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Our Weekly Picks: May 9-15, 2012

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WEDNESDAY 9

Lotus Plaza

Lotus Plaza soaks innocent, introspective lyrics in bright, ambient noise. Its sound is somewhat of an Animal Collective meets Real Estate phenomenon, as repetition, staccato, washed out haze, and subtle, ’60s-inspired surfy guitar riffs predominate. Lotus Plaza — the solo project of Deerhunter’s guitarist Lockett Pundt — released its sophomore LP, Spooky Action at a Distance, early last month. You’ll get lost in this album’s consuming drone and echoing vocals, which focus on escape, living with yourself, and the future. Pundt has cited influences ranging from Stereolab to My Bloody Valentine to Gary Numan, so listen up! (Mia Sullivan)

With Wymond Miles, Mirror Mode

7:30pm, $12

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com

 

THURSDAY 10

“Plantosaurus Rex: Prehistoric Plants at the Conservatory of Flowers”

If you thought exotic nature sightings in Golden Gate Park were limited to bison, swans, and the occasional coyote, it’s time to put on your Jeff Goldblum sunglasses and stroll over to the Conservatory of Flowers. Not only does “Plantosaurus Rex,” which opens today, host life-sized model dinosaurs — including a baby Stegosaurus chillin’ in the foliage, and a toothy Tyrannosaurus poking its head through the Conservatory roof — it also features an evolutionary journey through prehistoric plant life, some of which might look familiar (if oddly-proportioned): huge ferns, giant seed pods, etc. Good fun for pint-sized budding paleontologists and full-grown botany nerds alike. (Cheryl Eddy)

Through Oct. 21

Tue-Sun, 10am-4pm, free–$7

Conservatory of Flowers

100 John F. Kennedy, Golden Gate Park, SF

www.conservatoryofflowers.org

 

 

“Barbary Coast and Beyond”

You hear “Gold Rush” and a stream of shimmering images pan across your mind’s eye; you hear “Barbary Coast” and the raucous calls of drunken sailors and ladies of the night fill your mental ear. But what of the actual music of this period, when Caruso was carousing the City by the Bay and tinny saloon pianos were banging out civic-pride singalongs like “California, Here I Come” and “Hello, Frisco, Hello”? The SF Symphony is hopping into the sepia-toned wayback machine to bring to life the astonishingly fertile local musical milieu of the period from the Gold Rush to the Panama-Pacific Exhibition, full of tunes brought to SF by famous old-time performers like Ole Bull and Luisa Tetrazzini. The journey is narrated by beloved Beach Blanket Babylon emeritus Val Diamond. (Marke B.)

Also Fri/11 and Sat/12. 8pm, $35–$140

Davies Symphony Hall

201 Van Ness, SF

(415) 864-6000

www.sfsymphony.org

 

Dead Milkmen

With its humorous and unorthodox take on punk rock back when hardcore was the norm, The Dead Milkmen set itself apart in the scene when it first formed in Philadelphia in 1983, gradually earning a following with fan-favorite tunes such as “Bitchin’ Camaro,” “The Thing That Only Eats Hippies,” and what would become its biggest mainstream success, “Punk Rock Girl.” After a 13-year break up and the passing of original bassist Dave Schulthise, the band reunited in 2008, and released The King In Yellow last year, bringing back its joyously clever songs and sound for fans to dance around and sing-along with like the old days. (Sean McCourt)

With Terry Malts

9pm, $23

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

FRIDAY 11

“The Last Drive-In Presents: 16mm Movie Night”

Benefiting Lost Weekend’s Cinecave, this event was set up by a couple of former rep house projectionists, screening so-bad-they’re-good (to mock) 16mm movies complete with classic trailers and snack bar reels to recreate the drive-in experience. (Without, I guess, the car and the crappy metal speakers to hang on the window.) The UK sci-fi double for the night includes The Crawling Eye (1958), which has been described as a surprisingly good picture…until the appearance of the remarkably bad feature creature, and the illogically titled, They Came from Beyond Space (1967). (Ryan Prendiville)

7pm, $5–$10 suggested donation Alley Cat Books 3036 24th St., SF (415) 824-1761

Facebook: AlleyCatBooks

 

Black Moth Super Rainbow

The mysterious TOBACCO flings heavy, analog-laden funk tracks that spark parties and haunt listeners in their dreams. But the progenitor of modern psychedelic-pop brings sunniness (slightly) as the lead of Black Moth Super Rainbow. Compared to TOBACCO’s dark and stormy skies, BMSR is a tehnicolor-saturated spring day. Listeners float in fuzzy synths, retro distortions, and vocoded TOBACCO vocals, while a current of punchy beats carries them along. TOBACCO scrapped a BMSR album slated for release in 2011, but fans should be excited that a new album is in the works. (Kevin Lee)

With Lumerians, Gramatik, Flako, Zackey Force Funk, Mophone, Annalove, DJ Dials, DJ Sodapop

10pm, $20

103 Harriet, SF

(415) 932-0955

www.1015.com

 

Savoy

This Boulder, Colo.-based “electro dubstep rock” trio remixes hits from the likes of Chromeo, Dire Straights, and the Beastie Boys with synthesizers and a drum kit. The result is a palpable wall of bass-heavy, dance-your-ass-off-worthy electronic sound. DJs Ben Eberdt and Gray Smith and drummer Mike Kelly have been going at it since their undergrad days at the University of Colorado. Savoy’s influences range from French house music to Phish, and the group has made inroads in the festival scene this year. (It played SXSW and is on the bill for Wakarusa.) Expect a dizzying light show, a high-energy dance party, and ecstasy in all of its forms. (Sullivan)

With Redeye, Robot.Mafia, Cutterz

9pm $16

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

SATURDAY 12

Cyro Baptista

Cyro Baptista’s collaboration list reads like a very compelling who’s who in the music industry — Herbie Hancock, Yo-Yo Ma, Serge Gainsbourg, Paul Simon, and John Zorn are among the greats who have worked with the Brazilian composer and percussionist. Born and raised in São Paulo, Baptista floats between jazz and world music. His eye-catching Beat the Donkey project was a multicultural percussion and dance show, featuring Baptista banging on some PVC pipe and buckets. New project Banquet of the Spirits, featuring bassist Shani Blumenkrantz and fingerstyle guitarist Tim Sparks, explores some of Zorn’s previous work dedicated to the Jewish Diaspora, with twists of Brazilian and Middle Eastern styles. (Lee)

With Tim Sparks and Shanir Blumenkrantz

8pm, $25

Swedish American Hall

2174 Market, SF

(415) 861-5016

www.sfjazz.org

 

Eskmo

Local producer Brendan Angelides creates electronica that somehow manages to sound both tightly produced and expansive at the same time. The easy but fair comparison is to Ninja Tune labelmate Amon Tobin, and the two have collaborated under the guise Eskamon on Angelides’ own Ancestor record label. Many electronic listeners will know Angelides through his alias Eskmo and his multi-layered post-hip hop on 2010’s Eskmo EP, but new work under the moniker Welder is just as provocative. On last fall’s Florescence, classical strings and pianos intertwined with Angelides’ intricate beat production, like a symphony embarking on a mellow jazz jam session. (Lee)

With Love & Light, DJ Dials, U9Lift

9pm, $15

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

SUNDAY 13

How Weird Street Faire

How do you know the summer festival season has truly sprung? Follow the breakdancing purple fuzzy dude through the rabbithole of deepest SoMa, choose the third key (probably) and enter a musical and artistic wonderland where the spirit number is 13 — not the unlucky 13, the brilliantly Bizarro 13 signifying 13 writhing blocks of neon freakiness and 13 stages pumping ravey local sounds. This is also the thirteenth How Weird Faire (on May 13!), celebrating 13 moons with the costume theme “Time,” which may or may not have something to do with galactic tones or Mayan glyphs, but definitely with “good times” in general. Jam out to the likes of the Sunset, Forward, Pink Mammoth, and tons of other DJ crews, peruse many Vendors from Beyond the Cosmic Edge, and revel in our delightful homegrown insanity. (Marke B.)

