections and transparency requirements,” but added that he plans to seek additional changes next year to clarify the new requirements. So far, details remain sketchy on what areas of the bill will actually be addressed.

At the last minute, activists learned that Brown would not be attending the event to accept his award in person. When this was announced, the crowd of protesters let out a cheer.

But environmentalists who remain concerned about fracking are keeping the pressure on. On Saturday, Oct. 19, activists from 350.org, Food & Water Watch and the Center for Biological Diversity held a march and rally in downtown Oakland to call on Brown to ban fracking.

“Over the past year, Governor Brown has gone against the wishes and best interests of Californians — the majority of which oppose fracking — and has clearly stated his support for the dangerous drilling process, said Food & Water Watch Northern California Organizer Tia Lebherz.

“By doing this he is embarrassing himself and putting his legacy and our state’s future at risk.”

CCSF’s new chancellor has a history running other troubled colleges

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Former Compton College Special Trustee Dr. Arthur Q. Tyler will be City College of San Francisco’s new chancellor, sources tell the Guardian. The decision ends a months-long search and comes at a time when CCSF is under state control and facing the loss of its accreditation. 

City College is in the fight for its life as the deadline of July 2014 looms ahead, at which point the Accrediting Commission of Community and Junior Colleges, may revoke its accreditation. But Tyler has been in a similar position before — as the special trustee of Compton Community College.

Tyler held the same position overseeing the troubled Compton Community College that Special Trustee Bob Agrella held before CCSF lost its accreditation. But more importantly, Tyler was at Compton Community College when it was told its accreditation was revoked in 2005.

In a letter to the community, Compton’s Board of Trustees outlined what they’d need to do: regain their footing and win an appeal to the accreditation commission. They filed for review, much like City College of San Francisco recently did. And they lost.  

Compton Community College never regained its accreditation. The college was absorbed into a neighboring district, El Camino College, and is now known as The El Camino Compton College Center. It’s essentially another campus in the El Camino system.   

The letter Compton Community College sent students when it first learned it would soon lose accreditation.

Tyler’s is now tasked with saving San Francisco’s only community college. And you have to admit, attracting candidates to a school that’s on the edge of closure couldn’t have been easy. After City College was notified it would lose accreditation in a year, the state gave Agrella the full powers of City College’s Board of Trustees, leaving San Franciscos elected college board powerless. Just exactly how much power and influence Tyler will have while the state-appointed trustee remains at City College is still unclear. 

But its Tyler’s experience working with the community college accreditation agency and the California state chancellor’s office is that made him a strong candidate, said Alisa Messer, president of City College’s faculty union AFT 2121. When asked if it worried her that Tyler led Compton college while it lost its accreditation, she said “I’m not going in with preconceived notions.” 

Tyler’s resume is seemingly glowing. He’s an anti-terrorism expert who served in the US Air Force, was vice president at Los Angeles City College and was in charge at Sacramento City College. He also speaks Farsi.

But it was his time as Deputy Chancellor of Houston Community College where he walked through fire — from allegedly resisting bribes to sexual advances from contractors. Dave Wilson, 66, runs the investigative website “Inside HCCS” in Texas that’s a tell-all about alleged dirty dealings at Houston Community College, based on the many public records requests he’s made over the years. 

One gold mine of documents Wilson obtained came when the Harris County District Attorney’s office was investigating alleged corruption at HCC. Family members and close ties allegedly helped questionable construction contracts get approved by the HCC board of trustees, according to the Houston Chronicle’s stories at the time. 

Ultimately, those accused had to take ethics training courses, but it’s the investigation itself that’s really revealing.

Law Firm Smyser Kaplan & Veselka interviewed college officials at the behest of HCC’s board in 2010. Their goal — get to the bottom of who had anything to do with getting the dirty contracts passed. Tyler, who was deputy chancellor at the time, and Houston Community College’s attorney, Larry Veselka, took extensive notes on the interview.

When looking into a construction project, Tyler told Veselka he found about $14 million in questionable spending. The interview details allegations that Tyler was receiving vague promises of sexual favors and bribes from a pair of would-be contractors, both of which he refused. But one trustee was concerned enough about Tyler’s close relationship with another trustee’s friends that Tyler’s procurement authority was limited.      

The Guardian tried contacting Tyler as well as the law firm, but has so far received no response. His appointment is expected to be announced in the morning (Wed/16), so check back later for any updates.

When asked if he was worried about any of the allegations about Tyler, John Rizzo, City College’s board of trustees president, said that none of it came up in the chancellorship interviews — but even if there was truth to it, he wasn’t worried.

“He’s going to have a lot of eyes on him,” Rizzo said. “He’ll have the state chancellor and special trustee looking over his shoulder, more than a normal chancellor would.”

And though we couldn’t get Tyler to respond to our calls, he did speak about why he’s interested in working at City College of San Francisco in his public interview there on Wednesday, Oct. 9.

“I love helping. This is not a job,” he said. When he “saw the need here” and learned that San Francisco was ailing, he thought “I hate this. I can absolutely help. I shouldn’t sit on the sidelines. I have the right skillsets and the right experiences. I know how to organize people and at least talk and listen to each other so they’re communicating.”

Lock-up shake up

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rebecca@sfbg.com

Should San Francisco spend $290 million on a modernized jail to replace the old ones that will be demolished when the Hall of Justice comes down?

That’s been the plan for years, but the Board of Supervisors Budget & Finance Committee started to ponder that question at its Oct. 9 meeting, setting the stage for a larger debate that hinges on questions about what it means to take a progressive approach to incarceration.

The Department of Public Works, in collaboration with the Sheriff’s Department, is preparing to submit a state grant application for $80 million to help offset the cost of rebuilding County Jails 3 and 4, outmoded facilities that are located on the sixth and seventh floors of the Hall of Justice.

That building is seismically vulnerable, and slated to be razed and rebuilt under a capital plan that has been in the works for the better part of a decade. With a combined capacity of 905 beds, Jails 3 and 4 were built in the 1950s and are in deplorable condition.

At the hearing, when supervisors considered whether to authorize the $80 million grant application, Sheriff Ross Mirkarimi said the current state of affairs is so bad that his department had to convert a bathroom to a visitation area because there was nowhere else for inmates to spend time with their kids in the same room. In other areas of the jail, temporarily vacant holding cells sometimes double as classroom space, since the department lacks dedicated areas for conducting classes.

The new jail would be built with somewhere between 481 and 688 beds, based on a lower calculated projected need, and more space would be devoted to programs like substance abuse education, parenting programs, or counseling.

San Francisco currently has five jails, but only one — a San Bruno facility built in 2006 — has what the Sheriff’s Department considers to be adequate space for rehabilitative services. Inmates there can opt to earn a high school diploma or take a course in meditation, and the department wants to build on that design in the new facilities.

Mirkarimi urged committee members to sanction the funding request as a first step toward that goal. “Whether it’s parenting programs or something that goes much deeper, then we need that space to make it happen,” he said.

At the same time, some community advocates questioned the very premise of spending millions on a new jail, arguing that scarce public resources could be better spent on services to prevent people from winding up in the criminal justice system to begin with.

In late August, the American Civil Liberties Union and the Lawyers’ Committee for Civil Rights of the San Francisco Bay Area called for the plan to be reexamined. “We agree that Jails 3 and 4 in the Hall of Justice should be torn down,” they wrote, “[but] we question the need to replace them with a new facility.”

Micaela Davis, criminal justice and drug policy attorney at the ACLU of Northern California, told the Guardian that advocates are seeking to reframe the debate by questioning why a new jail should even be built, rather than focusing on what kind of jail should replace the old ones.

She and other advocates are pushing for the county to explore alternatives to jailing arrestees who haven’t yet gone to trial, or look at ways of reorganizing housing for existing inmates. Given that the jail has been in the capital plan for so many years, she said, “it just seems necessary to reevaluate before moving forward with this project.”

While Sup. David Campos hasn’t taken a position so far, he submitted a request at the Oct. 1 board meeting for a hearing “to have an open discussion about what is being proposed, and to really examine if what is proposed makes sense,” he said. It’s expected to take place in early December at the Neighborhood Services and Safety Committee.

If San Francisco is awarded the $80 million in state funding, it must agree to dedicate $8.9 million of its own funds toward the project, which would be spent on preliminary designs, studies, environmental review, and other early costs, according to a board resolution approving the request.

Speaking at the Oct. 9 committee hearing, Sup. John Avalos responded to activists’ concerns by saying: “The last thing I want to do is build out the prison industrial complex. … I’ve always wanted to make sure we were minimizing what would lead to incarceration of more people.” While he did support the idea of applying for the grant, he did so with a caveat. “I would certainly want to uphold the right to vote against a jail in the future,” Avalos said.

Sup. Eric Mar, on the other hand, would not consent to allowing the funding request. “I can’t, under clear conscience, support this,” he said. In the end, the committee authorized the grant application with Avalos and Sup. Mark Farrell supporting it, and Mar opposed.

Machete rages, Tom Hanks sails, and Romeo and Juliet (spoiler alert!) die in the end: new movies!

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First things first: do not pass go or collect your turkey leg until you’ve seen Escape From Tomorrow, the shot-secretly-at-Disney sci-fi drama that will, in fact, blow your mind. Dennis Harvey’s review here. (Speaking of mind-blowing, have you seen Gravity yet? If not, why are you still reading this? Why aren’t you rushing to the theater RIGHT NOW?)

Elsewhere this week: two powerful tales of survival are told in doc The Summit and Paul Greengrass’ Captain Phillips, which stars Tom Hanks and will make you glad your job doesn’t require you to traverse pirate-infested shipping lanes. My reviews of both here.

We’ve also got the latest exploitation-fan catnip from Robert Rodriguez, Machete Kills, starring Danny Trejo (fantasy role-swap: Danny Trejo as Captain Phillips), a comedy in which Amy Poehler plays Adam Scott’s stepmother, a Twilight-informed Shakespeare flick, and more. Read on!

http://www.youtube.com/watch?v=axFqZUkO5tw

A.C.O.D. When happy-go-lucky Trey (Clark Duke) announces rather suddenly that he’s getting married, cranky older bro Carter (Adam Scott), the Adult Child of Divorce of the title, is tasked with making peace between his parents (Richard Jenkins and Catherine O’Hara). Trouble is, they haaaate each other (Jenkins: “If I ever see that woman, I’m gonna kick her in the balls”) — or so Carter thinks, until he discovers (to his horror) that there’s long-dormant passion lurking beneath all the insults. He also discovers that he was part of a book about kids of divorce written by a nutty PhD (Jane Lynch), and is drawn into her follow-up project — through which he meets fellow A.C.O.D Michelle (Jessica Alba, trying way too hard as a bad girl), a foil to his level-headed girlfriend (Mary Elizabeth Winstead). As the life he’s carefully constructed crumbles around him, Carter has to figure out what really matters, blah blah. Stu Zicherman’s comedy (co-scripted with Ben Karlin; both men are TV veterans) breaks no new ground in the dysfunctional-family genre — but it does boast a cast jammed with likable actors, nimble enough to sprinkle their characters’ sitcom-y conflicts with funny moments. Amy Poehler — Scott’s Parks and Recreation boo — is a particular highlight as Carter’s rich-bitch stepmother, aka “the Cuntessa.” (1:27) (Cheryl Eddy)

American Jerusalem: Jews and the Making of San Francisco Documentary about the Jewish experience in San Francisco. (:57) Vogue.

The Inevitable Defeat of Mister and Pete Jennifer Hudson, Jordin Sparks, and Anthony Mackie play the grown-ups and assorted parental figures in this drama about two young boys coming of age in New York City. George Tillman, Jr. (2009’s Notorious; 2000’s Men of Honor) directs. (2:00)

http://www.youtube.com/watch?v=-sjnoJE30LM

Machete Kills Herewith we have the first sequel to a film (2010’s Machete) spawned from a fake trailer (that appeared in 2007’s Grindhouse). Danny Trejo’s titular killer has been tasked by the POTUS (Charlie Sheen, cheekily billed by his birth name, Carlos Estevez) to take down a Mexican madman (Demian Bechir) who’s an enemy of both his country’s drug cartels and the good ol’ USA. But it’s soon revealed (can you have plot spoilers in a virtually plotless film?) that the real villain is weapons designer Voz (Mel Gibson), a space-obsessed nutcase who’d fit right into an Austin Powers movie. The rest of Machete Kills, which aims only to entertain (with less social commentary than the first film), plays like James Bond lite, albeit with a higher, bloodier body count, and with famous-face cameos and jokey soft-core innuendos coming as fast and furious as the bullets do. As always, Trejo keeps a straight face, but he’s clearly in on the joke with director Robert Rodriguez, who’d be a fool not to continue to have his exploitation cake and eat it too, so long as these films — easy on the eyes, knowingly dumb, and purely fun-seeking — remain successful. (1:47) (Cheryl Eddy)

http://www.youtube.com/watch?v=EF7IPYNElKA

Mother of George Fashion photographer and music video director Andrew Dosunmu’s second feature opens with one of the most rapturous setpieces in recent cinematic memory: a wedding ceremony and banquet in Brooklyn’s Nigerian expat community so sensuously rich it washes over the viewer like a scented bath. Afterward, restauranteur Adoydele (Isaach De Bankole) and his younger immigrant bride Adenike (Danai Gurira) live in a connubial bliss increasingly compromised by the pressure on her to bear children. When that doesn’t happen, it could be either party’s biological “fault;” but tradition and an imperious mother-in-law (Bukky Ajayi) place blame firmly on Adenike’s shoulders, till the latter considers a desperate, secret solution to the problem. Like Dosunmu and his cinematographer Bradford Young’s 2011 prior feature Restless City, this followup is so aesthetically transfixing (not least its Afropop soundtrack) you can easily forgive its lack of equally powerful narrative impact. Someday they’ll make a movie that works on both levels — but meanwhile, Mother of George is gorgeous enough to reward simply as an object of sumptuous beauty. (1:47) Opera Plaza, Shattuck. (Harvey)

http://www.youtube.com/watch?v=auGUm2r0cLs

Muscle Shoals Hard on the heels of Dave Grohl’s Sound City comes another documentary about a legendary American recording studio. Located in the titular podunk Northern Alabama burg, Fame Studio drew an extraordinary lineup of musicians and producers to make fabled hits from the early 1960s through the early ’80s. Among them: Percy Sledge’s “When a Man Loves a Woman,” a slew of peak era Aretha Franklin smashes, the Rolling Stones’ “Brown Sugar,” and those cornerstones of Southern rock, Lynyrd Skynyrd’s “Freebird” and “Sweet Home Alabama.” Tales of how particular tracks came about are entertaining, especially when related by the still-lively likes of Etta James, Wilson Pickett, and Keith Richards. (Richards is a hoot, while surprisingly Mick Jagger doesn’t have much to say.) Director Greg Camalier’s feature can be too worshipful and digressive at times, and he’s skittish about probing fallouts between Fame’s founder Rick Hall and some long-term collaborators (notably the local in-house session musicians known as the Swampers who were themselves a big lure for many artists, and who left Fame to start their own successful studio). Still, there’s enough fascinating material here — also including a lot of archival footage — that any music fan whose memory or interest stretches back a few decades will find much to enjoy. (1:51) (Dennis Harvey)

http://www.youtube.com/watch?v=mu-lMzHSNNk

Romeo and Juliet Every director sees the star-crossed lovers differently: Zefferelli’s apporach was sensuous, while Luhrmann’s was hip. Carlo Carlei, director of the British-Swiss-Italian production hitting theaters this week, is so hamstrung by the soapy mechanics of the Twilight series and the firmament of high school productions he fails to add much vision — what he does instead is pander to tweens as much as possible. Which means tweens might like it. Hailee Steinfeld makes Juliet’s foolishness seem like the behavior of a highly functional teenager, while Douglas Booth’s chiseled Romeo can’t help resembling a cheerful Robert Pattinson. Juliet’s maid has never been more memorable than Leslie Mansfield and Paul Giamatti is occasionally not self-consciously Paul Giamatti as the cunning friar. Yet the syrupy score is miserably persistent, and the sword fights are abundant and laughable. Tybalt (Gossip Girl’s Ed Westwick) leads a group that walks in slo-mo, hats flopping behind them. Carlei wrongheadedly stages the double suicide to resemble Michelangelo’s Pietà, but Romeo and Juliet aren’t martyrs for our fantasies, they’re the Adam and Eve of young love. Cinematic adaptations should remind you they’re original, but this Romeo and Juliet simply doesn’t know how. (1:58) (Sara Maria Vizcarrondo)

Theater Listings: October 9 – 15, 2013

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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

BooKKeepers: A True Fiction Southside Theatre, Fort Mason Center, Marina at Laguna, SF; www.generationtheatre.com. $20-35. Opens Thu/10, 8pm. Runs Thu-Sat, 8pm; Sun, 3pm. Through Oct 27. GenerationTheatre presents Roland David Valayre’s Kafka-inspired fantasy.

Dirty Little Showtunes New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Opens Fri/11, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through Nov 10. New Conservatory Theatre Center presents the return of Tom Orr’s bawdy Broadway parody.

First Stage Werx, 446 Valencia, SF; www.firsttheplay.com. $25-35. Opens Sat/12, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Nov 3. Altair Productions, the Aluminous Collective, and PlayGround present the world premiere of Evelyn Jean Pine’s play, which imagines a 20-year-old Bill Gates’ experiences at a 1976 personal computer conference.