Noon-8pm, $10 donation requested

Howard and Second Street, SF

www.howweird.org

 

MONDAY 14

Herman Dune

Fans of Jonathan Richman, David Berman, Stephin Merritt, or anyone else who expertly blurs the line between twee earnestness and winking sarcasm will find plenty to love about Herman Dune. Recently boiled down to its core as a two-piece, the Parisian group is touring in support of 2011’s Strange Moosic, its latest batch of quirky anti-folk and bouncy indie-pop. Nearly every song in the band’s now impressively deep catalogue contains at least one endearing or sly lyrical gem courtesy of lead singer David-Ivar Herman Dune’s charming vocal delivery. Check out single “Tell Me Something I Don’t Know” and its Jon Hamm-starring music video to get a sense of the feel-good world the duo creates. (Landon Moblad)

With the Sam Chase, DJ Britt Govea

8pm, $14

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

TUESDAY 15

“Celebrating 35 Years of Star Wars Comic Books: An Evening with Howard Chaykin and Steve Leialoha”

A long time ago, in a galaxy far, far away… more specifically 1977 New York, representatives from LucasFilm contacted Marvel Comics about creating an adaptation of their upcoming sci-fi flick Star Wars, which of course, went on to be one of the most successful film franchises of all time, but also a beloved and long-running comic title. Artists Howard Chaykin and Steve Leialoha, who worked on those early issues, will be on hand tonight for a 35th anniversary celebration of all things Sith and Jedi in the comic realm, along with a discussion and presentation about their work hosted by comedians Michael Capozzola and Joe Klocek. (McCourt)

7-9pm, $7

Cartoon Art Museum

655 Mission, SF

(415) CAR-TOON

www.cartoonart.org

 

Ana Tijoux

When the title track from Chilean rapper Ana Tijoux’s 1977 played over a montage of perpetual fuckup Jesse Pinkman riding shotgun with Mike the Cleaner on the latest season of AMC’s Breaking Bad, it was the type of moment that TiVo was made for, or maybe just sent viewers to their phones, trying to figure out who was responsible for that particularly cinematic song. Tijoux — who was born in France during Pinochet’s reign — has an infectiously cool flow and a conscious, no bullshit attitude that comes across in any language. Both political and personal Tijoux now returns with the album La Bala featuring “Shock,” a response to the recent student movements in Chile. (Prendiville)

With Los Rakas, Raw G

8pm, $15

Independent

628 Divisadero, SF

(415) 771-1421

www.theindependentsf.com

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

Stage Listings May 2-8, 2012

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

THEATER

OPENING

Down to This Exit Stage Left, 156 Eddy, SF; www.sleepwalkerstheatre.com. $12-20. Opens Thu/3, 8pm. Runs Thu-Sat, 8pm. Through May 26. Sleepwalkers Theatre performs a pulpy thriller with two possible endings.

“San Francisco International Arts Festival” Various venues, SF; www.sfiaf.org. Free-$70. May 2-20. Performance festival featuring theater and dance from Cuba, Iran, Russia, the U.S., China, Japan, Estonia, and more.

The Wrong Dick Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Opens Thu/3, 8pm. Runs Thu-Sat, 8pm. Through May 26. Ham Pants Productions presents a noir-inspired comedy set in San Francisco.

Zorba Eureka Theater, 215 Jackson, SF; (415) 255-8207, www.42ndstmoon.org. $20-50. Previews Wed/2, 8pm; Thu/3-Fri/4, 8pm. Opens Sat/5, 6pm. Runs Wed, 7pm; Thu-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through May 20. 42nd Street Moon performs Kander and Ebb’s musical salute to Greece.

BAY AREA

Crevice La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Previews Thu/3-Fri/4, 8pm. Opens Sat/5, 8pm. Runs Thu-Sat, 8pm. Through June 9. Impact Theatre and PlayGround present Lauren Yee’s world premiere play about 20-something siblings whose couch-potato lives are uprooted when a chasm opens up in their living room.

ONGOING

Act One, Scene Two Phoenix Arts Association Theatre, 414 Mason, Ste 601, SF; www.un-scripted.com. $10-20. Thu-Sat, 8pm. Through May 12. Un-Scripted Theater Company performs the beginning of a new, unfinished play by a local author — and creates an ending on the spot once the script runs out.

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Wed/2-Thu/3, 7pm; Fri/4-Sat/5, 8pm. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. The Aliens unfolds in the days just around July 4, at slacker pace, in the backyard of a Vermont café (lovingly realized to palpable perfection by scenic designer Bill English), daily haunt of scruffy, post-Beat dropouts and sometime band mates Jasper (a secretly brooding but determined Peter O’Connor) and KJ (a charmingly ingenuous yet mischievous Haynes Thigpen). New employee and high school student Evan (a winningly eager and reticent Brian Miskell) is at first desperate to get the interlopers out of the “staff only” backyard but is just lonely enough to be seduced into friendship and wary idolatry by the older males. What unfolds is a small, sweet and unexpected tale of connection and influence, amid today’s alienated dream-sucking American landscape — same as it ever was, if you ask Charles Bukowski or Henry Miller, both points of reference to Jasper and KJ, who borrow Bukowski’s poem The Aliens for one of their many band names. An appropriate name for the alienated, sure, but part of the charm of these characters is just how easy they are to recognize, or how much we can recognize ourselves in them. Delusions of grandeur reside in every coffee house across this wistful, restless land. It’s not just Jasper and KJ who may be going nowhere. A final gesture to the young and awkward but clearly capable Evan suggests, a little ambiguously to be sure, that there’s promise out there yet for some. But more than that: the transaction makes clear by then that there are no fuck-ups, really; not among people with generous and open hearts — never mind how fucked up the country at large. (Avila)

“Bay One Acts Festival” Boxcar Theatre, 505 Natoma, SF; www.bayoneacts.org. $25-45. Wed-Sat, 8pm (also Sat/5 and May 12, 3pm); Sun, 3 and 7pm. Through May 12. Ten bold and adventurous short plays by local playwrights, performed two full programs running in repertory.

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Thu, 8pm; Sat, 8:30pm; Sun, 7pm (no show Sun/6). Through June 10. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

*Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-35. Thu-Sat, 8pm. Extended through May 19. Cheap thrills don’t come much cheaper or more thrilling than at a Thrillpeddlers musical extravaganza, and their newly remounted run of Hot Greeks affords all the glitter-dusted eye-candy and labyrinthian plot points we’ve come to expect from their gleefully exhibitionist ranks. Structured as loosely as possible on Aristophanes’ Lysistrata, Greeks appropriately enough follows the trials and tribulations of a college sorority tired of “losing” their boyfriends to the big football match every year (Athens U vs. Sparta Tech). Pledging to withhold sex from the men unless they call off the game results in frustration for all, only partially alleviated by the discovery that sexual needs can be satisfied by “playing the other team,” as it were. But like other Cockettes’ revivals presented by the Thrillpeddlers, the momentum of the show is carried forward not by the rather thinly-sketched narrative, but by the group song-and-dance numbers, extravagant costuming (and lack thereof), ribald wordplay, and overt gender-fuckery. In addition to many TP regulars, including a hot trio of Greek columns topped with “capital” headdresses who serve as the obligatory chorus (Steven Satyricon, Ste Fishell, Bobby Singer), exciting new additions to the Hypnodrome stage include a bewigged Rik Lopes as stalwart sister Lysistrata, angelically-voiced Maggie Tenenbaum as the not-so-angelic Sodoma, and multi-faceted cabaret talent Tom Orr as heartthrob hunk Pendulum Pulaski. (Gluckstern)

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm, Sun, 7pm. Extended through May 27. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor — including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships it has left in its wake) or in ominous memories of her too complacent mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. Note: review from the show’s 2009 run at the Marsh San Francisco. (Avila)

Killing My Lobster Chops Down the Family Tree TJT, 470 Florida, SF; www.killingmylobster.com. $10-22. Thu-Sat, 8pm (May 12, shows at 7 and 10pm); Sun, 7pm. Through May 13. The sketch comedy troupe performs a new show inspired by contemporary families.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Opens Thu/3, 7:30pm. Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through May 27. Annie Elias and Cutting Ball Theater artists present a world premiere “documentary theater” piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

Thunder Above, Deeps Below Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $20-25. Thu/3-Sat/5, 8pm. Bindlestiff presents A. Rey Pamatmat’s dramatic comedy about three homeless young adults.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through May 26. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Anatol Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 13. Aurora Theatre Company performs a world premiere translation of Arthur Schnitzler’s drama about the love life of an Viennese philanderer.