Gruesome Playground Injuries Tides Theatre, 533 Sutter, SF; www.tidestheatre.org. $20-40. Previews Thu/10, 8pm. Opens Fri/11, 8pm. Runs Wed-Sat, 8pm. Through Nov 9. Tides Theatre performs Rajiv Joseph’s drama about two people who first meet as eight-year-olds in the school nurse’s office.

Randy Roberts Live! Alcove Theatre, 414 Mason, SF; www.randyroberts.net. $40. Opens Thu/10, 9pm. Runs Thu-Sat, 9pm. Through Nov 2. The famed female impersonator performs. He will also perform a different show with jazz pianist Tammy L. Hall: Mon/14, Oct 21, and 28, 7pm, $20, Martuni’s, 4 Valencia, SF.

BAY AREA

I and You Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Previews Thu/10-Sat/12, 8pm; Sun/13, 2pm. Opens Tue/15, 8pm. Runs Tue, Thu-Sat, 8pm (also Oct 19 and Nov 2, 2pm; Oct 24, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through Nov 3. Lauren Gunderson’s world premiere explores how Walt Whitman’s words affect the lives of two teenagers.

Rich and Famous Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. $15-35. Previews Thu/10, 8pm. Opens Fri/11, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Nov 3. Dragon Theatre performs John Guare’s surreal musical comedy.

strangers, babies Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Previews Oct 15-17, 8pm. Opens Oct 18, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 17. Shotgun Players present Linda McLean’s drama about a woman confronting her past.

Warrior Class Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Previews Wed/9-Fri/11, 8pm. Opens Sat/12, 8pm. Runs Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Nov 3. TheatreWorks performs Kenneth Lin’s incisive political drama.

ONGOING

Acid Test: The Many Incarnations of Ram Dass Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Fri/11, 8pm; Sat/12, 8:30pm. Playwright Lynne Kaufman invites you to take a trip with Richard Alpert, aka Ram Dass (Warren David Keith) — one of the bigwigs of the psychedelic revolution and (with his classic book, Be Here Now) contemporary Eastern-looking spirituality — as he recounts times high and low in this thoughtful, funny, and sometimes unexpected biographical rumination on the quest for truth and meaning in a seemingly random life. Directed by Joel Mullennix, the narrative begins with Ram Dass today, in his Hawaiian home and partly paralyzed from a stroke, but Keith (one of the Bay Area’s best stage actors, who is predictably sure and engagingly multilayered in the role) soon shakes off the stiff arm and strained speech and springs to his feet to continue the narrative as the ideal self perhaps only transcendental consciousness and theater allow. Nevertheless, Kaufman’s fun-loving and extroverted Alpert is no saint and no model of perfection, which is the refreshing truth explored in the play. He’s a seeker still, ever imperfect and trying for perfection, or at least the wisdom of acceptance. As the privileged queer child of a wealthy Jewish lawyer and industrialist, Alpert was both insider and outsider from the get-go, and that tension and ambiguity make for an interesting angle on his life, including the complexities of his relationships with a homophobic Leary, for instance, and his conservative but ultimately loving father. Perfection aside, the beauty in the subject and the play is the subtle, shrewd cherishing of what remains unfinished. Note: review from an earlier run of this show. (Avila)

Beautiful: The Carole King Musical Curran Theatre, 445 Geary, SF; www.shnsf.com. $55-210. Tue-Sat, 8pm (also Sat, Wed/9, and Oct 16, 2pm); Sun, 2 and 7:30pm (no evening show Sun/13 or Oct 20). Through Oct 20. Pre-Broadway premiere of the musical about the legendary songwriter.

Band Fags! New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed/9-Sat/12, 8pm; Sun/13, 2pm. New Conservatory Theatre Center performs the West Coast premiere of Frank Anthony Polito’s coming-of-age tale, set in 1980s Detroit.

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Oct 29. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Buried Child Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Wed/9-Sat/12, 8pm; Sun/13, 2:30. A rural family in slow free-fall finally sees the ground rushing up to meet it in Sam Shepard’s raucous, solemn, and spooky American gothic. The 1978 Pulitzer Prize-winner not only secured a place for Shepard in the upper echelons of American playwrights but helped remake the theatrical landscape when it first premiered, 35 years ago, at the Magic Theatre. The Magic’s current revival tends to show the ways in which the play has aged, however, rather than the ways in which it endures. Loretta Greco’s perfunctory direction inadvertently underscores what has since become formula in the resolutely surreal undercurrent beneath its surface naturalism. Meanwhile her cast —though it includes some normally dependable actors like Patrick Alparone, Rod Gnapp and James Wagner — never comes together as a cohesive ensemble, further distancing us from the still vital dynamism in the text (more of that was captured last year in Boxcar Theatre’s admittedly rocky but overall more persuasive production). Alparone (as long-lost son Vince) and Patrick Kelly Jones (as his belligerent one-legged brother Bradley) manage to infuse some momentary energy, but from the opening lines, delivered offstage by chattering matriarch Halie (Denise Balthrop Cassidy), the tension remains mostly slack, the acting haphazard, and the themes muted. (Avila)

Carrie: The Musical Victoria Theatre, 2961 16th St, SF; www.rayoflighttheatre.com. $25-36. Wed-Sat, 8pm (also Oct 26, 11:30pm; Nov 2, 2pm). Through Nov 2. Just in time to complement the Carrie film remake, Ray of Light Theatre performs the musical adaptation (initially a Broadway flop, then a re-tooled off-Broadway hit) of the Stephen King horror novel.

The Disappearance of Mary Rosemary Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-25. Thu-Sat, 8pm; Sun, 2pm. Through Oct 26. Script-wise, Second Wind Production’s J.M. Barrie adaptation The Disappearance of Mary Rosemary might well be the most unique ghost story of the season. But in contrast to their masterfully suspenseful The Woman in Black (staged in 2009), Disappearance falls to sustain that charged atmosphere of unease that defines the best terror tales. It begins promisingly enough in a purportedly haunted parlor being shown to a young soldier (Ryan Martin) by its taciturn caretaker (Juanita Wyles). After she leaves him alone in the room, lights flicker, his video camera spontaneously begins to play, and a mysterious light emerges from under a locked door, all evidence pointing to either a supernatural event, or to a PTSD-style mental breakdown. Cutting to the same parlor 29 years before, where domestic tranquility prevails, a lot of that initial tension gets lost, and even though the equally unexplainable events which ensue prove to be much bigger in actual scale, they don’t quite manage to scare so much as to puzzle. Of the performances, Gigi Benson’s matter-of-fact matriarch is by far the most nuanced, and her chemistry with her stage husband (Dave Sikula) is far more convincing than that of their daughter and son-in-law (Caroline Elizabeth Doyle and Brian Martin). Finally, a very unexpected twist turns this story of a young woman who never grows old into one who has grown perhaps too fast, uncomfortably invoking V.C. Andrews rather than J.M. Barrie, and not for the better. (Gluckstern)

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Forbidden Fruit Garage, 715 Bryant, SF; www.brownpapertickets.com. $25. Fri-Sat and Mon, 8pm. Through Oct 28. Back Alley Theater and Footloose present the West Coast premiere of Jeff Bedillion’s stylized love story that takes on social and religious conformity.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Wed-Thu, 8pm; Sat, 5pm. Through Oct 26. Geoff Hoyle’s hit solo show, a comedic meditation on aging, returns to the Marsh.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

An Indian Summer Exit Theatre, 156 Eddy, SF; www.wehavemet.org. $20-40. Thu-Sat, 8pm. Through Oct 19. Multi Ethnic Theater performs Charles Johnson’s drama set in the 1980s Deep South.

It’s a Bird … It’s a Plane … It’s Superman Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (also Sat/12, 1pm); Sun, 3pm. Through Oct 20. 42nd Street Moon kicks off its 21st season with this 1966 musical homage to the Man of Steel.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-100. Fri, 8pm; Sat, 8:30pm. Through Oct 26. Popular solo performer Brian Copeland (Not a Genuine Black Man, The Waiting Period) performs a workshop production of his latest, “a tale of privilege, murder, and sausage.” The show has its official world premiere Jan. 9, 2014.

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

“Shocktoberfest 14: Jack the Ripper” Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Thu-Sat and Oct 29-30, 8pm. Through Nov 23. Thrillpeddlers presents their 14th annual Grand Guignol show, “a evening of horror, madness, spanking, and song.”

The Taming Thick House, 1695 18th St, SF; www.crowdedfire.org. $10-35. Wed-Sat, 8pm (no show Wed/9). Through Oct 26. Crowded Fire Theater presents the world premiere of Lauren Gunderson’s modern farce.

The Voice: One Man’s Journey into Sex Addiction and Recovery EXIT Theatre, 156 Eddy, SF; www.theexit.org. $15-25. Fri-Sat, 8pm. Through Oct 26. David Kleinberg performs his autobiographical solo show.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through Oct 27. Soapy, kid-friendly antics with Louis Pearl, aka “The Amazing Bubble Man.”

BAY AREA

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through Oct 27. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

Ella, the Musical Center REPertory Company, 1601 Civic, Walnut Creek; (925) 943-SHOW. $37-64. Wed/9, 7:30pm; Thu/10-Sat/12, 8pm (also Sat/12, 2:30pm). Yvette Cason portrays the legendary Ella Fitzgerald in this Center REP presentation.

Vanya and Sonia and Masha and Spike Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $35-89. Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed, 7pm; Sun, 2 and 7pm. Extended through Oct 25. Berkeley Rep performs Christopher Durang’s comedy about a dysfunctional family in rural Pennsylvania.

A Winter’s Tale Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-72. Tue-Thu, 7:30pm; Fri-Sat, 8pm (also Oct 19, 2pm); Sun, 4pm. Through Oct 20. Cal Shakes concludes its 2013 season with the Bard’s fairy tale, directed and choreographed by sister team Patricia and Paloma McGregor.

PERFORMANCE/DANCE

BATS Improv Bayfront Theater, B350 Fort Mason Center, SF; www.improv.org. $20. “Horror Super Scene,” Fri, 8. Through Oct 25. “Improvised Farce,” Sat, 8pm. Through Oct 26.

Bill T. Jones/Arnie Zane Dance Company CounterPULSE, 1310 Mission, SF; www.ybca.org. Wed/9, 8pm. $50. The company performs the world premiere of /Time: Study I. Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; www.ybca.org. Fri/11-Sat/12, 8pm; Sun/13, 3pm. The company, with SITI Company, presents the West Coast premiere of A Rite.

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/12, Oct 20, and 26, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

Margaret Cho Nob Hill Masonic Center, 1111 California, SF; www.livenation.com. Sat/12, 8pm. $41.50-74. The acclaimed comedian performs her new show, Mother.

“Comedy Returns to El Rio” El Rio, 3158 Mission, SF; www.brownpapertickets.com. Mon/14, 8pm. $7-20. With Jabari Davis, Eloisa Bravo, Stefani Silverman, Howard Stone, and Lisa Geduldig.

Dance Theatre of San Francisco ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/11-Sat/12, 8pm; Sun/13, 7pm. $25-27. The new contemporary dance company founded by Annabelle Henry presents “Debut,” with works by Erik Wagner, Sandrine Cassini, and others.

“The Kepler Story” Morrison Planetarium, California Academy of Sciences, 55 Music Concourse Dr, SF; www.calacademy.org. Sun, 6:30pm. Through Oct 27. $15. Cal Academy and Motion Institute team up to produce this “immersive performance work” about astronomer Johannes Kepler.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Mongrels and Objects” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/11-Sat/12, 8pm; Sun/13, 7pm. $20-30. Headmistress — Amara Tabor-Smith and Sherwood Chen — presents solo and duo dance work.

“Mortified” DNA Lounge, 375 11th St, SF; www.getmortified.com. Fri/11, 7:30pm. $21. Also Sat/12, 7:30pm, $20. Uptown, 1928 Telegraph, Oakl. Embarrassing tales told by those who lived them as teenagers.

“MythBusters: Behind the Myths Tour” Orpheum Theatre, 1192 Market, SF; www.shnsf.com. Sat/12, 2 and 8pm. $45-95. Adam Savage and Jamie Hyneman bring their Discovery Channel show to the stage.

Davy Rothbart Jewish Community Center of San Francisco, 3200 California, SF; www.myheartisandidiotbook.com. Thu/10, 8pm. $12. The Found magazine editor and “This American Life” contributor shares his latest finds and reads from his new book, My Heart is an Idiot.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

Smuin Ballet Palace of Fine Arts Theatre, 3301 Lyon, SF; www.smuinballet.org. Thu/10-Sat/12, 8pm. $25-72. Smuin Ballet kicks off its 20th anniversary season with its “Xxtremes” fall program, including Jiri Kylian’s Return to a Strange Land and Amy Seiwert’s Dear Miss Cline.

BAY AREA

Paufve Dance Hillside Swedenborgian Community Church, 1422 Navallier, El Cerrito; www.brownpapertickets.com. Fri/11-Sat/12, 6pm. $15-20. Randee Paufve and company present Soil, a quintet of new and revised solo works.

“The Shout: Life’s True Stories” Grand Lake Coffee House, 440 Grand, Oakl; www.theshoutstorytelling.com. Mon/14, 7:30pm. $5-20. Amazing but true short storytelling. *

 

Friends in the shadows

36

rebecca@sfbg.com, joe@sfbg.com

It’s a simple fact of life: Money buys influence. But in San Francisco, despite strict sunshine laws to illuminate donations to city agencies and gifts to the regulators from the regulated, money still circulates in the shadows when it flows through the coffers of “Friends” in high places.

Major real estate developers, city contractors, and large corporations often lend financial support to San Francisco city departments, to the tune of millions of dollars every year. But the money doesn’t just flow directly to city agencies, where it’s easily tracked by disclosure laws. Instead, it goes through private nonprofits that sometimes label themselves as “Friends Of…” these departments.

They include Friends of City Planning, Friends of the Library, a foundation formerly known as Friends of the San Francisco Department of Public Health, Friends of SF Environment, and Friends of San Francisco Animal Care and Control.

The Friends pay for programs the departments supposedly cannot cover on their own. Bond money can build a skyscraper, but sometimes not fill it with furniture. Agencies are barred by law from funding an employee mixer or a conference trip, so departments turn to their Friends to fill in the gaps. Adding bells and whistles to city websites, holding lunchtime lectures, hiring a grant writer — or, in the case of the Department of Public Health, bolstering health services for vulnerable populations — these are all examples of what gets funded.

The extra help can clearly be a good thing, but the lack of transparency around who’s giving money raises questions — especially if it’s a business gunning for a major contract or a permit to build a high-rise.

City agencies receive outside funding from a wide variety of sources. Sometimes grants are made by the federal government, or a well-established philanthropic foundation — and according to city law, gifts of $10,000 or higher must be approved by the Board of Supervisors. But in the case of organizations like Friends, which are created specifically to assist city government agencies, the original funders aren’t always identifiable. And the collaboration is frequently much closer, with city staff members serving on Friends boards in a few cases.

the circle of donations to "friends of" foundations

Friends board members told the Guardian that their partnership with government helps bolster city agencies in a time of increasing austerity, in service of the public good. But do the special relationships these influential insiders hold with high-ranking city officials come into play when awarding a contract, issuing a permit, making a hiring decision, or determining whether a developer’s request for a rule exemption should be honored? Without more transparency, it’s tough to tell.

City disclosure rules state that any gift to a department must be prominently displayed on that department’s website, along with any financial interest the donor has involving the city. But Friends and other outside funders are under no obligation to share their supporters’ names, much less financial ties, when they distribute grants. Meanwhile, the disclosure rules that are on the books seem to be frequently ignored, misunderstood, or unenforced, our investigation discovered.

How are donors repaid for their support? Consider the controversy earlier this year around Pet Food Express, which won approval in June for another store in the Marina District despite opposition from four locally owned pet stores in the area that fear competing with a large national chain. Pet Food Express won the unlikely support of the city’s Small Business Commissioners, some of whom reversed their 2009 positions opposing the chain’s previous application.

SF Animal Care and Control Director Rebecca Katz personally lobbied the commission to support Pet Food Express, at least partially because the company has donated pet supplies valued at $50,000 to $70,000 per year to the department. That’s a lot of money for a cash-strapped city department, but a pittance compared to the profits of an expanding national chain.

It’s moments of clarity like those, when the public can easily trace the line from donations to political influence, that show why disclosure is so crucial. But those moments are few and far between when trying to trace the funders of private foundations and Friends organizations, where deals often happen in the dark.

 

WHEN DEVELOPERS ARE FRIENDS

At the Merchant Exchange Building in May, a crowd of high-profile real-estate developers mixed and mingled with city planners, commissioners, and even Mayor Ed Lee, wine glasses in hand. Sources told the Guardian that most of the planning staff was present, and not all were happy about having ribbons and name tags affixed to their shirts, as if they were being auctioned off.

With around 500 in attendance, the event was an annual fundraiser hosted by the Friends of San Francisco City Planning, a nonprofit organization that accepts contributions of up to $2,500 per individual to lend a helping hand to the Planning Department. This year’s event was titled “Incubator Startups, New Jobs for the Future,” hinting that the development community shares the mayor’s affinity for new tech startups and the droves of high-salaried IT professionals they’ve attracted to the city.

Some Friends of City Planning board members are major real-estate developers who routinely seek approval for major construction projects. Others are former planning commissioners, or have a background in community advocacy.