A Hot Day in Ephesus Live Oak Theatre, 1301 Shattuck, Berk; info@aeofberkeley.org. $12-15. Fri-Sat, 8pm; May 13, 2pm. Through May 19. Actors Ensemble performs the world premiere of a musical based on Shakespeare’s Comedy of Errors.

In Paris Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $22.50-125. Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed, 7pm; Sun, 2pm. Through May 13. Mikhail Baryshnikov stars in Dmitry Krymov’s romantic new play.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat/5, 8:30pm; Sun/6, 7pm. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Lucky Duck Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Thu and Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm (additional performance May 11, 7pm). Through May 13. Berkeley Playhouse performs a musical inspired by the “Ugly Duckling” tale.

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Through May 19. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

Oleanna Berkeley City Club, 2315 Durant, Berk; www.theatrefirst.com. $15-30. Thu-Sat, 8pm; Sun, 5pm. Through May 13. TheatreFIRST performs David Mamet’s tense two-charater drama.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Tue and Thu-Fri, 8pm; Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; no 8pm show May 12; Sun, 7pm). Extended through May 12. Mark Rothko (David Chandler) isn’t the only one painting with a broad brush in this labored and ultimately superficial two-hander by John Logan, enjoying a competent but underwhelming production by outgoing Berkeley Rep associate artistic director Les Waters. Set inside the late-1950s New York studio of the legendary abstract expressionist at the height of his fame, the play introduces a blunt and brash young painter named Ken (John Brummer) as Rothko’s new hired hand, less a character than a crude dramatic device, there first as a sounding board for the pompous philosophizing that apparently comprises a good chunk of the artist’s process and finally as a kind of mirror held up to the old iconoclast in challenging proximity to a new generation that must ultimately transcend Rothko’s canvases in turn. The dialogue holds up signs announcing intellectual and aesthetic depths but these remain surface effects, reflecting only platitudes, while the posturing tends to reduce Rothko to caricature. Much of the self-consciously reluctant filial interaction here smacks of biographical sound bites or heavy-handed underscoring of theme, and tends toward the outright hokey when touching on the credulity-bending subject of Ken’s murdered parents — with the attendant shades this adds to Rothko’s and the play’s chosen color palette. (Avila)

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“Comedy SuperPAC: Promoting Good Comedy and Great Causes Since 2012!” Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Mon/7, 7pm. $5. Nate Green and W. Kamau Bell present this ongoing comedy showcase; this week’s performers are Chris Garcia, Brendan McGowan, Jeff Kreisler, and Brandie Posey.

“Cutting Ball Theater Hidden Classics Reading Series” Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. Sun/6, 1pm. Free. Readings of three one-act August Strindberg plays.

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

“Gaia Grrrls” Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Fri/4-Sat/5, 8pm (also Sat/5, 4pm); Sun/6, 4pm. $17. Dance Brigade’s Grrrl Brigade performs a contemporary dance-drama that takes on war and climate change.

“May Day: CounterPULSE’s Performance Festival-Fundraiser” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thurs/3-Sat/5, 8pm. $30-150. Local dancers and performers come together to raise funds for the venue, a haven for experimental and risk-taking work.

“Picklewater Clown Cabaret: Cabaret of Sexy Sex!” Stage Werx Theatre, 446 Valencia, SF; www.brownpapertickets.com. Mon/7, 7 and 9pm. $15. Physical comedy, music, and mayhem.

“Radar Spectacle” Verdi Club, 2424 Mariposa, SF; www.radarproductions.org. Fri/4, 8pm. $15. Radar Lab benefits from this performance featuring music from Mirah, a reading by Armistead Maupin, a live art auction, and more.

“See Mom, I Didn’t Forget!” Shelton Theater, 533 Sutter, SF; www.brownpapertickets.com. Sun/6, 2 and 7pm. $30. “Familial craziness” is the theme of this solo performance showcase in honor of Mother’s Day.

Smuin Ballet Yerba Buena Center for the Arts, 701 Mission, SF; www.smuinballet.org. Wed/2-Sat/5, 8pm (also Sat/5, 2pm); Sun/6, 2pm. $25-62. Program includes the West Coast premiere of Val Caniparoli’s Swipe and the world premiere of Ma Cong’s Through. *

 

Soul to solo

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DANCE David Zambrano: never heard of him? That just means you’re not a member of the international dance community, where he is a superstar. Accolades, particularly about his teaching, flood the internet; phrases like “genius,” “not to be missed,” and “has changed my life” abound. The only complaint I could find was from a disgruntled student who said “the class was so full that I could barely see the teacher.”

So who is this Venezuelan-born, Amsterdam-based, globe-trotting dancer-choreographer-teacher who engenders such enthusiasm and yet is so little-known in this country? Starting this weekend, Zambrano (re)introduces himself with the West Coast premiere of Soul Project, a series of solos, each one based on an American blues song. They will be performed — in a sequence to be determined just before each show — to an audience seeking out the dancers.

Zambrano is best known for re-thinking improvisation as a tool to freshly connect dancers to the physics of their bodies — and its relationship to the environment. In the process, he developed a technique he calls “flying low,” which examines dance’s unavoidable partner, the floor, in order to find efficient ways for giving into and rebounding from the ground. Fundamental questions Zambrano asks revolve around essential concepts: how do two dancing bodies change the space on a stage? What is the relationship between intimacy and community? How can movement be best used as a means of transmitting information?

If these topics sound esoteric and theoretical to most of us, to dancers they embody the core of what they do. One admirer is San Francisco dancer-choreographer Keith Hennessy, himself no slouch in the thinking-about-the-fundamentals-of-performance department. He first took a workshop with Zambrano at Dancers’ Group in the mid-1990s and has watched his work ever since.

“I’m a huge fan of his teaching,” says Hennessy. “His classes are a kind of inspirational ritual. He teaches dancers to circulate energy with the earth and the other dancers, through their own bodies and then through space.”

He appreciates Zambrano as a performer “who loves dancing, moving, flying. He travels through space quickly, with the fastest of small precise steps — running and running, before diving or sliding into rolling on the floor, and always spiraling up and down and around.”

Hennessey, who has seen a fair amount of Zambrano’s work, including four improvised duets in 2010 which he describes as “truly joyful,” is looking forward to the upcoming performances because “I haven’t seen him do anything like this before.”

One who has already seen Soul Project is choreographer Ralph Lemon, who remembers Zambrano as a major force in New York’s Downtown improvisation scene until his move to Amsterdam in 2000.

“I hadn’t seen his work for years,” Lemon explains. “I saw Soul Project in 2008 at a summer dance festival outside Paris. I saw a lot of work at the time, yet this is the one that made me want to dance. I was so moved by the project because this is music I grew up with.”

He adds, “For me as a black American this was curious, particularly since there were no black Americans in the cast. There was only one American — and she was a white woman who had moved to Brussels.”

So when, in 2010, New York’s Dancespace asked Lemon to organize their first dance platform (i.e., artist-curated program), he immediately thought of Soul Project.