Amid widespread concern about displacement, gentrification, and the overall character of San Francisco’s built environment, no city department has greater influence than Planning. An individual’s interpretation of the Planning Code can carry tremendous weight; it’s a series of small decisions that shape a project’s profits and the look and feel of San Francisco’s future. And with cranes dotting the city’s skyline and market-rate construction catering to the wealthy while middle income residents get priced out, the amount of capital flowing through the development sector these days is astonishing.

In this dizzy climate, there might seem to be something askew about affluent developers and land-use attorneys rubbing elbows with city regulators, all eager to pass the hat for the Planning Department. Whiff of impropriety or no, the fundraiser appears to be totally legal.

“We aren’t violating the law — that I know,” Friends of City Planning Chair Dennis Antenore told the Guardian. “We’ve had legal advice on that for years.”

There is close collaboration between Friends of San Francisco City Planning and the Planning Department — a partnership so entrenched that it’s almost as if the nonprofit is an unofficial, private-sector branch of the agency.

“We are certainly thankful and appreciative,” Planning spokesperson Joanna Linsangan told the Guardian. “They’ve helped us for many, many years.” The additional funding is needed, she said, because “there isn’t a lot of wiggle room” in the departmental budget.

Each year, Planning Director John Rahaim submits a wish list to the Friends, outlining projects he wants funding for. This year, he requested $122,000 for a variety of initiatives, including training support to help planners assess proposals for formula retail (read: chain stores). That’s a hot-button issue lately, and one that shows how seemingly small decisions by planners can have big impacts.

When the department’s zoning administrator ruled that Jack Spade, a high-end clothing chain that opened up in the old Adobe Books location on 16th Street, wasn’t considered formula retail and therefore didn’t need a conditional use permit, neither widespread community outrage nor a majority vote by the Board of Appeals could reverse that flawed decision. It was a similar story with the Planning Commission’s Oct. 3 approval of the 555 Fulton mixed use project, where Planning Department support for exempting the grocery store for the area’s formula retail ban made it happen, to the delight of that developer.

Even though the planning director makes specific funding requests each year to the Friends and pitches the projects in person at their meetings — and the Friends publishes a list of the grants it awards to the department online — the Planning Department is not reporting those gifts to the Board of Supervisors.

“I confirm that the Planning Department did not receive any gifts,” Finance and IT Manager Keith DeMartini wrote in official gift reports submitted to the Board of Supervisors for the years 2011-12 and 2012-13. Those reports were sent to the board on Oct. 7 and Oct. 4, respectively, well after the July filing deadline and after the Guardian requested the missing reports.

The Friends typically funds two-thirds of the requests, said board member Alec Bash, totaling around $80,000 a year. In 2012, the Friends awarded a $25,000 grant to make the department’s new online permit-tracking system more user-friendly, making life a lot easier for developers.

When asked what safeguards are in place to prevent undue influence when the director is soliciting funding from a nonprofit partially controlled by developers, Linsangan responded, “those are two very separate things. One does not influence the other.”

She stated repeatedly that planners are not privy to information about individual contributors — but the fundraisers are organized by a board that includes identifiable developers, and anyone who attends can plainly see the donors in attendance. Nevertheless, Linsangan insisted that planners would not be swayed by this special relationship, saying, “That’s simply not the way we do things around here. We do things according to the Planning Code.”

But as the ruling on Jack Spade shows, as well as countless rulings by planners on whether a project is categorically exempt from the California Environmental Quality Act, interpreting the codes can involve considerable discretion.

The public can’t review a list of who wrote checks to the Friends of San Francisco City Planning for the May fundraiser. Since the organization waits a year between collecting the money and disbursing grants, donors stay shielded from required annual disclosures in tax filings.

But Antenore says the system was established with the public interest in mind. “We don’t reveal the contributors, because we don’t want anybody to have increased influence by a donation,” he insisted. Bash echoed this idea, saying the delay was to “allow for some breathing room.”

Unlike some of his fellow board members from the high-end development sector, Antenore has a history of being aligned with neighborhood interests on planning issues, helping author a 1986 ballot measure limiting downtown high-rise development. He emphasized that the developers on the Friends board are balanced out by more civic-minded individuals.

Still, developers who regularly submit permit applications for major construction projects sit on the Friends board. Among them are Larry Nibbi, a partial owner of Nibbi Bros.; Clark Manus, CEO of Heller Manus Architects; and Oz Erikson, CEO of the Emerald Fund development firm.

“We’re not making use of [the funding] in a way that benefits these people,” Antenore said. “I wouldn’t do this if I thought otherwise. I have been careful to maintain the integrity of this organization.” The money is meant to facilitate better planning, he added. “I don’t think there’s any conspiracy,” he said. “We’re not financing anything evil.”

Both the Planning Department and its Friends dismissed the idea that the donations could open the door to favoritism or undue influence. So why isn’t the department reporting gifts it receives from the Friends to the Board of Supervisors, or disclosing them on its website, as required by city law?

According to a 2008 City Attorney memo on reporting gifts to city departments, when an agency receives a gift of $100 or more, it “must report the gift in a public record and on the department’s website. The public disclosure must include the name of the donor(s) and the amount of the gift [and] a statement as to any financial interest the contributor has involving the city.”

John St. Croix, director of the San Francisco Ethics Commission, confirmed that’s the current standard, telling us, “The actual disclosure should be on the website of the department that received the gift.”

Linsangan said records of the gifts are indeed available — listed as “grants” in the department’s Annual Report. But while the 2011-12 report lists grants from sources such as the Metropolitan Transportation Commission and the Environmental Protection Agency, there was no mention of Friends of City Planning.

The memo also says any gift of $10,000 and above must first be approved by a resolution of the Board of Supervisors. But last year, when the Friends provided $25,000 to upgrade the permit-tracking system, it wasn’t sanctioned by a board resolution. Asked why, Linsangan made it clear that she was not aware of any such requirement.

As is common, when it comes to adhering to disclosure laws, confusion abounds. And sometimes, only sometimes, politicos get caught.

 

READING UP ON DISCLOSURE LAWS

When the head of a city agency fails to report gifts totaling $130,000, how much do you think he is fined?

City Librarian Luis Herrera failed to report receiving that amount in gifts and he was fined exactly $600 by the California Fair Political Practices Commission on Sept. 19. Specifically, Herrera had to file a form 700 with the FPPC to state the gifts he received. From 2008-2010, the forms he turned in had the “no reportable interests” box checked.

The money was used in what he calls the City Librarian’s Fund, which is the money he keeps on hand to pay for office parties and giving honorariums to poets and speakers who perform at the library’s branches, money that wasn’t disclosed on the very forms designed for reporting it.

There are two stories of how the fine came about. Longtime library advocate James Chaffee said that it was the result of a complaint he filed with the FPPC in April, and indeed, he sought and obtained many public documents revealing the money trail. San Francisco Public Library spokesperson Michelle Jeffers disagreed, saying that the fine was the result of an ongoing conversation with the FPPC to figure how exactly to file the gifts appropriately.

“The law wasn’t clear around these forms and it wasn’t clear if he had to report them,” she told the Guardian. “For amending the reports you have to pay a $200 fine for every year it was proposed. We keep scrupulous records on every pizza party we have.”

When government officials receive “gift of cash or goods,” they must report them annually in statements of economic interest, known as a Form 700, to the city Controller’s Office. The form is kind of a running tally of who is receiving gifts from whom, a way for the public to track money’s influence in government.

The gifts came from the Friends of the San Francisco Public Library, another nonprofit that bolsters city agency funding. Now Herrera has to list the $130,000 gifts from fiscal years 2008-09 and 2009-10 on his website.

What exactly does that accomplish? As it turns out, not a whole lot.

City Administrative Code 67.29-6 defines the reporting of gifts to city departments, and one of those requirements is to make a statement of “any financial interest the contributor has involving the city.” Now that Herrera lists the Friends of the San Francisco Public Library as donors on the department website, the statement of financial interest by the friends group is this: “none.”

There are myriad donors to the Friends of the SFPL, and the group doesn’t have to state the economic interests of its donors, or even mention who its donors are. The code requires gifts be reported to the controller, and the deputy city controller told us this doesn’t apply to the “friends of” organizations, or any nonprofit foundation arms of city departments.

“If gifts are made to a department, yes, they have to disclose, so people don’t get preferential interest in getting city contracts,” Deputy Controller Monique Zmuda told us. “I know it’s a fine line. The foundations don’t provide us with anything.”

Friends of the SFPL doesn’t provide money just for pizza parties. A breakdown of a funding request from the library to its Friends shows requests up to $750,000 to advertise the library on Muni and in newspapers, funding for permanent exhibits, and the City Librarian’s personal fund. That’s just the money it gives to the library. Other monies are spent directly on activities supporting the library.

As Jeffers pointed out to the Guardian, the money isn’t spent on “trips to Tahiti.” Friends of the SPL do good city works, from a neighborhood photo project in the Bayview branch library to providing books for children. But the question is: Who’s buying that goodwill and why?

The millions of dollars in donations made to the Friends of the SFPL don’t need to be approved by the Board of Supervisors, like gifts to departments do. They’re not checked for conflicts of interest or financial interest by any governmental body. Donors give and the Friends of SFPL spend freely, financial interest or not.

When our research for this story began, no financial statements were available of the Friends of the SFPL website. After a few days of inquiries, the most recent year’s financial statements from 2011-12 were posted to the website.

Ultimately, the San Francisco Public Library is one of the smaller city departments, with an annual budget that hovers around $86 million. The Department of Public Health is a much bigger beast, with a 2011-12 budget of around $1.5 billion.

One of its main foundations, the San Francisco General Hospital Foundation, is also one of the largest nonprofits that supplements city spending. In many ways, it could be described as the model of disclosure for city foundations, although its disclosures are not by law, but by choice.

 

FOUNDATION OF FRIENDS

The Department of Public Health relies on a few entities that fundraise on its behalf: the San Francisco Public Health Foundation, the Friends of Laguna Honda Hospital, and the San Francisco General Hospital Foundation.

“They’re private nonprofit entities that are separate from the department,” CFO Greg Wagner told us. “But their roles are to support the department in its efforts.” He cited examples such as sending its staff to conferences or hosting meetings, “things that we don’t have the budget for or don’t have the staff or resources.”

The lion’s share of the DPH’s gifts are funneled through the SFGHF. Unlike many of the assorted Friends groups or foundations that support city services, the SFGHF extensively reports the sources of its $5 million in donations. The donors include a veritable who’s who of San Francisco: the Giants, Sutter Health, Xerox, Pacific Union, and Kohl’s all donated between $1,000 and $10,000 in the past two years.

But the largest gifts to the SFGHF came from Kaiser Permanente, and its financial interests in the city run deep. Kaiser came into the city’s crosshairs in July, when the Board of Supervisors passed a resolution calling on Kaiser to disclose its pricing model after a sudden, unexplained increase in health care costs for city employees. Kaiser holds a $323 million city contract to provide health coverage, and supervisors took the healthcare giant to task for failing to produce data to back up its rate hikes.

In the meantime, Kaiser has also been a generous donor. It contributed $364,950 toward SFGHF and another $25,000 to SFPHF in fiscal year 2011-12.

The funding from Kaiser and a host of other contributors — which include Chevron, Intel, Genentech, Macy’s, Wells Fargo (another city contractor), and a pharmaceutical company called Vertex — does support needed programs. They include research into the health of marginalized communities, services through Project Homeless Connect, screening for HIV, and immunization shots for travelers.

But because DPH doesn’t count much of this support as “gifts” formally received by the city, it isn’t subject to prior approval by the Board of Supervisors, or posted on the department’s website along with the contributors’ financial interests. Major contributions are disclosed in a report to the Health Commission, something Wagner described as a voluntary gesture in response to commissioners’ requests.

“Most gifts to foundations are donations to a nonprofit and do not come through the city or DPH at all,” he noted.

This distance is maintained on paper despite close collaboration with the department. In the case of Project Homeless Connect, a program that holds a bimonthly event to aid the homeless, it supports programs headquartered in city facilities. Penny Eardley, executive director of SFPHF— which used to be called Friends of San Francisco Public Health — noted that her organization occasionally makes grants or seeks funding in response to department requests. And Deputy Director of Health Colleen Chawla is a foundation board member. It’s almost like these foundations are extensions of the department, except they’re not.

SFPHF also earns revenue as a city contractor. When DPH received a grant from the Centers for Disease Control, it contracted with SFPHF to manage subcontracts with about a dozen community-based organizations.

The web gets even more tangled. The president of SFPHF is Randy Wittorp — who’s also Director of Public Affairs for Kaiser Permanente’s San Francisco Service Area. It’s a similar story with SFGHF, whose board includes several General Hospital administrators, including CEO Susan Currin.

Former Health Commissioner James Illig said people shouldn’t worry, that hospital the staff would never direct foundation funds to pet projects or mishandle funds. They maintain a separation and a firewall,” he said, for example noting, “Sue Currin is not directing funds to her own hospital.”

But he did admit that since SFGHF’s minutes are not public documents, that “raises a few concerns,” arguing the public should be able to inspect financial documents to decide if the foundations are directing funds lawfully to city departments.

Even when the public by law has a right to access financial records of a city department, rooting out corruption can be like pushing a boulder up a San Francisco hill.

 

FROM PATIENTS TO PARTIES

In 2010 and 2011, Laguna Honda Hospital administrators and staff used money from the hospital’s patient gift fund to throw a party. And then they spent it on airfare. And then they gave laser-engraved pedometers to the staff. All told, they spent nearly $350,000 meant for the dying and the infirm, nearly half of the total funds.

The incident was big, messy, and out in the public eye. It was an all-too-rare glimpse into the shady use of public funds by public officials. But when hospital staff members Dr. Derek Kerr and Dr. Maria Rivero blew the whistle on Laguna Honda’s misuse of patient funds in 2010, they were drummed out of their jobs.

Eventually litigation on behalf of the whistleblowers and their complaints of corruption were found to have merit.

Kerr’s vindication came at a meeting of the Health Commission in April 2013. In the packed City Hall meeting room, the public watched as Laguna Honda Executive Director Mivic Hirose read her apology to Kerr and Rivero aloud, even announcing a plaque in Kerr’s honor.

“The hospital will install the plaque in the South 3 Hospice,” she read, stiltedly, from a written statement, surrounded by microphones at the podium. “The plaque will say: In recognition of Derek Kerr MD of his contributions to the Laguna Honda’s hospice and palliative care program 1989-2010.”

Kerr received a settlement of $750,000 and something more important: His good name cleared.

But that conflict of interest was rooted out only after years of litigation that revealed the financial abuse through legal discovery of the department’s documents — documents that should’ve been public in the first place. ABC 7’s I-Team broke the story and did much of the reporting at the time, otherwise the entire affair may have been swept under the rug.

The misuse of funds was only brought to light with the revelation of public documents — revelations not possible with most Friends groups. The Laguna Honda Hospital Foundation has also had financial dealings with potential conflicts and a lack of transparency.

The now-defunct LHHF’s board chair, former City Attorney Louise Renne, made an interesting choice for her vice chair after she formed the nonprofit in 2003. Derek Parker was vice chair of the LHHF while simultaneously heading architecture firm Anshen-Allen, with a $585 million city contract to rebuild the hospital.

So he was not only rebuilding Laguna Honda under city contract, but soliciting and spending donations meant to supplement his project. Renne wrote to the Health Commission in December 2011 that LHHF’s purpose was to manage over $15 million in donations meant to furnish the hospital with beds, chairs, and other necessities. Eventually, then-Mayor Willie Brown found funding for the hospital, reducing the foundation’s role.

In a phone interview with the Guardian, Renne said the goals of the LHHF were only ever to furnish the newly christened hospital. “Our purpose was to fill the void, if you will, for what the city and its services could not do,” she said.

But in her letter, Renne advocated for LHHF to take an active role in fundraising for the hospital for years to come. “Today, the members of the Board of Directors of the Foundation continue to assist the hospital in various phases of its new projects and operations with projects approved by the City and/or the hospital administration,” she wrote to the Health Commission.

And Parker would have potentially managed millions of dollars flowing through donations for countless other hospital projects, while heading an architectural firm with contracts to build in San Francisco. We were unable to reach Parker for comment.

“I never saw Derek use his position as an architect or position for any political gain, I never saw it,” Renne told us. But no one else would see it either, because organizations like the now closed Laguna Honda Hospital Foundation operate without public oversight.

The Health Commission itself even noted this in its March 2012 meeting, the minutes describing then-commissioner James Illig as critiquing the foundation for not being open about its source of funding.

“Commissioner Illig thanks Ms. Renne and Mr. Parker for coming to the Commission,” the minutes read. “Because (LHHF) is a project of Community Initiatives, a fiscal sponsor for nonprofits, it is not possible to find basic financial information about the Foundation or its activities.”

Divided interests on hospital board

Due to a quirk of her foundation being under the “umbrella” of a separate entity, Community Initiatives, Illig was never able to even get the LHHF’s IRS forms, he told us. “We tried to get information and reports, and the Community Initiatives [Form] 990 was giant,” Illig said. “It didn’t separate anything out.”

Illig told us that it made sense to have Parker on the board because he is monied and well connected, making it easier to solicit donations. But insiders close to the board told us that Parker’s position may have made it easier to swing getting other contracts for his firm.

Parker got another city contract building the UCSF Benioff Children’s Hospital at Mission Bay, slated to open in 2015. No doubt his firm got the job partly due to his reputation as pioneering architecture that leads to healthy patient outcomes — but then again, the board he served on also approved donations to research at UCSF.

Laguna Honda Hospital Foundation may now be defunct, but it serves to illustrate the lack of controls and oversight of the foundations beyond even gift disclosure.

 

OFF THE BOOKS

It might be characterized as a web of influence, cronyism, or just the way business is done. But is there something improper about all of this?

Private funding often represents a needed boost that allows for important work to take place beyond what could happen under ordinary budgeting. At the same time, it smacks of privatization. While departments and funders point to lean times in the public sector to justify the need for this help, the funding continues to flow whether it’s a good year or a bad year for city government. And at the end of the day, the most glaring issue of all seems to be the lack of transparency.

Are city departments ever tempted to bend the rules to lend a little help to their Friends? As long as the funding is in the dark, the public has no way of knowing.

Ethics chief St. Croix told us his office lacks the resources to visit every city website and check up on whether departments are following the disclosure rules. “If someone brought it to my attention that a department received a gift and didn’t post it [on the website],” he said, “we would look into it.”

But if the watchdogs need watchdogs, citizens who can’t even review documents that should be publicly available, then these quasi-governmental functions and the people who fund them will remain in the shadows.  

Danielle Parenteau contributed to this report.  

ADDENDUM  

When city funders operate in the dark, one of the best ways to learn about corrupt influence, misuse of funds, and other transgressions is from whistleblowers. If you have a tip for us, send us snail mail at SAN FRANCISCO BAY GUARDIAN, 225 Bush, 17th Floor, San Francisco, CA 94104. Or email us at news@sfbg.com. Just make sure not to use an email address provided by your workplace, which is less secure.

Theater Listings: October 2 – 8, 2013

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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

Carrie: The Musical Victoria Theatre, 2961 16th St, SF; www.rayoflighttheatre.com. $25-36. Opens Fri/4, 8pm. Runs Wed-Sat, 8pm (also Oct 26, 11:30pm; Nov 2, 2pm). Through Nov 2. Just in time to complement the Carrie film remake, Ray of Light Theatre performs the musical adaptation (initially a Broadway flop, then a re-tooled off-Broadway hit) of the Stephen King horror novel.

The Disappearance of Mary Rosemary Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-25. Opens Fri/4, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Oct 26. Writer-director Ian Walker’s ghost story is adapted from J.M. Barrie’s Mary Rose.

Forbidden Fruit Garage, 715 Bryant, SF; www.brownpapertickets.com. $25. Previews Thu/3, 8pm. Opens Fri/4, 8pm. Runs Fri-Sat and Mon, 8pm. Through Oct 28. Back Alley Theater and Footloose present the West Coast premiere of Jeff Bedillion’s stylized love story that takes on social and religious conformity.

An Indian Summer Exit Theatre, 156 Eddy, SF; www.wehavemet.org. $20-40. Opens Fri/4, 8pm. Runs Thu-Sat, 8pm. Through Oct 19. Multi Ethnic Theater performs Charles Johnson’s drama set in the 1980s Deep South.

It’s a Bird … It’s a Plane … It’s Superman Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Previews Wed/2-Thu/3, 7pm; Fri/4, 8pm. Opens Sat/5, 8pm. Runs Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (also Oct 12, 1pm); Sun, 3pm. Through Oct 20. 42nd Street Moon kicks off its 21st season with this 1966 musical homage to the Man of Steel.

The Scion Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-100. Opens Fri/4, 8pm. Runs Fri, 8pm; Sat, 8:30pm. Through Oct 26. Popular solo performer Brian Copeland (Not a Genuine Black Man, The Waiting Period) performs a workshop production of his latest, “a tale of privilege, murder, and sausage.” The show has its official world premiere Jan. 9, 2014.

The Taming Thick House, 1695 18th St, SF; www.crowdedfire.org. $10-35. Previews Thu/3-Sat/5, 8pm. Opens Mon/7, 8pm. Runs Wed-Sat, 8pm (no show Oct 9). Through Oct 26. Crowded Fire Theater presents the world premiere of Lauren Gunderson’s modern farce.

The Voice: One Man’s Journey into Sex Addiction and Recovery EXIT Theatre, 156 Eddy, SF; www.theexit.org. $15-25. Opens Fri/4, 8pm. Runs Fri-Sat, 8pm. Through Oct 26. David Kleinberg performs his autobiographical solo show.

ONGOING

Acid Test: The Many Incarnations of Ram Dass Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Fri, 8pm; Sat, 8:30pm. Through Oct 12. Playwright Lynne Kaufman invites you to take a trip with Richard Alpert, aka Ram Dass (Warren David Keith) — one of the bigwigs of the psychedelic revolution and (with his classic book, Be Here Now) contemporary Eastern-looking spirituality — as he recounts times high and low in this thoughtful, funny, and sometimes unexpected biographical rumination on the quest for truth and meaning in a seemingly random life. Directed by Joel Mullennix, the narrative begins with Ram Dass today, in his Hawaiian home and partly paralyzed from a stroke, but Keith (one of the Bay Area’s best stage actors, who is predictably sure and engagingly multilayered in the role) soon shakes off the stiff arm and strained speech and springs to his feet to continue the narrative as the ideal self perhaps only transcendental consciousness and theater allow. Nevertheless, Kaufman’s fun-loving and extroverted Alpert is no saint and no model of perfection, which is the refreshing truth explored in the play. He’s a seeker still, ever imperfect and trying for perfection, or at least the wisdom of acceptance. As the privileged queer child of a wealthy Jewish lawyer and industrialist, Alpert was both insider and outsider from the get-go, and that tension and ambiguity make for an interesting angle on his life, including the complexities of his relationships with a homophobic Leary, for instance, and his conservative but ultimately loving father. Perfection aside, the beauty in the subject and the play is the subtle, shrewd cherishing of what remains unfinished. Note: review from an earlier run of this show. (Avila)

Beautiful: The Carole King Musical Curran Theatre, 445 Geary, SF; www.shnsf.com. $55-210. Tue-Sat, 8pm (also Sat and Oct 9 and 16, 2pm); Sun, 2 and 7:30pm (no evening show Oct 13 or 20). Through Oct 20. Pre-Broadway premiere of the musical about the legendary songwriter.

Band Fags! New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Oct 13. New Conservatory Theatre Center performs the West Coast premiere of Frank Anthony Polito’s coming-of-age tale, set in 1980s Detroit.

“Bay One Acts Festival” Tides Theatre, 533 Sutter, SF; www.bayoneacts.org. $20-40. Programs One and Two run in repertory Wed/2-Sat/5, 8pm. The 2013 BOA fest presents the world premieres of 13 short plays in partnership with 13 Bay Area theater companies.

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Oct 29. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Buried Child Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Tue, 7pm; Wed-Sat, 8pm (also Wed/2, 2:30pm); Sun, 2:30. Extended through Oct 13. A rural family in slow free-fall finally sees the ground rushing up to meet it in Sam Shepard’s raucous, solemn, and spooky American gothic. The 1978 Pulitzer Prize-winner not only secured a place for Shepard in the upper echelons of American playwrights but helped remake the theatrical landscape when it first premiered, 35 years ago, at the Magic Theatre. The Magic’s current revival tends to show the ways in which the play has aged, however, rather than the ways in which it endures. Loretta Greco’s perfunctory direction inadvertently underscores what has since become formula in the resolutely surreal undercurrent beneath its surface naturalism. Meanwhile her cast —though it includes some normally dependable actors like Patrick Alparone, Rod Gnapp and James Wagner — never comes together as a cohesive ensemble, further distancing us from the still vital dynamism in the text (more of that was captured last year in Boxcar Theatre’s admittedly rocky but overall more persuasive production). Alparone (as long-lost son Vince) and Patrick Kelly Jones (as his belligerent one-legged brother Bradley) manage to infuse some momentary energy, but from the opening lines, delivered offstage by chattering matriarch Halie (Denise Balthrop Cassidy), the tension remains mostly slack, the acting haphazard, and the themes muted. (Avila)

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Wed-Thu, 8pm; Sat, 5pm. Through Oct 26. Geoff Hoyle’s hit solo show, a comedic meditation on aging, returns to the Marsh.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

Macbeth Fort Point, end of Marine Dr, Presidio of San Francisco, SF; www.weplayers.org. $30-60. Thu/3-Sun/6, 6pm. We Players perform the Shakespeare classic amid Fort Point’s Civil War-era fortress.

1776 ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-160. Wed/2-Sat/5, 8pm (also Wed/2 and Sat/5, 2pm); Sun/6, 2pm. American Conservatory Theater performs the West Coast premiere of Frank Galati’s new staging of the patriotic musical.

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

“Shocktoberfest 14: Jack the Ripper” Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Opens Thu/3, 8pm. Runs Thu-Sat and Oct 29-30, 8pm. Through Nov 23. Thrillpeddlers presents their 14th annual Grand Guignol show, “a evening of horror, madness, spanking, and song.”

To Sleep and Dream Z Below, 470 Florida, SF; www.therhino.org. $15-30. Wed/2-Sat/5, 8pm; Sun/6, 3pm. Theatre Rhinoceros performs writer-director John Fisher’s North Bay-set drama about the challenges of love.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through Oct 27. Soapy, kid-friendly antics with Louis Pearl, aka “The Amazing Bubble Man.”

BAY AREA

After the Revolution Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Wed/2-Sat/5, 8pm; Sun/6, 2 and 7pm. Emma (Jessica Bates) is a left-wing lawyer from a lefty Jewish family of Communist Party members and fellow travelers who heads an important defense fund for incarcerated Black Panther Mumia Abu-Jamal. When Emma learns that a book is coming out that pins her revered late grandfather (a CP martyr to McCarthyism for whom the fund is named) as a spy for Stalin, she collapses into an incapacitating personal crisis exacerbated by the revelation that her adored father (an expansive Rolf Saxon) already knew and kept the secret from her. The crisis leads to Emma’s severing ties with her father and, eventually, alienating her boyfriend (Adrian Anchondo) as the rest of the family do their best to negotiate the new dynamic, including her uncle Leo (Victor Talmadge), her rehab habitué of a sister (Sarah Mitchell), and her mother (Pamela Gaye Walker). Meanwhile, Emma faces the fraught temptation of a large donation to the fund by a wealthy old lefty (a fine Peter Kybart). Almost above the fray, by virtue of her unwavering devotion to the political legacy she shared with her husband, is Emma’s unreconstructed Stalinist of a grandmother, Vera (a jarringly affected Ellen Ratner in fakey-fakey old-lady makeup). Aurora Theater’s production of Amy Herzog’s After the Revolution offers another look at the celebrated American playwright whose Obie Award-winning 4000 Miles recently premiered at ACT. But just as the ACT production left one wondering what all the fuss was about, After the Revolution disappoints in its promise of exploring political commitment through the complexities of modern history and familial bonds. Instead, director Joy Carlin marshals a mostly strong cast to little effect against an unconvincing and strained dramatic narrative that seems oddly out of touch with today’s political currents. (Avila)

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through Oct 27. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

Ella, the Musical Center REPertory Company, 1601 Civic, Walnut Creek; (925) 943-SHOW. $37-64. Wed, 7:30pm; Thu-Sat, 8pm (also Oct 12, 2:30pm); Sun, 2:30pm. Through Oct 12. Yvette Cason portrays the legendary Ella Fitzgerald in this Center REP presentation.

The Tempest Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu/3-Sat/5, 8pm; Sun/6, 2pm. Pear Avenue Theatre performs Shakespeare’s play in a new staging by director Jeanie K. Smith.

A Winter’s Tale Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-72. Tue-Thu, 7:30pm; Fri-Sat, 8pm (also Oct 19, 2pm); Sun, 4pm. Through Oct 20. Cal Shakes concludes its 2013 season with the Bard’s fairy tale, directed and choreographed by sister team Patricia and Paloma McGregor.

PERFORMANCE/DANCE

“Bay Area Flamenco Festival” Brava Theater, 2781 24th St, SF; www.bayareaflamencofestival.com. Fri/4, 8pm. $25-65. Also Sat/5, 8pm, $30-75, Thrust Stage, Berkeley Repertory Theatre, 2025 Addison, Berk. Spain’s Gema Moneo performs gypsy flamenco dance.

Bill T. Jones/Arnie Zane Dance Company CounterPULSE, 1310 Mission, SF; www.ybca.org. Oct 8-9, 8pm. $50. The company performs the world premiere of /Time: Study I.

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

“Brutal Sound Effects Festival #76” Lab, 2948 16th St, SF; www.thelab.org. Fri/4, 7:30-10pm. $7-40. Performances by Blue Sabbath, Black Cheer, Magnetic Stripper, Dental Work, and more.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/6, Oct 12, 20, and 26, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

Dimensions Dance Theater Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Sat/5, 8pm. $25-30. The company celebrates its 40th anniversary with highlights from past years, as well as the world premiere of Rhythms of Life: Down the Congo Line.

“First Annual @endHIV SF Drag Ball” BeatBox SF, 314 11th St, SF; www.endhiv.com. Sat/5, 7-10pm. $50. Drag competitions (including an “animal fashion” category, in keeping with the event theme: “The Animal Inside”) to raise money for testing a new AIDS vaccine.

“HeART of Market: Dance, Create, Connect” Mint Plaza, 2 Mint Plaza, SF; www.mintplazasf.org. Sat/5, noon-3pm. Free. Alonzo King LINES Dance Center presents a free, participatory, family-friendly performance.

“The Kepler Story” Morrison Planetarium, California Academy of Sciences, 55 Music Concourse Dr, SF; www.calacademy.org. Sun, 6:30pm. Through Oct 27. $15. Cal Academy and Motion Institute team up to produce this “immersive performance work” about astronomer Johannes Kepler.

“The King of Hearts is Off Again” Joe Goode Performance Annex, 401 Alabama, SF; www.sfiaf.org. Wed/2-Fri/4, 8pm. $18-25. Also Sat/5, 8pm, $18-25, University Theatre, CSU East Bay, 25800 Carlos Bee, Hayward. Poland’s Studium Teatralne performs the stage adaptation of Hannah Krall’s novel Chasing the King of Hearts, set in the Warsaw ghetto during World War II.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Rotunda Dance Series: Ballet Folklórico Costa de Oro” San Francisco City Hall, 1 Dr Carlton B Goodlett Pl, SF; www.dancersgroup.org. Fri/4, noon. Free. Traditional Mexican dances.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

Smuin Ballet Palace of Fine Arts Theatre, 3301 Lyon, SF; www.smuinballet.org. Fri/4-Sat/5 (also Sat/5, 2pm); Sun/6, 2pm; Oct 10-12, 8pm. $25-72. Smuin Ballet kicks off its 20th anniversary season with its “Xxtremes” fall program, including Jiri Kylian’s Return to a Strange Land and Amy Seiwert’s Dear Miss Cline.

“Union Square Live” Union Square, between Post, Geary, Powell, and Stockton, SF; www.unionsquarelive.org. Through Oct 9. Free. Music, dance, circus arts, film, and more; dates and times vary, so check website for the latest.

BAY AREA

“Angel Heart” Hertz Hall, UC Berkeley, Berk; calperfs.berkeley.edu. Sun/6, 5pm. $36. This family-friendly Cal Performances “musical storybook” is written by best-selling children’s author Cornelia Funke, with a score by Luna Pearl Woolf and narration by Malcolm McDowell.

Paufve Dance Hillside Swedenborgian Community Church, 1422 Navallier, El Cerrito; www.brownpapertickets.com. Fri-Sat and Oct 6, 6pm. Through Oct 12. $15-20. Randee Paufve and company present Soil, a quintet of new and revised solo works. *

 

Rights and wrongs

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news@sfbg.com

On a February evening in 2011, Derrick Walls ran into a friend at a bus stop near Third Street and Palou Avenue in the Bayview. Walls was headed to view a used car he thought he might be interested in buying. The men chatted briefly and, as the 44 bus rolled into sight, Walls shook his friend’s hand to say goodbye.

Seconds after they parted ways, a police cruiser passing on the other side of the street pulled a U-turn, screeched to a halt, and discharged police officers who quickly apprehended both men.

“I guess they thought they saw something,” recalled 43-year-old Walls. “I was just talking to my friend. I was going to leave because the bus was coming and I shook his hand to say ‘see you later’ and I guess the cops saw that and thought it was a transaction.”

The officers searched both men at the site. Their discovery of cash on Walls and drugs on the other man seemed to confirm that they had just witnessed a drug deal. The $1,680 Walls had saved up for a new car was alleged to be the sale’s proceeds and confiscated on the spot as evidence.

Later on at the station, a strip search of Walls yielded no evidence of drug possession or intent to sell. His friend copped to the drug charge but confessed that he’d purchased his stash elsewhere — not from Walls.

Three days later, Walls was released from custody and all charges against him were dropped. Two and a half years later, however, the city still has his money.

“I never went to court or anything,” recalled Walls. “You would think they would just give my money back right then. But they told me to go to [the civil courthouse on] McAllister Street to some other people.”

 

TWICE WRONGED

How assets seized in a criminal investigation migrate from the jailhouse to the civil courthouse — and how those wrongfully accused of crimes can get their money back — is not always clear.

“The state has such incredible power to wield and people have very little recourse,” says attorney Nick Gregoratos with Prisoner Legal Services, a division of the San Francisco Sheriff’s Department that helps the accused assert their rights.

San Francisco Police Department spokesperson Gordon Shyy would say only that the police follow the Department of Justice’s Asset Forfeiture Policy Manual and that they “don’t seize assets on the street, they take things as evidence.”