“It is such an American work,” he says, “and I knew that in terms of its cultural implications it was important that it come to the states. Audiences here will see it so differently from those in other places.”

So how was it? “It was fantastic, but also frustrating, because you want to dance. But David makes it clear that he knows that we want to dance, but we can’t because ‘the dancing is for us.’ It creates a very nice tension: you feel the dance internally but the dancing is happening with his performers.”

DAVID ZAMBRANO’S SOUL PROJECT

Fri/27-Sat/28, 8pm, $20

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

 

May 3, noon, 6pm, 9pm (Stanford students only), free (advance reservations required)

Cantor Arts Center

328 Lomita, Stanford

(650) 725-2787

livelyarts.stanford.edu

Stage Listings

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

THEATER

OPENING

Killing My Lobster Chops Down the Family Tree TJT, 470 Florida, SF; www.killingmylobster.com. $10-22. Opens Thu/26, 8pm. Runs Thu-Sat, 8pm (May 12, shows at 7 and 10pm); Sun, 7pm. Through May 13. The sketch comedy troupe performs a new show inspired by contemporary families.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, www.cuttingball.com. $10-50. Previews Fri/27-Sat/28, 8pm; Sun/29, 5pm. Opens May 3, 7:30pm. Runs Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through May 27. Annie Elias and Cutting Ball Theater artists present a world premiere “documentary theater” piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

BAY AREA

In Paris Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $22.50-125. Opens Wed/25, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed, 7pm; Sun, 2pm. Through May 13. Mikhail Baryshnikov stars in Dmitry Krymov’s romantic new play.

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $15-50. Opens Fri/27, 8pm. Runs Fri, 8pm; Sat, 5pm. Through May 19. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

ONGOING

Act One, Scene Two Phoenix Arts Association Theatre, 414 Mason, Ste 601, SF; www.un-scripted.com. $10-20. Thu-Sat, 8pm. Through May 12. Un-Scripted Theater Company performs the beginning of a new, unfinished play by a local author — and creates an ending on the spot once the script runs out.

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through May 5. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. The Aliens unfolds in the days just around July 4, at slacker pace, in the backyard of a Vermont café (lovingly realized to palpable perfection by scenic designer Bill English), daily haunt of scruffy, post-Beat dropouts and sometime band mates Jasper (a secretly brooding but determined Peter O’Connor) and KJ (a charmingly ingenuous yet mischievous Haynes Thigpen). New employee and high school student Evan (a winningly eager and reticent Brian Miskell) is at first desperate to get the interlopers out of the “staff only” backyard but is just lonely enough to be seduced into friendship and wary idolatry by the older males. What unfolds is a small, sweet and unexpected tale of connection and influence, amid today’s alienated dream-sucking American landscape — same as it ever was, if you ask Charles Bukowski or Henry Miller, both points of reference to Jasper and KJ, who borrow Bukowski’s poem The Aliens for one of their many band names. An appropriate name for the alienated, sure, but part of the charm of these characters is just how easy they are to recognize, or how much we can recognize ourselves in them. Delusions of grandeur reside in every coffee house across this wistful, restless land. It’s not just Jasper and KJ who may be going nowhere. A final gesture to the young and awkward but clearly capable Evan suggests, a little ambiguously to be sure, that there’s promise out there yet for some. But more than that: the transaction makes clear by then that there are no fuck-ups, really; not among people with generous and open hearts — never mind how fucked up the country at large. (Avila)

Any Given Day Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Extended run: Wed/25-Sat/28, 8pm (also Sat/28, 2:30pm); Sun/29, 2:30 and 7:30pm. Magic Theatre performs Linda McLean’s Glasgow-set play about modern, urban life.

“Bay One Acts Festival” Boxcar Theatre, 505 Natoma, SF; www.bayoneacts.org. $25-45. Wed-Sat, 8pm (also May 5 and 12, 3pm); Sun, 3 and 7pm. Through May 12. Ten bold and adventurous short plays by local playwrights, performed two full programs running in repertory.

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Thu, 8pm (no show Thu/26); Sat, 8:30pm; Sun, 7pm (no show May 6). Through June 10. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

*Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Wed/25-Sat/28, 8pm. Actors Theatre of San Francisco and director Keith Phillips offer a sharp, spirited production of the 1984 play by David Mamet in which four real estate agents (Mark Bird, Sean Hallinan, John Krause, and Christian Phillips) jockey and scheme for advantage in their Chicago office in a landscape of insecurity and fierce competition symbolized by the selective doling out of the best leads by manager and company man John (Frank Willey). Clients (like the gullible young husband played by Randy Blair), meanwhile, are just witless marks for the machinations of the predatory salesman, no more meaningfully human than the “muppets” targeted by Greg Smith’s Goldman Sachs. If the scenic design is a little shabby, the strong cast makes that hardly an impediment to a story that feels especially timely in its sharply etched, not to say angry portrait of the ruthless and corrosive business mentality to which egos, livelihoods, and lives — not to mention the culture at large — are enthralled. (Avila)

Goodfellas Live Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Fri/27-Sat/28, 8pm. The Dark Room offers a comedic take on Scorsese’s gangsters.

*Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-35. Thu-Sat, 8pm. Extended through May 19. Cheap thrills don’t come much cheaper or more thrilling than at a Thrillpeddlers musical extravaganza, and their newly remounted run of Hot Greeks affords all the glitter-dusted eye-candy and labyrinthian plot points we’ve come to expect from their gleefully exhibitionist ranks. Structured as loosely as possible on Aristophanes’ Lysistrata, Greeks appropriately enough follows the trials and tribulations of a college sorority tired of “losing” their boyfriends to the big football match every year (Athens U vs. Sparta Tech). Pledging to withhold sex from the men unless they call off the game results in frustration for all, only partially alleviated by the discovery that sexual needs can be satisfied by “playing the other team,” as it were. But like other Cockettes’ revivals presented by the Thrillpeddlers, the momentum of the show is carried forward not by the rather thinly-sketched narrative, but by the group song-and-dance numbers, extravagant costuming (and lack thereof), ribald wordplay, and overt gender-fuckery. In addition to many TP regulars, including a hot trio of Greek columns topped with “capital” headdresses who serve as the obligatory chorus (Steven Satyricon, Ste Fishell, Bobby Singer), exciting new additions to the Hypnodrome stage include a bewigged Rik Lopes as stalwart sister Lysistrata, angelically-voiced Maggie Tenenbaum as the not-so-angelic Sodoma, and multi-faceted cabaret talent Tom Orr as heartthrob hunk Pendulum Pulaski. (Gluckstern)

It Is What It Is and The Watchtower Exit Theater, 156 Eddy, SF; www.myadultland.com. $20. Fri/27-Sat/28, 8pm; Sun/29, 3pm. Short plays by Diane Karagienakos and Christopher Barranti, presented on the same stage with a brief intermission.

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm, Sun, 7pm. Extended through May 27. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor — including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships it has left in its wake) or in ominous memories of her too complacent mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. Note: review from the show’s 2009 run at the Marsh San Francisco. (Avila)

Thunder Above, Deeps Below Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $20-25. Thu-Sat, 8pm. Through May 5. Bindlestiff presents A. Rey Pamatmat’s dramatic comedy about three homeless young adults.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through May 26. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar “doood” dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Anatol Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 13. Aurora Theatre Company performs a world premiere translation of Arthur Schnitzler’s drama about the love life of an Viennese philanderer.

The Coast of Utopia: Voyage Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed/25-Thu/26, 7pm; Fri/27-Sat/28, 8pm; Sun/29, 5pm. Shotgun Players present Tom Stoppard’s riff on pre-revolutionary Russia.

A Hot Day in Ephesus Live Oak Theatre, 1301 Shattuck, Berk; info@aeofberkeley.org. $12-15. Fri-Sat, 8pm; May 13, 2pm. Through May 19. Actors Ensemble performs the world premiere of a musical based on Shakespeare’s Comedy of Errors.