But that “evidence” often stays in the bank accounts of police or prosecutors, subsidizing their operations. DOJ guidelines say that when assets from a criminal investigation cease to have evidentiary value, they can be returned through an administrative or civil process.

“Approximately half the time, people contest the amount or contest it in its entirety,” said Assistant District Attorney Alex Bastian, who estimates that the San Francisco District Attorney’s Office handles 200 to 250 asset forfeiture cases per year.

“There are certain situations where if a charge is dropped, there is still, in fact, a forfeiture proceeding that goes forward,” Bastian explained. “There’s a criminal proceeding beyond a reasonable doubt and the civil [case] is a preponderance of evidence and the burden of proof is on the party contesting the forfeiture.”

Contesting an asset seizure can be difficult if the claimant is incarcerated or poor. Regulations seem designed to induce fatigue and resignation in those without a lawyer and the costs associated with retaining a lawyer often exceed the amount of money seized in the first place. In some cases, claimants have a right to court-appointed counsel, but they aren’t made aware of that fact.

Gregoratos represented Walls and has, over the years, worked with many others like him who have been deprived of their property without due process.

Gregoratos described another client who had cash seized by police as she was on her way to purchase a money order in SoMa to pay her rent. She was arrested on suspicion of drug sales, but there wasn’t enough evidence to support any charges against her.

The woman was instructed to file a claim within a month to get her money back. But she filed at the criminal rather than the civil court and administrators there waited until just before 30 days were up to notify the woman of her error.

The following morning, her $1,500 was considered officially forfeited because she had statutorily defaulted on her right to file claim.

“There would have been no way that they could have taken her money other than that she couldn’t figure out how to navigate the system and didn’t know her rights,” said Gregoratos, who later filed a motion opposing the default. “Essentially, she’s being precluded from having any judicial review.”

 

STACKED DECK

Many forfeiture cases unfold similarly, with the government capturing assets through a series of bureaucratic mechanisms stacked against individuals. Claimants are faced unexpectedly with the burden of proof that assets were lawfully obtained, even when law enforcement wasn’t able to meet that burden against them.

Often “the case is handled completely by the [prosecutorial] agency. There’s no judge, no hearing, no evidence, no appeal. So many people still lose by default,” commented Brenda Grantland, a Marin attorney who has fought government seizures for more than 30 years.

Civil asset forfeiture has a long and controversial history in the United States. In the Revolutionary War era, the British were known to impound the property of colonists who had fallen out of favor with the crown, without proof of guilt.

In the War on Drugs, forfeiture gained popularity as a way to strangle the financial channels underlying trafficking operations while providing a funding source for the law enforcement agencies that waged that war.

“The law is so complicated and the agencies are motivated to win these cases because it brings in money to their bank accounts. And they’re hooked on the money now. And the more money they get, the more corrupt they get,” said Grantland, who is president of the Forfeiture Endangers American Rights (FEAR) Foundation.

In 2010, the most recent year for which the California Department of Justice reported asset forfeiture statistics, San Francisco seized $391,643 in 115 separate actions completed in the city. Between 2002 and 2010, it seized nearly $6.5 million.

In most states, asset forfeitures follow federal regulations. In California, the Health and Safety Code dictates that 65 percent of assets forfeited are distributed to the local law enforcement agency responsible for the seizure, while 10 percent go to the prosecuting agency that processed the action and 1 percent go to train those who profit from forfeitures in the ethical application of related laws.

But Grantland says that training has done little to deter a “grab first, ask questions later,” approach. Critics have argued that the practice presents challenges to both the Fourth and 14th Amendments.

 

SCAMMING THE POOR

Police “don’t have to find any evidence of crime,” Grantland told us. “They have dogs that pretend to be clairvoyant. It’s all a hoax. I don’t care how much they’ve tested and trained those dogs, they can’t possibly know that’s drug money.”

Contrary to its original purpose, civil forfeitures at the local level tend to disproportionately target small-time offenders. Of the seizures completed in San Francisco in 2010, nearly half yielded under $1,000 and one as little as $242. More than three-quarters of forfeitures involved less than $2,000.

“They’re getting money from the weakest, poorest class of people,” Grantland said. “When you seize $500 or $600 every few minutes, it adds up pretty quickly.”

Though the San Francisco Police Department was the beneficiary of $254,568 in 2010 alone, SFPD’s Shyy denied that revenue from forfeitures — which funds equipment purchases, education, and training — influences its policies or tactics.

“If someone has a large amount of cash, we can’t just take it from them. That’s considered robbery,” Shyy said. But that’s pretty much what happened to Walls. “If I did that to somebody on street like that, I’d be in jail,” he said. “But they can just do it to me.”

In the last two years, Walls has complied with all the court’s discovery requests to prove the cash taken from him was lawfully obtained. He has provided paystubs from a longshoreman’s job he has held for eight years at the Port of Oakland.

Gregoratos said that the court “has people over a barrel” and will likely hold Walls’ cash for a full three years. The District Attorney has the option of re-filing a notice of forfeiture until the statute of limitations on the original criminal action is up.

“How are you going to re-file on something that was thrown out? That’s just an excuse to keep my money for a whole ‘nother year,” Walls argued. “I did everything I was supposed to do and they still haven’t given back my money.”

Endorsements 2013

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We’re heading into a lackluster election on Nov. 5. The four incumbents on the ballot have no serious challengers and voter turnout could hit an all-time low. That’s all the more reason to read up on the issues, show up at the polls, and exert an outsized influence on important questions concerning development standards and the fate of the city’s waterfront, the cost of prescription drugs, and the long-term fiscal health of the city.

 

PROP. A — RETIREE HEALTH CARE TRUST FUND

YES

Note: This article has been corrected from an earlier version, which incorrectly stated that Prop A increases employee contributions to health benefits.

Throughout the United States, the long-term employee pension and health care obligations of government agencies have been used as wedge issues for anti-government activists to attack public employee unions, even in San Francisco. The fiscal concerns are real, but they’re often exaggerated or manipulated for political reasons.

That’s one reason why the consensus-based approach to the issue that San Francisco has undertaken in recent years has been so important, and why we endorse Prop. A, which safeguards the city’s Retiree Health Care Trust Fund and helps solve this vexing problem.

Following up on the consensus pension reform measure Prop. B, which increased how much new city employees paid for lifetime health benefits, this year’s Prop. A puts the fund into a lock-box to ensure it is there to fund the city’s long-term retiree health care obligations, which are projected at $4.4 billion over the next 30 years.

“The core of it says you can’t touch the assets until it’s fully funded,” Sup. Mark Farrell, who has taken a lead role on addressing the issue, told us. “The notion of playing political football with employee health care will be gone.”

The measure has the support of the entire Board of Supervisors and the San Francisco Labor Council. Progressive Sup. David Campos strongly supports the measure and he told us, “I think it makes sense and is something that goes beyond political divides.”

There are provisions that would allow the city to tap the fund in emergencies, but only after it is fully funded or if the mayor, controller, the Trust Board, and two-thirds of the Board of Supervisors signs off, a very high bar. So vote yes and let’s put this distracting issue behind us.

 

PROP. B — 8 WASHINGTON SPECIAL USE DISTRICT

NO, NO, NO!

Well-meaning people can arrive at different conclusions on the 8 Washington project, the waterfront luxury condo development that was approved by the Board of Supervisors last year and challenged with a referendum that became Prop. C. But Prop. B is simply the developer writing his own rules and exempting them from normal city review.

We oppose the 8 Washington project, as we explain in our next endorsement, but we can understand how even some progressive-minded people might think the developers’ $11 million affordable housing and $4.8 million transit impact payments to the city are worth letting this project slide through.

But Prop. B is a different story, and it’s something that those who believe in honesty, accountability, and good planning should oppose on principle, even if they support the underlying project. Contrary to the well-funded deceptions its backers are circulating, claiming this measure is about parks, Prop. B is nothing more than a developer and his attorneys preventing meaningful review and enforcement by the city of their vague and deceptive promises.

It’s hard to know where to begin to refute the wall of mendacity its backers have erected to fool voters into supporting this measure, but we can start with their claim that it will “open the way for new public parks, increased access to the Embarcadero Waterfront, hundreds of construction jobs, new sustainable residential housing and funding for new affordable housing.”

There’s nothing the public will get from Prop. B that it won’t get from Prop. C or the already approved 8 Washington project. Nothing. Same parks, same jobs, same housing, same funding formulas. But the developer would get an unprecedented free pass, with the measure barring discretionary review by the Planning Department — which involves planners using their professional judgment to decide if the developer is really delivering what he’s promising — forcing them to rubber-stamp the myriad details still being developed rather than acting as advocates for the general public.

“This measure would also create a new ‘administrative clearance’ process that would limit the Planning Director’s time and discretion to review a proposed plan for the Site,” is how the official ballot summary describes that provision to voters.

Proponents of the measure also claim “it empowers voters with the decision on how to best utilize our waterfront,” which is another deception. Will you be able to tweak details of the project to make it better, as the Board of Supervisors was able to do, making a long list of changes to the deal’s terms? No. You’re simply being given the opportunity to approve a 34-page initiative, written by crafty attorneys for a developer who stands to make millions of dollars in profits, the fine details of which most people will never read nor fully understand.

Ballot box budgeting is bad, but ballot box regulation of complex development deals is even worse. And if it works here, we can all expect to see more ballot measures by developers who want to write their own “special use district” rules to tie the hands of planning professionals.

When we ask proponents of this measure why they needed Prop. B, they claimed that Prop. C limited them to just talking about the project’s building height increases, a ridiculous claim for a well-funded campaign now filling mailers and broadcast ads with all kinds of misleading propaganda.

With more than $1 million and counting being funneled into this measure by the developer and his allies, this measure amounts to an outrageous, shameless lie being told to voters, which Mayors Ed Lee and Gavin Newsom have shamefully chosen to align themselves with over the city they were elected to serve.

As we said, people can differ on how they see certain development deals. But we should all agree that it’s recipe for disaster when developers can write every last detail of their own deals and limit the ability of professional planners to act in the public interest. Don’t just vote no, vote hell no, or NO, No, no!

 

PROPOSITION C — 8 WASHINGTON REFERENDUM

NO

San Francisco’s northeastern waterfront is a special place, particularly since the old Embarcadero Freeway was removed, opening up views and public access to the Ferry Building and other recently renovated buildings, piers, and walkways along the Embarcadero.

The postcard-perfect stretch is a major draw for visiting tourists, and the waterfront is protected by state law as a public trust and overseen by multiple government agencies, all of whom have prevented development of residential or hotel high-rises along the Embarcadero.

Then along came developer Simon Snellgrove, who took advantage of the Port of San Francisco’s desperate financial situation, offered to buy its Seawall Lot 351 and adjacent property from the Bay Club at 8 Washington St., and won approval to build 134 luxury condos up to 12 stories high, exceeding the city’s height limit at the site by 62 percent.

So opponents challenged the project with a referendum, a rarely used but important tool for standing up to deep-pocketed developers who can exert an outsized influence on politicians. San Franciscans now have the chance to demand a project more in scale with its surroundings.

The waterfront is supposed to be for everyone, not just those who can afford the most expensive condominiums in the city, costing an average of $5 million each. The high-end project also violates city standards by creating a parking space for every unit and an additional 200 spots for the Port, on a property with the best public transit access and options in the city.

This would set a terrible precedent, encouraging other developers of properties on or near the waterfront to also seek taller high-rises and parking for more cars, changes that defy decades of good planning work done for the sensitive, high-stakes waterfront.

The developers would have you believe this is a battle between rival groups of rich people (noting that many opponents come from the million-dollar condos adjacent to the site), or that it’s a choice between parks and the surface parking lot and ugly green fence that now surrounds the Bay Club (the owner of which, who will profit from this project, has resisted petitions to open up the site).

But there’s a reason why the 8 Washington project has stirred more emotion and widespread opposition that any development project in recent years, which former City Attorney Louise Renne summed up when she told us, “I personally feel rich people shouldn’t monopolize the waterfront.”

A poll commissioned by project opponents recently found that 63 percent of respondents think the city is building too much luxury housing, which it certainly is. But it’s even more outrageous when that luxury housing uses valuable public land along our precious waterfront, and it can’t even play by the rules in doing so.

Vote no and send the 8 Washington project back to the drawing board.

 

PROP. D — PRESCRIPTION DRUG PURCHASING

YES

San Francisco is looking to rectify a problem consumers face every day in their local pharmacy: How can we save money on our prescription drugs?

Prop. D doesn’t solve that problem outright, but it mandates our politicians start the conversation on reducing the $23 million a year the city spends on pharmaceuticals, and to urge state and federal governments to negotiate for better drug prices as well.

San Francisco spends $3.5 million annually on HIV treatment alone, so it makes sense that the AIDS Healthcare Foundation is the main proponent of Prop. D, and funder of the Committee on Fair Drug Pricing. Being diagnosed as HIV positive can be life changing, not only for the health effects, but for the $2,000-5,000 monthly drug cost.

Drug prices have gotten so out-of-control that many consumers take the less than legal route of buying their drugs from Canada, because our neighbors up north put limits on what pharmaceutical companies can charge, resulting in prices at least half those of the United States.

The high price of pharmaceuticals affects our most vulnerable, the elderly and the infirm. Proponents of Prop. D are hopeful that a push from San Francisco could be the beginning of a social justice movement in cities to hold pharmaceutical companies to task, a place where the federal government has abundantly failed.

Even though Obamacare would aid some consumers, notably paying 100 percent of prescription drug purchases for some Medicare patients, the cost to government is still astronomically high. Turning that around could start here in San Francisco. Vote yes on D.

 

ASSESSOR-RECORDER

CARMEN CHU

With residential and commercial property in San Francisco assessed at around $177 billion, property taxes bring in enough revenue to make up roughly 40 percent of the city’s General Fund. That money can be allocated for anything from after-school programs and homeless services to maintaining vital civic infrastructure.

Former District 4 Sup. Carmen Chu was appointed by Mayor Ed Lee to serve as Assessor-Recorder when her predecessor, Phil Ting, was elected to the California Assembly. Six months later, she’s running an office responsible for property valuation and the recording of official documents like property deeds and marriage licenses (about 55 percent of marriage licenses since the Supreme Court decision on Prop. 8 have been issued to same-sex couples).

San Francisco property values rose nearly 5 percent in the past year, reflecting a $7.8 billion increase. Meanwhile, appeals have tripled from taxpayers disputing their assessments, challenging Chu’s staff and her resolve. As a district supervisor, Chu was a staunch fiscal conservative whose votes aligned with downtown and the mayor, so our endorsement isn’t without some serious reservations.

That said, she struck a few notes that resonated with the Guardian during our endorsement interview. She wants to create a system to automatically notify homeowners when banks begin the foreclosure process, to warn them and connect them with helpful resources before it’s too late. Why hasn’t this happened before?

She’s also interested in improving system to capture lost revenue in cases where property transfers are never officially recorded, continuing work that Ting began. We support the idea of giving this office the tools it needs to go out there and haul in the millions of potentially lost revenue that property owners may owe the city, and Chu has our support for that effort.

 

CITY ATTORNEY

DENNIS HERRERA

Dennis Herrera doesn’t claim to be a progressive, describing himself as a good liberal Democrat, but he’s been doing some of the most progressive deeds in City Hall these days: Challenging landlords, bad employers, rogue restaurants, PG&E, the healthcare industry, opponents of City College of San Francisco, and those who fought to keep same-sex marriage illegal.

The legal realm can be more decisive than the political, and it’s especially effective when they work together. Herrera has recently used his office to compel restaurants to meet their health care obligations to employees, enforcing an earlier legislative gain. And his long court battle to defend marriage equality in California validated an act by the executive branch.

But Herrera has also shown a willingness and skill to blaze new ground and carry on important regulation of corporate players that the political world seemed powerless to touch, from his near-constant legal battles with PG&E over various issues to defending tenants from illegal harassment and evictions to his recent lawsuit challenging the Accreditation Commission of Community and Junior Colleges over its threats to CCSF.

We have issues with some of the tactics his office used in its aggressive and unsuccessful effort to remove Sheriff Ross Mirkarimi from office. But we understand that is was his obligation to act on behalf of Mayor Ed Lee, and we admire Herrera’s professionalism, which he also exhibited by opposing the Central Subway as a mayoral candidate yet defending it as city attorney.

“How do you use the power of the law to make a difference in people’s lives every single day?” was the question that Herrera posed to us during his endorsement interview, one that he says is always on his mind.

We at the Guardian have been happy to watch how he’s answered that question for nearly 11 years, and we offer him our strong endorsement.

 

TREASURER/TAX COLLECTOR

JOSE CISNEROS

It’s hard not to like Treasurer/Tax Collector Jose Cisneros. He’s charming, smart, compassionate, and has run this important office well for nine years, just the person that we need there to implement the complicated, voter-approved transition to a new form of business tax, a truly gargantuan undertaking.

Even our recent conflicts with Cisneros — stemming from frustrations that he won’t assure the public that he’s doing something about hotel tax scofflaw Airbnb (see “Into thin air,” Aug. 6) — are dwarfed by our understanding of taxpayer privacy laws and admiration that Cisneros ruled against Airbnb and its ilk in the first place, defying political pressure to drop the rare tax interpretation.