John Brown’s Truth La Peña Cultural Center, 3105 Shattuck, Berk; www.brownpapertickets.com. $10-15. Sun/29, 7:30pm. The story of abolitionist John Brown comes to life via William Crossman’s script-libretto, plus dance, spoken word, and a variety of improvised music styles.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through May 6. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Lucky Duck Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Thu and Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm (additional performance May 11, 7pm). Through May 13. Berkeley Playhouse performs a musical inspired by the “Ugly Duckling” tale.

Of Mice and Men TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Wed/25, 7:30pm; Thu/26-Sat/28, 8pm (also Sat/28, 2pm); Sun/29, 2pm. TheatreWorks performs the Steinbeck classic.

Oleanna Berkeley City Club, 2315 Durant, Berk; www.theatrefirst.com. $15-30. Thu-Sat, 8pm; Sun, 5pm. Through May 13. TheatreFIRST performs David Mamet’s tense two-charater drama.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Tue and Thu-Fri, 8pm (also Thu/26, 2pm; no show Fri/27); Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; no 8pm show May 12; Sun, 7pm). Extended through May 12. Mark Rothko (David Chandler) isn’t the only one painting with a broad brush in this labored and ultimately superficial two-hander by John Logan, enjoying a competent but underwhelming production by outgoing Berkeley Rep associate artistic director Les Waters. Set inside the late-1950s New York studio of the legendary abstract expressionist at the height of his fame, the play introduces a blunt and brash young painter named Ken (John Brummer) as Rothko’s new hired hand, less a character than a crude dramatic device, there first as a sounding board for the pompous philosophizing that apparently comprises a good chunk of the artist’s process and finally as a kind of mirror held up to the old iconoclast in challenging proximity to a new generation that must ultimately transcend Rothko’s canvases in turn. The dialogue holds up signs announcing intellectual and aesthetic depths but these remain surface effects, reflecting only platitudes, while the posturing tends to reduce Rothko to caricature. Much of the self-consciously reluctant filial interaction here smacks of biographical sound bites or heavy-handed underscoring of theme, and tends toward the outright hokey when touching on the credulity-bending subject of Ken’s murdered parents — with the attendant shades this adds to Rothko’s and the play’s chosen color palette. (Avila)

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

Bad Unkl Sista Z Space, 450 Florida, SF; www.brownpapertickets.com. Fri/27-Sat/28, 8pm (also Sat/28, 2pm). $35. The company melds Butoh, aerial installations, couture costuming, and more in the world premiere First Breath — Last Breath.

BATS Improv Bayfront Theater, Fort Mason Center, Marina and Laguna, SF; www.improv.org. Fri/27, 8pm: “Theatresports Madness,” $20.

“Comedy SuperPAC: Promoting Good Comedy and Great Causes Since 2012!” Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Mon, 7pm. Through May 7. $5. Nate Green and W. Kamau Bell present this ongoing comedy showcase; this week’s performers are Chris Garcia, Brendan McGowan, Jeff Kreisler, and Brandie Posey.

Company C Contemporary Ballet Cowell Theater, Fort Mason Center, Marina at Laguna, SF; (415) 392-4400, www.cityboxoffice.com. Fri/27-Sat/28, 8pm; Sun/29, 2pm. $23-45. The company’s spring program includes works by Charles Anderson, Gregory Dawson, and Peter Anastos.

“Dancers’ Group presents 2012 Bay Area Dance Week” Various locations; www.bayareadance.org. Through Sun/29. Free. Over 600 free dance events at locations throughout San Francisco, the East Bay, and beyond.

“Dances From the Heart” Cowell Theater, Fort Mason Center, Marina at Laguna, SF; www.helpisontheway.org. Mon/30, 7:30pm. $30-50. Dancers from Ballet San Jose, Diablo Ballet, ODC, and more perform to raise money for the Richmond/Ermet AIDS Foundation.

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

“Mark Foehringer Dance Project SF: Young Choreographer’s Forum” Kunst Stoff Arts, One Market, SF; www.mfdpsf.org. Sat/28, 11:30am-12:30pm. Free. As part of Bay Area Dance Week, dance makers ages 16-24 perform.

“Move to the Now” 111 Minna Gallery, 111 Minna, SF; www.asimagery.org, www.postballet.org. Sat/28, 6-9pm. Free. As part of National Dance Week, Amy Seiwert’s Imagery and Post: Ballet present “one night of extravagant dance” featuring performances by numerous Bay Area companies.

“Poems Under the Dome” City Hall, North Light Court, One Dr. Carlton B. Goodlett Pl, SF; www.poemdome.net. Fri/27, 5:30-8:30pm. Free. Celebrate National Poetry Month with this open mic at City Hall.

Smuin Ballet Yerba Buena Center for the Arts, 701 Mission, SF; www.smuinballet.org. Fri/27-Sat/28 and May 1-5, 8pm (also Sat/28 and May 5, 2pm); Sun/29 and May 6, 2pm. $25-62. Program includes the West Coast premiere of Val Caniparoli’s Swipe and the world premiere of Ma Cong’s Through.

“Youth Speaks Teen Poetry Slam” Masonic Auditorium, 1111 California, SF; www.youthspeaks.org. Fri/27, 7pm. $6-18. Sixteen finalists battle it out in Youth Speaks’ 16th annual slam competition.

David Zambrano Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787, www.ybca.org. Fri/27-Sat/28, 8pm. $20. The renowned choreographer performs Soul Project.

BAY AREA

“April Follies Same Sex Dance Sport Competition” Just Dance Ballroom, 2500 Embarcadero, Oakl; www.aprilfollies.com. Sat/28, 10am-5pm (competition); 6:30-7:30pm (beginning lessons); 8-11pm (showcase of champions). $15-35. Styles include tango, swing, merengue, salsa, something called “American Smooth,” and more.

“CubaCaribe Dance Festival” Laney College Theater, 900 Fallon, Oakl; www.cubacaribe.org. Fri/27-Sat/28, 8pm; Sun/29, 7pm. $10-24. The festival’s final week features Oil and Water, a world premiere by Alayo Dance Company. 

 

Uzi Rash lets it bleed at Bender’s

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The stars aligned in a sinful sort of way this past weekend when warm weather coincided with the 4/20 holiday. I spent the evening at Bender’s for a night billed as: KUSF-in-Exile’s Blown Out, Blowout Benefit show.

And yes, someone’s old “magic” cookies found their way out of a deep freeze and made the rounds. But no cookie could steal the spotlight from any of the bands Friday night, especially Uzi Rash.

Cool Ghouls went second after Chen Santa Maria and seemed to pack in a younger crowd than maybe this Mission bar is used to. Mid-performance the power briefly went out, but they handled it quite professionally, even obliging an audience member’s request for a drum solo. Their set was solidly psych and they passed out a three-song sneak peak of their upcoming debut album. After the kids cleared out, Uzi Rash took to the stage as the headlining act.

For the most part, I was swept away by their driving beat, both pulsating and deafening. Cody Blanchard (of Shannon and the Clams) stood his ground, nonchalantly strumming his guitar. Not to say he was simply going through the motions; his demeanor just gave the impression of stage confidence. The drummer worked up a frenzy, flailing his arms with sticks in hands. But the showmanship was about to kick up a notch.

At one point, I looked towards the floor at my red, mucked-up Chuck Taylor’s, bopping my head blissfully. When I raised my glance out of release, I noticed that front person Max Nordlie now had blood dripping from his forehead. 

I was too busy grooving and had missed the moment of impact. I’d seen Nordlie do this at least once before, where he takes the mic and punishes himself with it. I’ve seen portrayals of demonic possession, or perhaps this is his catharsis, but that’s what it resembles when his body contorts from his expressive face, down to the sea-green painted toenails.

Of course he’s belting it out pretty good the whole time riffing on Dylan songs with the Maggie’s Farm-sounding “I Don’t Wanna,” off Uzi Rash’s latest LP Whyte Rash Time. Aforementioned cookie ingested, things kind of blurred as the night wore on, but if memory serves me right, I do believe he also attempted to hammer a shoe to the wall.