So Cisneros has the Guardian’s enthusiastic endorsement. He also has our sympathies for having to create a new system for taxing local businesses based on their gross receipts rather than their payroll costs, more than doubling the number of affected businesses, placing them into one of eight different categories, and applying complex formulas assessing how much of their revenues comes from in the city.

“This is going to be the biggest change to taxes in a generation,” Cisneros told us of the system that he will start to implement next year, calling the new regime “a million times more complicated than the payroll tax.”

Yet Cisneros has still found time to delve into the controversial realm of short-term apartment sublets. Although he’s barred from saying precisely what he’s doing to make Airbnb pay the $1.8 million in Transient Occupancy Taxes that we have shown the company is dodging, he told us, “We are here to enforce the law and collect the taxes.”

And Cisneros has continued to expand his department’s financial empowerment programs such as Bank on San Francisco, which help low-income city residents establish bank accounts and avoid being gouged by the high interest rates of check cashing outlets. That and similar programs are now spreading to other cities, and we’re encouraged to see Cisneros enthusiastically exporting San Francisco values, which will be helped by his recent election as president of the League of California Cities.

 

SUPERVISOR, DIST. 4

KATY TANG

With just six months on the job after being appointed by Mayor Ed Lee, Sup. Katy Tang faces only token opposition in this race. She’s got a single opponent, accountant Ivan Seredni, who’s lived in San Francisco for three years and decided to run for office because his wife told him to “stop complaining and do something,” according to his ballot statement.

Tang worked in City Hall as a legislative aide to her predecessor, Carmen Chu, for six years. She told us she works well with Sups. Mark Farrell and Scott Wiener, who help make up the board’s conservative flank. In a predominantly Chinese district, where voters tend to be more conservative, Tang is a consistently moderate vote who grew up in the district and speaks Mandarin.

Representing the Sunset District, Tang, who is not yet 30 years old, faces some new challenges. Illegal “in-law” units are sprouting up in basements and backyards throughout the area. This presents the thorny dilemma of whether to crack down on unpermitted construction — thus hindering a source of housing stock that is at least within reach for lower-income residents — look the other way, or “legalize” the units in an effort to mitigate potential fire hazards or health risks. Tang told us one of the greatest concerns named by Sunset residents is the increasing cost of living in San Francisco; she’s even open to accepting a little more housing density in her district to deal with the issue.

Needless to say, the Guardian hasn’t exactly seen eye-to-eye with the board’s fiscally conservative supervisors, including Tang and her predecessor, Chu. We’re granting Tang an endorsement nevertheless, because she strikes us as dedicated to serving the Sunset over the long haul, and in touch with the concerns of young people who are finding it increasingly difficult to gain a foothold in San Francisco.

Theater Listings: September 25 – October 2, 2013

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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

“Shocktoberfest 14: Jack the Ripper” Hypnodrome, 575 10th St, SF; www.thrillpeddlers.com. $25-35. Previews Thu/26-Sat/28, 8pm; Mon/30, 8pm. Opens Oct 3, 8pm. Runs Thu-Sat and Oct 29-30, 8pm. Through Nov 23. Thrillpeddlers presents their 14th annual Grand Guignol show, “a evening of horror, madness, spanking, and song.”

BAY AREA

A Winter’s Tale Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; www.calshakes.org. $35-72. Previews Wed/25-Fri/27, 8pm. Opens Sat/28, 8pm. Runs Tue-Thu, 7:30pm; Fri-Sat, 8pm (also Oct 19, 2pm); Sun, 4pm. Through Oct 20. Cal Shakes concludes its 2013 season with the Bard’s fairy tale, directed and choreographed by sister team Patricia and Paloma McGregor.

ONGOING

Acid Test: The Many Incarnations of Ram Dass Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Fri, 8pm; Sat, 8:30pm. Through Oct 12. Playwright Lynne Kaufman invites you to take a trip with Richard Alpert, aka Ram Dass (Warren David Keith) — one of the bigwigs of the psychedelic revolution and (with his classic book, Be Here Now) contemporary Eastern-looking spirituality — as he recounts times high and low in this thoughtful, funny, and sometimes unexpected biographical rumination on the quest for truth and meaning in a seemingly random life. Directed by Joel Mullennix, the narrative begins with Ram Dass today, in his Hawaiian home and partly paralyzed from a stroke, but Keith (one of the Bay Area’s best stage actors, who is predictably sure and engagingly multilayered in the role) soon shakes off the stiff arm and strained speech and springs to his feet to continue the narrative as the ideal self perhaps only transcendental consciousness and theater allow. Nevertheless, Kaufman’s fun-loving and extroverted Alpert is no saint and no model of perfection, which is the refreshing truth explored in the play. He’s a seeker still, ever imperfect and trying for perfection, or at least the wisdom of acceptance. As the privileged queer child of a wealthy Jewish lawyer and industrialist, Alpert was both insider and outsider from the get-go, and that tension and ambiguity make for an interesting angle on his life, including the complexities of his relationships with a homophobic Leary, for instance, and his conservative but ultimately loving father. Perfection aside, the beauty in the subject and the play is the subtle, shrewd cherishing of what remains unfinished. Note: review from an earlier run of this show. (Avila)

Beautiful: The Carole King Musical Curran Theatre, 445 Geary, SF; www.shnsf.com. $55-210. Tue-Sat, 8pm (also Sat and Oct 9 and 16, 2pm); Sun, 2 and 7:30pm (no evening show Oct 13 or 20). Through Oct 20. Pre-Broadway premiere of the musical about the legendary songwriter.

Band Fags! New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Oct 13. New Conservatory Theatre Center performs the West Coast premiere of Frank Anthony Polito’s coming-of-age tale, set in 1980s Detroit.

“Bay One Acts Festival” Tides Theatre, 533 Sutter, SF; www.bayoneacts.org. $20-40. Programs One and Two run in repertory Wed-Sun, 8pm. Through Oct 5. The 2013 BOA fest presents the world premieres of 13 short plays in partnership with 13 Bay Area theater companies.

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Oct 29. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Buried Child Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Tue, 7pm; Wed-Sat, 8pm; Sun, 2:30. Through Oct 6. Magic Theatre performs a revival of Sam Shepard’s Pulitzer-winning classic.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Wed-Thu, 8pm; Sat, 8:30pm. Through Oct 26. Geoff Hoyle’s hit solo show, a comedic meditation on aging, returns to the Marsh.

The Golden Dragon ACT’s Costume Shop, 1117 Market, SF; www.doitliveproductions.com. $15. Thu/26-Sat/28, 9:30pm. Do It Live! Productions presents Roland Schimmelpfennig’s tragicomic take on globalization, set in and around an Asian restaurant.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

Macbeth Fort Point, end of Marine Dr, Presidio of San Francisco, SF; www.weplayers.org. $30-60. Thu-Sun, 6pm. Through Oct 6. We Players perform the Shakespeare classic amid Fort Point’s Civil War-era fortress.

1776 ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-160. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Oct 6. American Conservatory Theater performs the West Coast premiere of Frank Galati’s new staging of the patriotic musical.

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

The Shakespeare Bug Stage Werx Theatre, 446 Valencia, SF; www.killingmylobster.com. $15-30. Thu/26-Sun/29, 8pm. Killing My Lobster in association with PlayGround perform Ken Slattery’s world-premiere comedy.

To Sleep and Dream Z Below, 470 Florida, SF; www.therhino.org. $15-30. Opens Wed/25, 8pm. Runs Wed-Sat, 8pm; Sun/29, 7pm; Oct 6, 3pm. Through Oct 6. Theatre Rhinoceros performs writer-director John Fisher’s North Bay-set drama about the challenges of love.

Too Much Light Makes the Baby Go Blind Boxcar Playhouse, 505 Natoma, SF; www.boxcar.org. $11-16. Fri/27-Sat/28, 9pm; Sun/29, 7pm. Want to experience a bit of what those legendary theater towns Chicago and New York probably take for granted? Attempting to establish a West Coast stronghold for the long-running Too Much Light Makes the Baby Go Blind, members of both the Chicago and New York ensembles of Neo-Futurists have converged at the Boxcar Playhouse for a three-week run of their signature show. The premise is simple, if dizzying. Thirty short plays are performed within the space of 60 timed minutes while the audience dictates the order of performance by shouting out the number of the play they want to see next. At the end of each performance, a die is rolled and that number of plays is dropped from the lineup to make space for brand-new ones written and rehearsed before the next weekend. The content ranges from silly to cerebral, wistful to weird, and stylistically veers from confessional to confrontational to surreal, using music, minimal props, and a complete irreverence for the fourth wall to move it forward. And while it’s nice to contemplate having our own cadre of Neo-Futurists to boast in the future, catching long-time Neo veterans such as John Pierson, Marta Rainer, and Cecil Baldwin now is a real treat. (Gluckstern)

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Through Oct 27. Soapy, kid-friendly antics with Louis Pearl, aka “The Amazing Bubble Man.”

BAY AREA

After the Revolution Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Extended through Oct 6. Emma (Jessica Bates) is a left-wing lawyer from a lefty Jewish family of Communist Party members and fellow travelers who heads an important defense fund for incarcerated Black Panther Mumia Abu-Jamal. When Emma learns that a book is coming out that pins her revered late grandfather (a CP martyr to McCarthyism for whom the fund is named) as a spy for Stalin, she collapses into an incapacitating personal crisis exacerbated by the revelation that her adored father (an expansive Rolf Saxon) already knew and kept the secret from her. The crisis leads to Emma’s severing ties with her father and, eventually, alienating her boyfriend (Adrian Anchondo) as the rest of the family do their best to negotiate the new dynamic, including her uncle Leo (Victor Talmadge), her rehab habitué of a sister (Sarah Mitchell), and her mother (Pamela Gaye Walker). Meanwhile, Emma faces the fraught temptation of a large donation to the fund by a wealthy old lefty (a fine Peter Kybart). Almost above the fray, by virtue of her unwavering devotion to the political legacy she shared with her husband, is Emma’s unreconstructed Stalinist of a grandmother, Vera (a jarringly affected Ellen Ratner in fakey-fakey old-lady makeup). Aurora Theater’s production of Amy Herzog’s After the Revolution offers another look at the celebrated American playwright whose Obie Award-winning 4000 Miles recently premiered at ACT. But just as the ACT production left one wondering what all the fuss was about, After the Revolution disappoints in its promise of exploring political commitment through the complexities of modern history and familial bonds. Instead, director Joy Carlin marshals a mostly strong cast to little effect against an unconvincing and strained dramatic narrative that seems oddly out of touch with today’s political currents. (Avila)

All’s Well That Ends Well Forest Meadows Amphitheater, 890 Bella, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-37.50. Presented in repertory through Sat/28; visit website for performance schedule. Marin Shakespeare Company continues its outdoor season with the Bard’s classic romance.

Bonnie and Clyde Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed/25-Thu/26, 7pm; Fri/27-Sat/28, 8pm; Sun/29, 5pm. Amorous outlaws and Depression-era rebels Bonnie Parker (Megan Trout) and Clyde Barrow (Joe Estlack) remain compelling as heroes and tragic figures in playwright Adam Peck’s 2010 retelling, but it’s their quieter, frailer, more delicate moments in Mark Jackson’s robust, at times transcendent staging that prove most memorable in this Shotgun Players production. It’s a sign of Jackson’s sure intelligence as a director that he can let a moment happen here wordlessly, without recourse to cut-and-dry cues of one sort or another, as happens near the outset of the evening as Barrow and Parker arrive on the run at an abandoned barn. We study them in such moments, and they breathe, like nowhere else. It’s here in this barn that they rest, woo, tussle, and tease for the next 80 enthralling minutes — interrupted only by Barrow’s moment-by-moment delivery to us of their final violent moments alive, channeling a fate awaiting them just down the road. Embodying the play’s only characters, Trout and Estlack are outstanding, dynamic and utterly persuasive. They’d be worth seeing even if the play and production were half as good as they are. Having “chosen to live lives less ordinary,” it turns out to be their palpable vulnerability and wide-ranging yet ordinary yearnings that make them exceptional creatures. (Avila)

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through Oct 27. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

A Comedy of Errors Forest Meadows Amphitheater, 890 Bella, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-37.50. Presented in repertory through Sun/29; visit website for performance schedule. Marin Shakespeare Company presents a cowboy-themed spin on the Bard’s classic.

Ella, the Musical Center REPertory Company, 1601 Civic, Walnut Creek; (925) 943-SHOW. $37-64. Wed, 7:30pm; Thu-Sat, 8pm (also Sat/28 and Oct 12, 2:30pm); Sun, 2:30pm. Through Oct 12. Yvette Cason portrays the legendary Ella Fitzgerald in this Center REP presentation.

The Tempest Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu-Sat, 8pm; Sun, 2pm. Through Oct 6. Pear Avenue Theatre performs Shakespeare’s play in a new staging by director Jeanie K. Smith.

Woman in Black — A Ghost Play Douglas Morrison Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-29. Thu/26-Sat/28, 8pm; Sun/29, 2pm. Douglas Morrison Theatre performs Stephen Mallatratt’s adaptation of Susan Hill’s spooky story.

PERFORMANCE/DANCE

Bodytraffic ODC Theater, 3153 17th St, SF; www.odcdance.org. Thu/26-Sat/28, 8pm; Sun/29, 7pm. $25-35. The LA-based repertory dance company performs Bay Area premieres by Barak Marshall and Richard Siegel, as well as a preview of a work by Kyle Abraham.

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Oct 6, 12, 20, and 26, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Death on the Ganges” Mission Cultural Center, 2868 Mission, SF; www.sirenproject.org. Thu/26-Sat/28, 7:30pm; Sun/29, 3pm. $15-50. Siren Project presents a work inspired by 57 real-life stories, staged by an all-female theater troupe, about four Bay Area women who travel to a holy city in India.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Mu” Jewish Community Center of San Francisco, 3200 California, SF; www.jccsf.org. Fri/27-Sat/28, 8pm; Sun/29, 2pm. $25. Choreographer Kimi Okada, performer Brenda Wong Aoki, and composer Mark Izu collaborate on this world premiere, based on a Japanese folk legend.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat/28, 7pm. $20-30 (free aquarium ticket with show ticket). Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“People Show 121: The Detective Show” Fort Mason Center, Southside Theater, Marina at Laguna, SF; www.peopleshowusa.com. Thu/26-Sun/29, 8pm (also Sun/29, 2pm). $39-149 (all tickets include wine; some also include dinner). The veteran British alt-theater company performs.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“Taps, Tunes, and Tall Tales” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Thu/26-Fri/27, 8pm; Sat/28, 7pm. $30-65. Tony-winning legend Tommy Tune performs.

“Union Square Live” Union Square, between Post, Geary, Powell, and Stockton, SF; www.unionsquarelive.org. Through Oct 9. Free. Music, dance, circus arts, film, and more; dates and times vary, so check website for the latest.

BAY AREA

“Bay Area Flamenco Festival” Freight and Salvage, 2020 Addison, Berk; www.bayareaflamencofestival.com. Sun/29, 8pm. $36.50-75. With David Serva, “godfather of Bay Area flamenco guitar.” *

 

Bad dads, hella docs, and more new movies!

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One theme this week is “father figures” — some terrible (see Dennis Harvey’s review of Blue Caprice here, and review of You Will Be My Son below), some frantic (Prisoners), some ass-kicking (Ip Man: The Final Fight).