The set was swift and severe and the looks on the faces of those who stuck around when the blood started to flow was priceless. It was sort of somewhere between pro-wrestling and East Bay rock’n’roll. I guess if it’s not worth bleeding for, you might as well go home.

Even more from the tUnE-yArDs interview

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Despite a relentless touring schedule, and an intense side-project, scoring the upcoming SFIFF-presented evening of Buster Keaton shorts at the Castro Theatre with Oakland-based guitar virtuoso Ava Mendoza, Merrill Garbus, the artist otherwise known as tUnE-yArDs, gave us a great interview, and not all of it could fit in this week’s print feature on Garbus and St. Vincent.

While currently living in Oakland, Garbus hails from the East Coast, and has also lived in Kenya and Montreal, a combination of influences that allows her and her singular, quixotic music to avoid falling into a trap of regionalism or simple categorization. Catch tUnE-yArDs with Ava Mendoza at the Castro on April 23, and at the Fox Theater April 24, in concert with St. Vincent.

SFBG: You spent time studying music in Kenya, what elements of your current musical style do you attribute directly to that experience? What are some of your other influences?

Merrill Garbus:
I mostly was very humbled in my study of music there. I studied taarabu (Taarab music) and I was a pretty weak student at the harmonium. So much of that music is based on the Swahili poetry, which was so complex linguistically that I hardly understood it.

But studying any music is a way of absorbing it, as well as a way of practicing those basics of musicianship: playing by ear, repetition on an instrument, playing with other people.

It was also the experience of listening to the popular music in Kenya at that time that really influenced me, specifically pop music from Congo, which they called Lingala in Kenya. I had never heard music like that, and especially that kind of music that compelled a person to dance so instantaneously.

SFBG: What made you decide to use the uke as your primary instrument instead of the fiddle or guitar or something more “traditional” as a lead?

MG: The ukulele is so unassuming; it sounds nice when you’re not even trying – it even has a charm when it’s really out of tune, I think. It makes a space for itself. As a guitar player one has to really prove themselves, to stand out among all the other guitar players of the world and of the past. The ukulele made the songs the focal point, instead of putting pressure on me to be particularly virtuosic on an instrument.

SFBG:
Tell me a little about your previous vocal training.

MG: I studied a bit of classical singing in high school, and sang with a madrigal group which taught me a lot about blending with other voices. I sang in a college a cappella group which was great performance training and is more about belting and volume, which has certainly helped me; and I took some opera lessons when I wrote a puppet opera.

Theater training gave me a lot of vocal skills, too, particularly studying with members of the Roy Hart Theater and doing work with Viewpoints and Suzuki (Theater Suzuki, different than the musical training.) Through the theater work, I learned to expand the palette of vocal sounds that were accessible to me.

SFBG: I’d love to hear a little more about your theatrical background, and how you think it influences your approach to staging.

MG: I think it’s more than staging, although recently we’ve been talking about stage props and lighting and all of these other things that bring me right back to undergraduate theater studies…I know a lot of bands who struggle with live performance because it’s a secondary thing to writing songs, and for me I’m realizing how primary it is to consider the performance. Even in the studio, even in front of my computer doing busy-work editing, it’s a kind of performance, an improvisation of sorts, following my instinct in the moment.

SFBG: You have a fondness for creative spelling, not just with alternating caps, but also with dropping the “r”’s at the end, adding “z”’s, etc. What’s your intention there?

MG: I like to play with spelling because poor spelling is, most of the time, associated with ignorance and being wrong, but as we learn from Black culture, misspelling and screwing around with language is often an intentional reappropriation, to turn the language of the over-powering forces into a language of one’s own.

In Swahili, there are certain words, like “taksi,” which are Swahili spellings of things that didn’t exist before the language of the colonizers appeared, so what’s left is a British/Western idea, a British/Western word, with an African spelling.

I tend to use spelling and pronunciation as a humbling force, for instance, people feel slightly stupid every time they say, “Pow-a.” It makes people uncomfortable, and there’s a sense the friction: they have to make a choice. Do I say, “Pow-er” or “Pow-a?” Which makes me look like less of the asshole?

SFBG: You take a playful approach towards video-making, especially in regards to face-paint/costuming. But are you ever afraid people will misinterpret your style as some sort of cultural appropriation? Do you think worries about “cultural appropriation” are even still relevant in this hyper-connected, global-mashup day-and-age?

MG:
There have been instances where tUnE-yArDs was associated with a kind of cultural appropriation that I wasn’t cool with, such as when an artist used a Native American-style headdress on a poster for one of our shows. It wasn’t my decision, and I didn’t see the poster before it went out, but of course, there’s my band’s name on the poster, and the well-intentioned artist who didn’t think hard enough about that particular choice, and a whole bunch of offended people. However, I try to concern myself less with being politically correct and not stepping on anyone’s cultural toes, and more with righting things, in the limited ways I have to do that…

(But) yes “cultural appropriation” is an important thing to consider carefully for an artist like me…I, as a white woman with a college education and access to the world of pop music and all of its resources, have a lot of power. I can rip off not only the style but the note-for-note music of another culture, and get away quite easily without having to justify or explain that. It’s really up to me: will I use these tense moments of cultural appropriation, which I believe are inevitable in this time we live in, to draw attention to those with less power and less of a voice, or will I skirt the issue completely?

SFBG: Who are some of your favorite Oakland/Bay Area-based artists at the moment?

MG: Beep Trio is my favorite Oakland band. It is but one example of the brilliant, creative, avant-garde, jazz-influenced bands in the area. Dominique Leone and Ava Mendoza are a couple of others. Mwahaha and Kapowski are great friends of ours and great up-and-coming bands, more on the pop end of things. And V-Nasty.

Vinyl party: Record Store Day is almost here

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Records nerds take heed: limited record releases from the Flaming Lips, Neon Indian, Jack White, Mark Sultan, Xiu Xiu with Dirty Beaches, and more await thee. If you’re a lover/supporter of independent music, you’ll be celebrating Record Store Day this weekend with the rest of us. Err…that is, buying up some new vinyl.

And why not? The US-wide event, which began in 2007, keeps getting bigger and better, with even more releases, and even weirder vinyl variations (liquid, colored, etched, can Laffy Taffy grooves be that far away?).

And, as often noted, the Record Store Day releases are available only at physical, independent shops. Real, brick and mortar stores lined with dusty squares. Stay offline all day.

And, as many of the Record Story Day releases are limited, it’s important to keep in mind that all stores may not order all release. It’s first come, first serve, and all that. Show up early, support your local vendor.

Bay Area participating stores include Recycled Records, Groove Merchant Records, Amoeba Music in San Francisco and Berkeley, Black Pancake Records, Streetlight Records, Grooves, aQuarius recOrds, the Explorist International, The Music Store, Creative Music Emporium, MusicESP, Fats Music, Mill Valley Music, Donnie’s Records, 1-2-3-4 Go! Records, Down Home Music, Down Home Music Store, Rasputin Music and DVDs, Mod Lang, Red Devil Records, Bedrock Music & Video.

Here’s just a small sampling of the audio-treats available to you this Saturday, April 21 (walk in to local stores for availability):

The Flaming Lips
, The Flaming Lips and Heady Fwends. The exclusive Record Store Day release will be pressed on two multi-color vinyl discs in separate custom art jackets and poly bagged together. No two discs will look exactly alike. Once it’s gone, it will not be repressed again making. It includes musical contributions from  Yoko Ono, Nick Cave, Chris Martin of Coldplay, Bon Iver, Ke$ha and more.

Mastodon /Feist, A Commotion/Black Tongue seven-inch. A RSD exclusive featuring Mastodon covering Feist’s song “A Commotion,” and Feist covering Mastodon’s “Black Tongue.”