Elsewhere, check out Jem Cohen’s moving narrative (but also kinda doc-like) Museum Hours (my chat with Cohen here). More short reviews below!
http://www.youtube.com/watch?v=lWOSd-kX1oo

Battle of the Year That’s “battle” as in “dance battle.” And yes, it’s in 3D. (1:49)

C.O.G. The first feature adapted from David Sedaris’ writing, Kyle Patrick Alvarez’s film captures his acerbic autobiographical comedy while eventually revealing the misfit pain hidden behind that wit. Tightly wound David (Jonathan Groff), on the run from problematic family relations and his sexual identity, takes the bus from East Coast grad school to rural Oregon — his uninhibited fellow passengers providing the first of many mortifications here en route. Having decided that seasonal work as an apple picker will somehow be liberating, he’s viewed with suspicion by mostly Mexican co-workers and his crabby boss (Dean Stockwell). More fateful kinda-sorta friendships are forged with a sexy forklift operator (Corey Stoll) and a born-again war vet (Denis O’Hare). Under the latter’s volatile tutelage, David briefly becomes a C.O.G. — meaning “child of God.” Balancing the caustic, absurd, and bittersweet, gradually making us care about an amusingly dislikable, prickly protagonist, this is a refreshingly offbeat narrative that pulls off a lot of tricky, ambivalent mood shifts. (1:37) (Dennis Harvey)

http://www.youtube.com/watch?v=z5vctLV_W7k

Herb and Dorothy 50X50 Building upon her 2008 doc Herb and Dorothy, Megumi Sasaki revisits elderly Manhattan couple Herb and Dorothy Vogel, art-world legends for amassing a jaw-dropping collection of contemporary art despite holding modest jobs and living an otherwise low-key lifestyle. (Out of necessity, they favored smaller works on paper — and whatever they bought had to fit into their one-bedroom apartment.) Remarkably, in 1992, they donated the majority of their highly valuable collection to the National Gallery of Art, but it was so vast that most of it was put into storage rather than displayed. Sasaki’s camera picks back up with the couple (Herb now in a wheelchair, with Dorothy doing most of the talking) as they work with the National Gallery to select 50 museums nationwide, each of which will receive 50 pieces of the collection. Though the film chats with some of the Vogels’ favorite artists (Richard Tuttle, notably, was initially angered by the idea of the collection being broken up), its most compelling segments are those that focus on Vogel exhibitions in relatively far-flung places, Hawaii and North Dakota included. Of particular interest: scenes in which museums without modern-art traditions help skeptical patrons engage with the art — a towering challenge since much of it appears to be of the deceptively simple, “I-could-have-done-that” variety. (1:25) (Cheryl Eddy)

Ip Man: The Final Fight Yep, it’s yet another take on kung-fu icon Ip Man, whose real-life legacy as Wing Chun’s greatest ambassador (tl;dr, he taught Bruce Lee) has translated into pop-culture stardom, most recently with Donnie Yen’s Ip Man series and Wong Kar-wai’s still-in-theaters The Grandmaster. Final Fight is directed by the prolific Herman Yau, and though it lacks the slickness of Ip Man or the high-art trappings of The Grandmaster, it does have one heavy weapon: Hong Kong superstar Anthony Wong. A less-charismatic actor might get lost in Yau’s hectic take on Ip’s later years; it’s chockablock with plot threads (union strikes, police corruption, health woes, romantic drama, brawls with rival martial-arts schools, scar-faced gangsters …) that battle for supremacy. But that’s not a problem for Wong, who calmly rises above the chaos, infusing even corny one-liners (“You can’t buy kung fu like a bowl of rice!”) with gravitas. (1:42) (Cheryl Eddy)

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

Mademoiselle C Fabien Constant’s portrait of French fashion editor-professional muse-stylish person Carine Roitfeld may be unabashedly fawning, but it does offer the rest of us slobs a peek into the glamorous life. The film begins as Roitfeld leaves her job at Vogue Paris; there’s passing mention of her subsequent feud with Condé Nast as she readies her own luxury magazine start-up, CR Fashion Book, but the only conflicts the film lingers on are 1) when a model cancels last-minute and 2) when Roitfeld goes double over budget on her first issue. (Looking at the lavish photo shoots in action, with big-name photogs and supermodels aplenty, it’s not hard to see why.) Mostly, though this is a fun ride-along with Roitfeld in action: hanging with “Karl” (Lagerfeld) and “Tom” (Ford); swooning over her first grandchild; sneaking a little cell phone footage inside the Met Ball; allowing celebs like Sarah Jessica Parker and designer Joseph Altuzarra to suck up to her, etc. There’s also a funny moment when her art-dealer son, Vladimir, recalls that he was never allowed to wear sweatpants as a kid — and her daughter, fashion-person Julia, remembers her mother’s horror when she dared to wear Doc Martens. (1:30) (Cheryl Eddy)

My Lucky Star Aspiring cartoonist Sophie (Ziyi Zhang) puts her romantic fantasies into her artwork — the bright spot in an otherwise dull life working in a Beijing call center and being hassled about her perma-single status by her mother and catty friends. As luck would have it, Sophie wins a trip to Singapore right when dreamy secret agent David (Leehom Wang) is dispatched there to recover the stolen “Lucky Star Diamond;” it doesn’t take long before our klutzy goofball stumbles into exactly the kind of adventure she’s been dreaming about. Romancing the Stone (1984) this ain’t, but Zhang, so often cast in brooding parts, is adorable, and occasional animated sequences add further enhancement to the silly James Bond/Charlie’s Angels-lite action. (1:53) (Cheryl Eddy)

http://www.youtube.com/watch?v=KWhS0xN3C0g

Prisoners Canadian director Denis Villeneuve (2010’s Incendies) guides a big-name cast through this thriller about a father (Hugh Jackman) frantically searching for his missing daughter with the help of a cop (Jake Gyllenhaal). (2:33)

http://www.youtube.com/watch?v=9_zcPBcXeo4

Salinger Documentary about the reclusive author of Catcher in the Rye. (2:00)

http://www.youtube.com/watch?v=cQcr66k-gAM

Thanks for Sharing Mark Ruffalo, Gwyneth Paltrow, and Tim Robbins star in this comedy about sex addicts from the co-writer of 2010’s The Kids Are All Right.  (1:52)

Wadjda The first-ever feature directed by a female Saudi Arabian follows a young Saudi girl who dreams of buying a bicycle. (1:37)

http://www.youtube.com/watch?v=2QmBzl5RBik

You Will Be My Son Set at a Bordeaux vineyard that’s been in the same family for generations, Gilles Legrand’s drama hides delightfully trashy drama beneath its highbrow exterior. Patriarch Paul de Marseul (Niels Arestrup of 2009’s A Prophet) treats his only son, Martin (Lorànt Deutsch) with utter contempt — think the relationship between Tywin and Tyrion Lannister on Game of Thrones, only with even more petty digs and insults. Still hopeful that he’ll inherit the estate someday, despite Papa Jackass’ loud proclamations about his “lack of palate,” Martin sees his future prospects crumble when dapper Philippe (Nicolas Bridet) blows into town, having left his California gig as “Coppola’s head winemaker” to care for his dying father, Paul’s longtime second-in-command François (Patrick Chesnais). Things go from terrible to utterly shitty when Paul decides Philippe is the answer to his prayers (see: title). Melodrama is the only recourse here, and the film’s over-the-top last act delivers some gasp-inducing (or guffaw-inducing, your choice) twists. Heading up a classy cast, Arestrup manages to make what could’ve been a one-note character into a villain with seemingly endless layers, each more vile than the last. (1:41) (Cheryl Eddy)

Theater Listings: September 18 – 24, 2013

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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

Beautiful: The Carole King Musical Curran Theatre, 445 Geary, SF; www.shnsf.com. $55-210. Opens Tue/24, 8pm. Runs Tue-Sat, 8pm (also Sat and Oct 9 and 16, 2pm); Sun, 2 and 7:30pm (no evening show Oct 13 or 20). Through Oct 20. Pre-Broadway premiere of the musical about the legendary songwriter.

Geezer Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $25-50. Opens Wed/18, 8pm. Runs Wed-Thu, 8pm; Sat, 8:30pm. Through Oct 26. Geoff Hoyle’s hit solo show, a comedic meditation on aging, returns to the Marsh.

To Sleep and Dream Z Below, 470 Florida, SF; www.therhino.org. $15-30. Previews Thu/19-Sat/21, 8pm; Sun/22, 7pm. Opens Sept 25, 8pm. Runs Wed-Sat, 8pm; Sept 29, 7pm; Oct 6, 3pm. Through Oct 6. Theatre Rhinoceros performs writer-director John Fisher’s North Bay-set drama about the challenges of love.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Opens Sun/22, 11am. Runs Sun, 11am. Through Oct 27. Soapy, kid-friendly antics with Louis Pearl, aka “The Amazing Bubble Man.”

BAY AREA

The Tempest Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Previews Thu/12, 8pm. Opens Sat/13, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Oct 6. Pear Avenue Theatre performs Shakespeare’s play in a new staging by director Jeanie K. Smith.

ONGOING

Acid Test: The Many Incarnations of Ram Dass Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Fri, 8pm; Sat, 8:30pm. Through Oct 12. Playwright Lynne Kaufman invites you to take a trip with Richard Alpert, a.k.a. Ram Dass (Warren David Keith)—one of the big wigs of the psychedelic revolution and (with his classic book, Be Here Now) contemporary Eastern-looking spirituality—as he recounts times high and low in this thoughtful, funny, and sometimes unexpected biographical rumination on the quest for truth and meaning in a seemingly random life. Directed by Joel Mullennix, the narrative begins with Ram Dass today, in his Hawaiian home and partly paralyzed from a stroke, but Keith (one of the Bay Area’s best stage actors, who is predictably sure and engagingly multilayered in the role) soon shakes off the stiff arm and strained speech and springs to his feet to continue the narrative as the ideal self perhaps only transcendental consciousness and theater allow. Nevertheless, Kaufman’s fun-loving and extroverted Alpert is no saint and no model of perfection, which is the refreshing truth explored in the play. He’s a seeker still, ever imperfect and trying for perfection, or at least the wisdom of acceptance. As the privileged queer child of a wealthy Jewish lawyer and industrialist, Alpert was both insider and outsider from the get-go, and that tension and ambiguity make for an interesting angle on his life, including the complexities of his relationships with a homophobic Leary, for instance, and his conservative but ultimately loving father. Perfection aside, the beauty in the subject and the play is the subtle, shrewd cherishing of what remains unfinished. Note: review from an earlier run of this show. (Avila)

Band Fags! New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Oct 13. New Conservatory Theatre Center performs the West Coast premiere of Frank Anthony Polito’s coming-of-age tale, set in 1980s Detroit.

“Bay One Acts Festival” Tides Theatre, 533 Sutter, SF; www.bayoneacts.org. $20-40. Programs One and Two run in repertory Wed-Sun, 8pm. Through Oct 5. The 2013 BOA fest presents the world premieres of 13 short plays in partnership with 13 Bay Area theater companies.

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $15-50. Tue, 8pm. Extended through Oct 29. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Buried Child Magic Theatre, Fort Mason Center, Bldg D, Third Flr, SF; www.magictheatre.org. $20-60. Tue, 7pm; Wed-Sat, 8pm; Sun, 2:30. Through Oct 6. Magic Theatre performs a revival of Sam Shepard’s Pulitzer-winning classic.

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Golden Dragon ACT’s Costume Shop, 1117 Market, SF; www.doitliveproductions.com. $15. Thu-Sat, 9:30pm. Through Sept 28. Do It Live! Productions presents Roland Schimmelpfennig’s tragicomic take on globalization, set in and around an Asian restaurant.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; www.boxcartheatre.org. $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

Macbeth Fort Point, end of Marine Dr, Presidio of San Francisco, SF; www.weplayers.org. $30-60. Thu-Sun, 6pm. Through Oct 6. We Players perform the Shakespeare classic amid Fort Point’s Civil War-era fortress.

“San Francisco Fringe Festival” Exit Theatreplex, 156 Eddy, SF; www.sffringe.org. $12.99 or less (passes, $45-75). Through Sat/21. The 22nd SF Fringe presents 36 shows that explore the boundaries of theater and performance.

1776 ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-160. Opens Thu/19, 8pm. Runs Tue-Sat, 8pm (also Wed and Sat, 2pm; Tue/24, show at 7pm); Sun, 2pm. Through Oct 6. American Conservatory Theater performs the West Coast premiere of Frank Galati’s new staging of the patriotic musical.

Sex and the City: LIVE! Rebel, 1760 Market, SF; trannyshack.com/sexandthecity. $25. Wed, 7 and 9pm. Open-ended. It seems a no-brainer. Not just the HBO series itself — that’s definitely missing some gray matter — but putting it onstage as a drag show. Mais naturellement! Why was Sex and the City not conceived of as a drag show in the first place? Making the sordid not exactly palatable but somehow, I don’t know, friendlier (and the canned a little cannier), Velvet Rage Productions mounts two verbatim episodes from the widely adored cable show, with Trannyshack’s Heklina in a smashing portrayal of SJP’s Carrie; D’Arcy Drollinger stealing much of the show as ever-randy Samantha (already more or less a gay man trapped in a woman’s body); Lady Bear as an endearingly out-to-lunch Miranda; and ever assured, quick-witted Trixxie Carr as pent-up Charlotte. There’s also a solid and enjoyable supporting cast courtesy of Cookie Dough, Jordan Wheeler, and Leigh Crow (as Mr. Big). That’s some heavyweight talent trodding the straining boards of bar Rebel’s tiny stage. The show’s still two-dimensional, even in 3D, but noticeably bigger than your 50″ plasma flat panel. (Avila)

The Shakespeare Bug Stage Werx Theatre, 446 Valencia, SF; www.killingmylobster.com. $15-30. Thu-Sun, 8pm. Through Sept 29. Killing My Lobster in association with PlayGround perform Ken Slattery’s world-premiere comedy.

BAY AREA

After the Revolution Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Extended through Oct 6. Aurora Theatre opens its 22nd season with the Bay Area premiere of Amy Herzog’s family drama.

All’s Well That Ends Well Forest Meadows Amphitheater, 890 Bella, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-37.50. Presented in repertory Fri-Sun through Sept 28; visit website for performance schedule. Marin Shakespeare Company continues its outdoor season with the Bard’s classic romance.

Bonnie and Clyde Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Sept 29. Amorous outlaws and Depression-era rebels Bonnie Parker (Megan Trout) and Clyde Barrow (Joe Estlack) remain compelling as heroes and tragic figures in playwright Adam Peck’s 2010 retelling, but it’s their quieter, frailer, more delicate moments in Mark Jackson’s robust, at times transcendent staging that prove most memorable in this Shotgun Players production. It’s a sign of Jackson’s sure intelligence as a director that he can let a moment happen here wordlessly, without recourse to cut-and-dry cues of one sort or another, as happens near the outset of the evening as Barrow and Parker arrive on the run at an abandoned barn. We study them in such moments, and they breathe, like nowhere else. It’s here in this barn that they rest, woo, tussle, and tease for the next 80 enthralling minutes — interrupted only by Barrow’s moment-by-moment delivery to us of their final violent moments alive, channeling a fate awaiting them just down the road. Embodying the play’s only characters, Trout and Estlack are outstanding, dynamic and utterly persuasive. They’d be worth seeing even if the play and production were half as good as they are. Having “chosen to live lives less ordinary,” it turns out to be their palpable vulnerability and wide-ranging yet ordinary yearnings that make them exceptional creatures. (Avila)

Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sat, 8:30pm; Sun, 7pm. Through Oct 27. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

A Comedy of Errors Forest Meadows Amphitheater, 890 Bella, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-37.50. Presented in repertory Fri-Sun through Sept 29; visit website for performance schedule. Marin Shakespeare Company presents a cowboy-themed spin on the Bard’s classic.

Ella, the Musical Center REPertory Company, 1601 Civic, Walnut Creek; (925) 943-SHOW. $37-64. Wed, 7:30pm; Thu-Sat, 8pm (also Sept 28 and Oct 12, 2:30pm); Sun, 2:30pm. Through Oct 12. Yvette Cason portrays the legendary Ella Fitzgerald in this Center REP presentation.

Woman in Black — A Ghost Play Douglas Morrison Theatre, 22311 N. Third St, Hayward; www.dmtonline.org. $10-29. Fri-Sat and Sept 26, 8pm (also Sat/21, 2pm); Sun, 2pm. Through Sept 29. Douglas Morrison Theatre performs Stephen Mallatratt’s adaptation of Susan Hill’s spooky story.

PERFORMANCE/DANCE

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; www.feinsteinssf.com. Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/21, Oct 6, 12, 20, and 26, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

Megan Hilty Venetian Room, Fairmont San Francisco, 950 Mason, SF; www.bayareacabaret.org. Sun/21, 8pm. $95. The Broadway and television (Smash) star headlines Bay Area Cabaret’s tenth anniversary season opening gala.

“Mission Position Live” Cinecave, 1034 Valencia, SF; www.missionpositionlive.com. Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Monkey Gone to Heaven” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thu/19-Sat/21, 8pm; Sun/22, 7pm. $20. EmSpace Dance performs the world premiere of a dance-theater work inspired by the relationship between primates and prayer.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; www.capacitor.org. Sat, 7pm. Through Sept 28. $20-30 (free aquarium ticket with show ticket). Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; www.sfmagicparlor.com. Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony.

“San Francisco Stand-Up Comedy Competition: Preliminary Round” Jewish Community Center of San Francisco, 3200 California, SF; www.jccsf.org. Sat/21, 8pm. $25-35. Stand-up comedians battle it out.

“Union Square Live” Union Square, between Post, Geary, Powell, and Stockton, SF; www.unionsquarelive.org. Through Oct 9. Free. Music, dance, circus arts, film, and more; dates and times vary, so check website for the latest.

“Vak: Song of Becoming” Yerba Buena Center for the Arts, 701 Mission, SF; www.ybca.org. Fri/20-Sat/21, 8pm. $20-35. Composer and vocalist Ann Dyer performs a work inspired by Indian goddess Vak, “who creates the world through sound vibration.” The work features choreography by Erika Chong Shuch.

“The Video Game Monologues” Cartoon Art Museum, 655 Mission, SF; www.cartoonart.org. Thu/19, 5-8pm. $5 (suggested donation). Get a sneak preview of the show that’s drawn from real stories of gamers and game characters.

Xitlalli Danza Azteca San Francisco Botanical Gardens, Golden Gate Park (near Ninth Ave at Lincoln), SF; www.sfbotanicalgarden.org. Sat/21, noon-2pm. Free. The group performs traditional ritual Aztec dances to celebrate the blooming of the SF Botanical Garden’s Mesoamerican Cloud Forest Garden.

BAY AREA

“Bay Area Flamenco Festival” La Peña Cultural Center, 3105 Shattuck, Berk; www.bayareaflamencofestival.com. Sun/21, 8pm. $30-50. Gypsy flamenco icon Concha Vargas headlines the first weekend of this eighth annual festival. *

 

Domestic workers may get labor rights

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The California Legislature gave final approval to the Domestic Workers Bill of Rights on Sept. 12, legislation sponsored by Assemblymember Tom Ammiano (D-SF) to finally extend some labor rights to this largely female and immigrant workforce. Advocates are hopeful that Gov. Jerry Brown will sign it this time.

As we reported in a Guardian cover story, “Do we care?” (March 28), domestic and farm workers are the only two categories of employees exempted from federal labor law, and the caregiving professions are consistently undervalued in our economic and political systems. Last year, Brown vetoed the Domestic Workers Bill of Rights, expressing the concern that it might hurt the economy and cost jobs.