Mark Sultan, The War On Rock’n’Roll. A live, one-take album put out on In the Red Records.

Jack White, Sixteen Saltines. A 12-inch single of Jack White’s “Sixteen Saltines” featuring a playable etching of the Third Man logo in its B-side. “The grooves of the record play through the image, making it the world’s first-ever playable etched record ®.” There’s an even more limited version of the Sixteen Saltines etched 12-inch that’s pressed on clear vinyl and filled with psychedelic blue liquid.

Xiu Xiu/Dirty Beaches split seven-inch. Limited to 200 copies, Side A is Xiu Xiu covering Erasure’s “Always”, Side B is Dirty Beaches covering Francoise Hardy’s “Tu Ne Dis Rien.”

David Lynch FoundationMusic That Changes the World. A deluxe, four-volume vinyl collection featuring 34 exclusive tracks by artists such as Donovan & Iggy Pop, Peter Gabriel, Moby, Maroon 5, and Ozomatli and several others. The collection also includes a previously unreleased bonus track from The Ghost of Saber Tooth Tiger along with a download code for a bonus digital track from Julio Iglesias Jr.

of Montreal/Deerhoof
, Stygian x} Bisection. It’s an exclusive RSD seven-inch on Polyvinyl. The seven-inch features “A Filthy Fifth” on the A-side, of Montreal’s cover of Deerhoof’s song “Secret Mobilization.” The B-side is the first studio recording released of “Feminine Effects.”

The Mynabirds, Generals seven-inch single. From their upcoming album Generals, to be released June 5, the Record Store Day seven-inch includes one non-album track “Fallen Doves” and features silk screens covers, hand stray painted and numbered by band leader Laura Burhenn. Limited to 1,000 copies on black vinyl.

Battles, Dross Glop 4. RSD limited run. Final 12-inch of the Dross Glop series. Features remixes from Gang Gang Dance, Hudson Mohawke, Patrick Mahoney (LCD Soundsystem), Dennis McNany.

Neon Indian, Hex Girlfriend 10-inch. An exclusive RSD release, with the album version of the track on Side A, and a Twin Shadow remix on Side B. It’s limited to 500 copies and will only be available April 21. 200 of those will be pressed on translucent green vinyl, and 200 will have an opaque blue swirl.

Again, remember that these are independent stores and not every Bay Area record shop will sell every RSD release. Plan accordingly.

Record Store Day
Sat/21, business hours
Independent record shops, Bay Area and beyond
www.recordstoreday.com

“This was such a wipeout psychologically”: Mirkarimi tells the story Lee didn’t want to hear

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As Ross Mirkarimi and his legal team prepare for a trio of legal hearings that could determine the future of his career, the suspended sheriff sat down with the Guardian for nearly two hours in his first extended interview recounting what happened during that fateful New Year’s Eve conflict with his wife, their actions in its aftermath, and whether any of it should cost him his job.

As the story continues to unfold, and the facts come out, it’s becoming more and more clear that neither of two central players – Mirkarimi’s wife, Eliana Lopez, and the neighbor who called the police, Ivory Madison – had any idea how this would play out, or, apparently, any desire for the incident to bring down the elected sheriff.

Mirkarimi has been in a bind for much of the last four months: Because of a pending criminal case, he hasn’t been able to tell his side of the story. And since he pled guilty instead of going to trial, his version of events is only now beginning to trickle out.

And the interview made clear that the man who has in the past been accused of arrogance has lost a lot of his ego.

“This was such a wipeout psychologically,” Mirkarimi said. “It makes me immensely insecure and has left me in vulnerable state.”

He looks it – the elected sheriff’s face is drawn, almost haggard. His once-frequent smile and laughter is almost gone.

>>Read our full Mirkarimi coverage here.

He’s a politician who freely admits he had marital troubles, was in some ways a bad husband, treated his wife poorly and, in an incident sparked by his own anger, physically hurt her. He knows he’s let down his supporters and damaged his once-bright political future.

He’s struggling to keep his job, arguing that the incident has been blown out of proportion and inappropriately used to remove him from elected office, with Mayor Ed Lee showing a reckless disregard for the truth before making the rare decision to institute official misconduct proceedings.

And you don’t have to endorse Mirkarimi’s actions or even agree that he should stay in office to find indications that the mayor’s case against him is shaky and at times clearly unfair.

Judge Harold Kahn will hear arguments today [April 19] that the City Attorney’s Office should be barred for overseeing the official conduct proceedings, and the next day he will hear Mirkarimi’s main challenges to Lee’s actions, including the arguments that the city’s official misconduct statute is unconstitutionally broad and that Mirkarimi was denied due process before being suspended without pay.

Then, on April 23, the Ethics Commission will convene to discuss procedures for handling the case.

Some key issues that could affect the outcomes of the city and court processes involve what Mirkarimi actually did – as opposed to what others have suggested he did. The whole thing may hinge on whether the sheriff did anything to hinder the domestic violence investigation, what his plea deal to official misconduct entailed – and whether the mayor made efforts to differentiate between fact and rumor.  

But let’s start at the beginning, just before lunchtime on New Year’s Eve, with a story that Mirkarimi told in great detail as we peppered him with questions seeking details on what happened, what his motivations and thoughts were at critical junctures, and what it all meant.

Around 11:45 am on Dec. 31, Mirkarimi, Lopez, and their nearly three-year-old son, Theo, got into their red 1998 Dodge Caravan to go to lunch at Delfina Pizzeria. Just before leaving their house on Webster Street, the couple had started talking about how Lopez wanted to take Theo on a trip to her native Venezuela to visit her father, who is battling cancer.

“It was not an unfamiliar topic,” Mirkarimi said, recounting how it had become an issue of increasing concern by him after her three previous trips had each been extended. They had been having marital problems, and he told us he was concerned that she might not come back – or that Theo could be at risk of kidnapping.

“We didn’t have a plan and there was no permission,” Mirkarimi said, with “permission” meaning his written permission to take their son out of the country, which he had learned from a lawyer was required. “The body of our quarrel on Dec. 31 is we need a plan.”

But Lopez told him in the car than she had also talked to an attorney and she contested that it was as clear-cut as Mirkarimi claimed. He later learned that the “attorney” Lopez was referring to was their neighbor, Ivory Madison, a writer who had attended law school and noted her “legal training” on the www.redroom.com website she ran with her husband, lawyer Abraham Mertens. But Madison hadn’t taken the bar exam and wasn’t licensed to practice law in California.

“This was a sucker punch, it really walloped me,” Mirkarimi said of the news that Lopez was speaking with an attorney, and it made him angry. “I was acting inappropriately, I swore at my wife and said ‘where is this coming from?’ So I could have handled it better.”

“I decided, because we were quarreling, to make the unilateral decision against Eliana’s wishes to turn the car around,” he said.

This, he contends, was the act that constituted false imprisonment, the misdemeanor charge that he pled guilty to last month in exchange for prosecutors dropping misdemeanor charges of domestic violence, dissuading a witness, and child endangerment. Mirkarimi contends this was the only point in their conflict in which he restrained his wife’s freedom. Other reports suggest that he didn’t let her leave the house shortly after the conflict, which he denies.

Mirkarimi’s criminal attorney, Lidia Stiglich, told us false imprisonment is a very broad term, and because it was such low-level charge, there wasn’t a specific action it covered. In other words there’s nothing factual in the legal record or anywhere supporting the notion that Mirkarimi actually held his wife against her will.

“You don’t need to agree to a factual basis to plead to a misdemeanor,” Stiglich said, noting that Mirkarimi’s interpretation is reasonable, but prosecutors might mean something different by it. “We can agree to disagree,” she said, although she acknowledges that vagueness has opened him up to a variety of interpretations in the political arena.

In other words, the notion that a sheriff, who oversees the jails, has pled guilty of false imprisonment looks just terrible, and has been been played up in the press. But it’s not clear that he actually imprisoned anyone, beyond refusing to take his wife and son to lunch. It’s an oddity of law, and the nuance doesn’t play well in a scandal-crazed media.  