But advocates for the measure came back even stronger this year than last, and they recently accepted a set of amendments in the Senate that weaken the bill but may make it more palatable to Gov. Brown, including eliminating the requirement for rest and meal breaks and giving the measure a three-year sunset and commission to review its impacts.

“We’ve had discussions with the administration and we think we’re on the right track to get it signed,” Ammiano’s Press Secretary Carlos Alcala told the Guardian.

He emphasized that the bill still retains the requirement that domestic workers, who routinely work more than 40 hours per week, are entitled to overtime pay, something that Ammiano also emphasized in a prepared statement.

“This is a historic moment,” Ammiano said. “This now goes to the governor for his signature. That will give these workers, mostly women, the right to be paid fairly for overtime worked.”

Katie Joaquin, campaign coordinator the California Domestic Workers Coalition, said she’s excited to see the bill pass and hopeful that Brown will sign it this time.

“If he signs this bill, California would be the first state to give daily overtime rights to all domestic workers,” she said.

Gov. Brown has until Oct. 13 to sign it. 

Fighting foreclosures

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joe@sfbg.com

It will be a long war, but for now, Richmond is winning.

Two battles in the start of the city of Richmond’s war on foreclosures were fought and won in the past week. A US District Court of Appeals judge dismissed Wells Fargo’s lawsuit against Richmond’s controversial plan to use eminent domain to save residents with underwater mortgages (see “Not for sale,” Sept. 3). And Mayor Gayle McLaughlin successfully fought off legislation at the Richmond City Council to torpedo the plan before it started.

“I’m willing to go as high as the Supreme Court to settle this on behalf of our community,” McLaughlin told us. These are the first fledgling steps in that long fight, a fight McLaughlin calls a just cause.

Half of all mortgages in Richmond are underwater, and as homes get foreclosed upon, the problems stack up: blighted neighborhoods, declining property tax revenues, public employee layoffs, rising crime, and homeless families. To stem the tide of foreclosures, Richmond teamed with Mortgage Resolution Partners (MRP) to attempt to buy the loans of 624 underwater mortgages and allow the owners to keep their homes.

Richmond’s government sent out offers, and it is still waiting to hear back from the owners of the loans.

The controversy comes when the banks that hold the loans refuse to sell. In that case, Richmond would invoke the power of eminent domain to seize the mortgage loans.

Wells Fargo said in its lawsuit that this is a plan to line the pockets of MRP and the city of Richmond, a greedy and unconstitutional land grab. Eminent domain has never been used for this purpose, but as the judge noted in the lawsuit’s first hearing Sept. 12 in San Francisco, the plan has yet to be acted on.

“Okay, let’s end the suspense, I don’t believe (the case) is ripe for determination,” Judge Charles Breyer told the attorneys from Wells Fargo. “There are a series of steps that can or cannot take place…. If they do take place, that’s the time for the court to take a look at it.”

Breyer noted that if and when Richmond wanted to use eminent domain to seize mortgage loans, the council would need to file a resolution of necessity through state court. At that point, he could act.

On Sept. 16, the case was dismissed. Too little has happened, and it is entirely too early to make any decisions, Breyer said.

Stacey Leyton, a lawyer representing Richmond in the lawsuit, explained the judge’s decision plainly: “Courts are not supposed to review legislative actions before the (legislative body) has decided which action to take.”

The Guardian reached out to Wells Fargo but we were told that it had nothing to say beyond its court filings, and referred us to the investors in the loans, of which Wells Fargo is a trustee.

But why is Wells Fargo pushing so fast for the courts to intervene? The eminent domain plan could mean a possible loss of revenue for Wells Fargo and the investors it represents, sending chills down the spine of Wall Street, a representative of MRP said.

MRP founder John Vlahoplus told us the eminent domain tactic is powerful because for Wells Fargo, legally challenging every municipality in the United States is much tougher than paying off a few fat cats in Congress.

So the stakes are high: if Richmond wins the eminent domain battle, cities across the country could use the tactic to rescue underwater mortgages, and the families that would otherwise lose their homes, swinging the balance of power from Wall Street toward cities.

Score one for Richmond, and zip for Wells Fargo, so far.

 

LOCAL FRONT

But the real drama happened closer to home. Before Richmond could fight the enemies from without, it fought the enemies within.

On Sept. 10, Richmond’s controversial plan for preventing home foreclosures using eminent domain was almost torpedoed at the Richmond City Council meeting, where its members waged a nasty fight before more than 300 attendees.

Advocates for city intervention against the banks won when the council voted 5-2 against a resolution to rescind the city’s offer to purchase 624 underwater mortgages and halt any effort by the city to seize those mortgages through eminent domain.

A separate resolution by Mayor McLaughlin to establish a joint powers authority, uniting cities to battle litigation against the eminent domain plan, also passed.

Vice Mayor Courtland “Corky” Boozé and Councilmember Nathaniel Bates sponsored the resolution attacking the plan, and cast the only votes in its favor.

Boozé and Bates said the city risks bankruptcy if Well Fargo wins its lawsuit, putting Richmond’s financial solvency on the line, but their colleagues were dubious.

“My vote is not supposed to be if (Wall Street investors) are a bunch of jerks and I want to stick it to them,” Councilmember Jim Rogers said to the audience.

After the city laid off a third of the government’s workforce in lean economic years, Rogers has reason to worry. City Manager Bill Lindsay laid out the risks for those in the auditorium.

Because no city has ever tried this before, he said, no liability insurance exists for this kind of work, which MRP has acknowledged. “If you believe the potential loss (of a lawsuit) is catastrophic, it’s important to acknowledge that’s an issue,” he said.

He also said it was tough for the city go it alone as a single entity, explaining the need for a joint powers authority, which would build a coalition of cities against Wells Fargo and other litigants.

State law requires a supermajority of the council, five members, to back any eminent domain action and only at the time that it would take place, he said.

Hours of back and forth passed between the city manager and Boozé who, after some arguing, asked the audience in frustration, “Are 110,000 people worth fighting Wall Street for?”

The crowd roared its answer immediately: “YES!”

The ideological split of the audience was clear: Eminent domain supporters wore yellow shirts with a logo of the activist group Alliance of Californians for Community Empowerment, and those against wore red shirts branded “Stop Investor Greed.”

Those sporting the red shirts were mostly from the real estate industry, and in public comment they generally expressed that if someone were to lose their home, well, “so what?”

Lisa Johnson, clad in red, said, “My house is an investment, not a right.”

A representative from Richmond’s Council of Industries asked the mayor to reconsider the eminent domain plan, and to rescind the initiative.

Jerry Feagley, whose Feagley Realtors has sold homes since 1966, said the plan risks damaging all of Richmond’s ability to get credit. He was a seemingly mild-mannered man who is exactly who you’d picture if you think of a businessman from the ’50s, gray suit and all. “If this would go into effect, this would change loans in the entire country,” he said, passionately.

Well, that’s the idea, the supporters countered.

“I was at the March on Washington with Martin Luther King 50 years ago. Yes, I’m that old,” said one woman. She was bent over with age but spoke with volume. “That’s exactly what we have to do. We’re going to have to meet power with power and challenge the status quo.”

More than 50 supporters spoke at the podium. The meeting started at 7pm, and stretched on well past 1am. If there was one central theme to their sentiments, it was this: Richmond has hit rock bottom, and now is the time to fight back.

Councilmember Tom Butt put it in plain terms. “What we’re voting for is a giant game of chicken, and it’s clear two of my colleagues have blinked,” he said, referring to Boozé and Bates. “I’m not blinking.”

The council voted, and amid the turmoil and arguing and anger, the Boozé and Bates measure was rejected.

Having already lost once that night, Bates did not fare well when time came to vote on forming a joint powers authority. El Monte may be the first to join, McLaughlin said, which would help homeowners in need who are often people of color. Bates countered that McLaughlin should look out for “her people” and not try to use “his people” as a front for her legislation. “You don’t speak for my community,” he said, referring to African Americans. When another black council member, Jovanka Beckles, spoke up to thank her “white brothers and sisters” for joining in a fight for justice, Bates was uncompromising. “You are not African American,” he told her. Boozé also had words for the other dissenting African American Councilmember Jael Myrick. “One day you’ll have to stand up and be black,” he said. McLaughlin’s measure then passed 4-3, with council members Boozé, Bates and Rogers dissenting. The last remaining supporters waved their yellow flags and the dwindling crowd clad in yellow shirts left victorious, for now.

Legislature approves Domestic Workers Bill of Rights, but will Brown sign it this time?

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The California Legislature today gave final approval to the Domestic Workers Bill of Rights, legislation sponsored by Assemblymember Tom Ammiano (D-SF) to finally extend some labor rights to this largely female and immigrant workforce. Advocates are hopeful that Gov. Jerry Brown will sign it this time.

As we reported in a Guardian cover story in March, “Do we care?,” domestic and farm workers are the only two categories of employees exempted from federal labor law, and the caregiving professions are consistently undervalued in our economic and political systems. Last year, Brown vetoed the Domestic Workers Bill of Rights, expressing the concern that it might hurt the economy and cost jobs.

But advocates for the measure came back even stronger this year than last, and they recently accepted a set of amendments in the Senate that weaken the bill but may make it more palatable to Gov. Brown, including eliminating the requirement for rest and meal breaks and giving the measure a three-year sunset and commission to review its impacts.

“We’ve had discussions with the administration and we think we’re on the right track to get it signed,” Ammiano’s Press Secretary Carlos Alcala told the Guardian.

He emphasized that the bill still retains the requirement that domestic workers, who routinely work more than 40 hours per week, are entitled to overtime pay, something that Ammiano also emphasized in a prepared statement.

“This is a historic moment,” Ammiano said. “This now goes to the governor for his signature. That will give these workers, mostly women, the right to be paid fairly for overtime worked.”

Katie Joaquin, campaign coordinator the California Domestic Workers Coalition, said she’s excited to see the bill pass and hopeful that Brown will sign it this time.

“If he signs this bill, California would be the first state to give daily overtime rights to all domestic workers,” she said, referring to its requirement that domestic workers get overtime pay after working nine hours in a day, the same standard as now applies to live-in caregivers. 

While she said it was hard to accept some of the amendments, such as removing the requirement that domestic workers get uninterrupted time for a full night’s sleep, she said they were acceptable conditions for this initial reform measure. And she said the sunset provision could actual work in their favor: “We plan to take that as an opportunity to fight for even more.”

The bill, AB241, was approved by the Assembly today on a 48-25 vote to concur with the amendment made in the Senate. Gov. Brown has until Oct. 13 to sign it. 

Mayor Lee distorts reality in defending CleanPowerSF obstruction by his appointees

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Mayor Ed Lee yesterday answered a series of five questions from the Board of Supervisors about CleanPowerSF, the renewable energy program it approved last year on a veto-proof 8-3 vote, but which three of Lee’s appointees on the San Francisco Public Utilities Commission are now blocking.

Lee reaffirmed his opposition to the program and support for the three commissioners who are refusing to approve a maximum rate for the program, while making a series of statements that were misleading, contradictory, and, according to Sup. John Avalos, some outright falsehoods.

CleanPowerSF would group tens of thousands of city residents into a renewable energy buying pool, a system called Community Choice Aggregation authorized by state legislation, which would compete against Pacific Gas & Electric’s illegal local monopoly. Initally, the energy would be purchased under a contract with Shell Energy, but the main goal of the program is to build city-owned renewable energy facilities by issuing revenue bonds supported by the program’s ratepayers.

Yet the program Lee described has little resemblance to CleanPowerSF — and his statements of support for the concept belie his longstanding opposition to the program and support for PG&E, whose union is leading the campaign to kill CleanPowerSF.

“I know that many members of the Board of Supervisors are upset,” Lee began in his first answer to similar questions posed by Sups. Eric Mar, David Chiu, London Breed, David Campos, and John Avalos, who all represent the odd-numbered districts whose turn it was to submit questions to the mayor for this month’s appearance.

Lee then explained that one of the duties of  the SFPUC is to protect ratepayers, which he called “the overriding concern they have when faced with any issue,” adding that, “The commission ultimately decided that the rate wasn’t a fair rate.”

Ironically, the top rate that the commission is being asked to approve in order to finally launch CleanPowerSF was just 11.5 cents per kilowatt-hour, only slightly more than current PG&E rates and a substantial reduction from the rate that was discussed last year when supervisors approved the program.

PG&E, Lee, and other critics of the program had attacked its high cost, so SFPUC staffers tweaked the program to allow the initial use of Renewable Energy Credits, which support the creation of renewable energy projects, rather than being purely juice directly from solar, wind, and other renewable sources, which is more expensive.

So Lee criticized that change as a departure from what the board approved last year, telling the supervisors that the program should be at least “95 percent renewable on day one,” saying that, “This is what a green power program should look like.”

Yet when it did look like that, Lee opposed it, something he didn’t mention yesterday. And yet he still made the argument that the SFPUC was simply exercising its fiduciary responsibility in blocking a program that has gotten cheaper than when the board approved it.

“The San Francisco Public Utilities Commission did its job in protecting ratepayers,” Lee said. “I agree with the majority of the PUC.”

So, on one hand, Lee said that CleanPowerSF has “gotten progressively more expensive as time goes on,” citing statements made years ago about the goal of trying to meet-or-beat PG&E’s rates, which have been subsidized by taxpayers over the years.

And when the program then got close to matching those rates, he criticized the use of RECs to get there, saying the climate change benefits “need to be real and tangible and not based on vague promises.”

Yet even city-commissioned studies have shown that San Francisco won’t meet its own greenhouse gas reduction goals without substantially changing the energy portfolio of city residents, and CleanPowerSF is the only plan on the table to get there, except for PG&E’s vague promises to offer more renewable energy in the future.

While Lee touted city efforts to improve the energy efficiency of commercial buildings and the recent launch of a regional bike share program — neither of which will come close to meeting city climate change goals — even he acknowledged the “need to expand our in-city renewable energy generation,” citing the $4 million SolarSF as an example.

But Lee never made reference to CleanPowerSF’s plan to build up to $1 billion in renewable energy projects whose impacts would be far more impactful. Instead, he said the program “creates no local jobs,” which wouldn’t be true during the buildout phase.

While praising PG&E, Lee also glossed over the fact that a majority of supervisors still support CleanPowerSF, and that the SFPUC vote was supposed to be on the rate and not these ancillary issues, raising fundamental democratic issues when three mayoral appointees can override the decision of elected supervisors who represent all city residents.

“When a final project is so vastly different than the original intent, the San Francisco Public Utilities Commission has to intervene,” Lee said.

Avalos called many of Lee’s statements “lies,” so I followed Mayor Lee back to his office after the hearing and we had the following conversation as several reporters from other media outlets listened in:   

SFBG: Supervisor Avalos just said that you’ve made a number of statements that are not factually accurate, and certainly misleading, including saying that the program has changed substantially. Given that you opposed the program initially, and you seem to make statements that criticize those changes, and clearly the majority still supports it, how can you make the argument that the PUC is acting against it because the program has changed?

Mayor Lee: Well, you know, I know that elements of this are somewhat complicated cause you have to actually read a lot of volumes of materials to understand the choice aggregation program, cause it has those three aspects and I would….

SFBG: As guidelines, not as rates….

Mayor Lee: I would point to those numbers that were discussed at the board and presented to the [SF] Public Utilities Commission, because that’s what I’m quoting from. I’m taking it, not from even verbiage, I’m taking it exactly from facts that were presented at the commission at the Board of Supervisors and I specifically lifted quotes from the board about their comments about local jobs and all the other things, so, I don’t think I’m inaccurate at all. I think I’m actually quite on point.

SFBG: But the rates have come down from when they approved it and you made it sound like the rates have gone up.

Mayor Lee: The rates were up and they came down in trade off with less green.

SFBG: Right…

Mayor Lee: That’s about the point I was trying to make is that we wanted these other goals to happen and they couldn’t happen cause people were trading off things in order to set the rates and that was going to become a bigger and bigger gap as to what the original goals were. That’s the way…

SFBG: But the board clearly wants this program. Why, as a matter of policy, as a matter of city procedure, why isn’t the elected body the one to make this decision, instead of your appointees?

Mayor Lee: Well, I think that’s the whole reason why they presented it to the Public Utilities Commission. They’re charter mandated to set these rates. It’s not just an automatic acceptance of what the board says. They also independently review what the board has said. And in their independent review, they said they had gone well beyond what they stated their goals were and so they couldn’t set the rates and still honor all the goals that the board was suggesting.

SFBG: But those rates are less than what the Board has approved. How can they be exercising fiscal oversight… I mean, it doesn’t make any sense.

Mayor Lee: I think we have a big disagreement there. They’re mandated by the charter to set those rates responsibly, not just to follow what the board has stated and so, in their independent review, they went and reviewed all the goals that the board has said and said ‘This is not the program that they have stated should be fulfilled.’

SFBG: Even though the majority of the Board of Supervisors disagree with that statement that you just made?

Mayor Lee: Well, you know, then again, are we not respecting peoples’ right to disagree over what is being done here?

SFBG: But your argument that the program changed from what they approved, a  majority is saying ‘that’s not true,’ that you’re misrepresenting that.

Mayor Lee: No, I don’t think that I’m misrepresenting that. I disagree with that.

SFBG: A majority of the Board of Supervisors who approved it says you are.

Mayor: Well, I disagree with that assessment.