But back to the day of the incident.

“I was loud, I was gruff, I was just pissed off, and I am ashamed of my behavior,” Mirkarimi said. By the time they got back home, the sheriff-elect had calmed down, but Lopez was getting increasingly angry at being mistreated.

He said she quickly got out of the car and was brusquely trying to remove Theo, who was crying and upset over his parents’ conflict, from his car seat. “I got scared because Theo was in danger a little bit,” he said, his voice choking up and eyes filled with tears, saying that he reached back and grabbed Lopez’s right arm, with three fingers under her arm, while he was still seatbelted into the front seat.

“Eliana reacted like, get away from me, and she tugged her arm,” he said. “The incident was minutes.”

Inside the house, tensions quickly de-escalated, he said, and they didn’t discuss the conflict again that day. They went grocery shopping together, brought home takeout for dinner, and Lopez went out briefly that night while Mirkarimi stayed home with their son.

But the next morning, she showed him the bruise that had formed on her right bicep where he grabbed her. “She said, ‘Look,’ and it just crushed me,” Mirkarimi said, adding that he apologized for hurting her and that he agreed to go to couples counseling.

Lopez had been asking her husband to seek counseling for some time, he acknowledged, and he’d been putting it off. “I take full blame that that didn’t happen earlier,” he said.

Then, mid-morning, Lopez told him that she was going to talk with their neighbors, Madison and Mertens, who Mirkarimi considered “nice people. They were supporters during my race, but I didn’t know them that well.” He said that he didn’t think much of it or worry that she might talk about the previous day’s incident, although he said he did make the connection after she left that perhaps this was the “lawyer” Lopez has referred to the day before – something she later confirmed.

From Mirkarimi’s perspective, the next few days were uneventful. The family left for a long-planned vacation to Monterey the next day, staying at the Intercontinental Hotel and taking Theo to the Monterey Bay Aquarium. He said they talked “a little” about their New Year’s Eve conflict. “We were trying to gauge each other and our comfort level in talking about this,” he said. 

But Mirkarimi didn’t know about the storm that was brewing. He said he had no idea that Lopez had heeded Madison’s suggestion on Jan. 1 to make a video in which Lopez tearfully recounted the grabbing incident and displayed her bruise. Lopez, a former Venezuelan soap opera star, has consistently denied publicly that Mirkarimi ever abused her and has said, directly and through attorney Paula Canny, that the video was intended solely to be used in child custody proceedings if their marriage continued to devolve and that Lopez assumed she was getting legal advice and that the communications were private and subject to attorney-client privilege.

But Madison, who has not returned calls from the Guardian or other media outlets, wrestled with whether to go to the police and sought counsel on the question from several people, as information obtained by Mirkarimi’s team during discovery showed, including Phil Bronstein, the former editor for the Examiner and Chronicle who now chairs the board of the Center for Investigation and Bay Citizen.

Madison had two phone conversations with Bronstein, the veteran journalist told us. He said he knew Madison socially and “she gave me a brief narrative of the events.

“I said you should do whatever you think you should do to keep Eliana safe,” Bronstein told us.

Bronstein said he doesn’t know what happened between Mirkarimi and Lopez, but he understood from Madison that she was acting on behalf of Lopez, that the two women were communicating by text and e-mail, and that “I got the impression that Eliana was still trying to figure out what she wanted to do.”

“Eliana was continuing to e-mail with Ivory, saying he was being nicer now,” Bronstein said, but Madison was still concerned enough that she didn’t want to let the incident go, so Bronstein said she decided to call the San Francisco Police Department on Jan. 4 to get information on whether domestic violence incidents could be reported several days after they occurred, a decision he learned about after the fact.

“Ivory called the police hotline hypothetically to get information on when they can file,” Bronstein said, recounting a phone conversation they had on the afternoon of Jan. 4. But he said Madison was told by police that she could be charged with obstruction of justice for not reporting a crime – which isn’t exactly true under California law – and that SFPD had sent officers to her house to discuss the matter.

Shortly after that visit from police, Madison called Bronstein to tell him the story. “She was surprised that an inquiry had triggered a police investigation,” Bronstein said. Madison’s initial refusal to turn the videotape over to police, who needed a court order to seize it, is another indication that perhaps she didn’t want this case to explode the way it did.

In one version of events that Bronstein has discussed, Madison told him she wanted to help Lopez get in touch with three people who might be able to talk to Mirkarimi and convince him to seek counseling. Madison asked Bronstein if he had phone numbers for Aaron Peskin, Mike Hennessey and Art Agnos.

The odd thing about that is that Lopez already knew the three, and that their contact information was in the couple’s house.

But Mirkarimi had no idea any of this was going on, or even that his wife had discussed their conflict with Madison and made the videotape. “Everything happened on the 4th of January and literally I was the last one to know,” Mirkarimi told us.

Months later, Mertens wrote an op-ed for the Chronicle (“A neighbor’s side of Ross Mirkarimi case,” 3/20) in which he alleges Mirkarimi “paid a team of lawyers to relentlessly attempt to discredit, dissuade, and harm my wife,” although he didn’t return Guardian calls seeking comment or clarification of what he meant.

“The last time I spoke to Eliana was when she called me on Jan. 4. I recognized what I thought was Ross’ voice in the background as Eliana pressured me to destroy evidence and lie to the police. Then she repeatedly called Ivory, demanding that Ivory destroy the video, e-mail and texts from Eliana about the incident,” Mertens wrote. The allegation was parroted in the city’s official misconduct charges against Mirkarimi, which claim he “or his agents” sought to destroy evidence and obstruct the investigation.

But Mirkarimi and his lawyers say the charge is simply untrue. “The idea that he sought to get the videotape back or destroy it is nonsense,” Waggoner said, noting that Mirkarimi wasn’t even home as these events unfolded – on that fateful January day, he attended a ceremony marking the demolition of the old jail and then was in a long Budget Committee meeting, followed by a farewell celebration from the Local Agency Formation Commission. In other words, he couldn’t have been “in the background” during that call.

In fact, as far as we can tell, there is no evidence anywhere that Mirkarimi ever contacted Madison or Mertens. “I never talked to Ivory Madison and I never talked to her husband, Abraham Mertens, after any of this happened,” Mirkarimi said.

Mirkarimi said that Lopez first told him that she had told Madison about the grabbing incident by phone on the afternoon of Jan. 4, shortly after Madison told her in the street that she had called the police and they were on the way. Lopez didn’t know what to do and wanted to come meet her husband near City Hall. The officers that came tried to talk to Lopez, but she refused.

“She was panicked because she thought things were getting out of control with this neighbor and she asked for my recommendation,” Mirkarimi said, noting that Lopez literally ran from their home to City Hall and met Mirkarimi outside on Grove Street. It was then, he said, that Lopez first told Mirkarimi about making the videotape.

Mirkarimi said he greeted the news with stunned disbelief, and that his first instinct was to try to help his panic-stricken wife, but that he didn’t know what to do. “She was petrified about what was going on…She was frantic and I was getting frantic too,” he said. “I didn’t have a remedy, except oh my God, I think we need an attorney.”

They made a couple calls to find an attorney, and he said Lopez had the idea of having their friend, Linnette Peralta Haynes, a domestic violence advocate with the Our Family Coalition, reach out to Madison about why she had gone to police and what could be done at that point. “I had no idea what they were going to talk about,” Mirkarimi claims. Peralta Haynes didn’t return our calls and she is reportedly being sought as a witness by the City Attorney’s Office in the official misconduct proceedings.

Mirkarimi is adamant that he never did anything to gain possession of the videotape, dissuade his wife or any other witnesses from talking to police or prosecutors, or otherwise interfere with the investigation, even though Lopez was appealing to him to do something.

“She really wanted me to stop it, and I was like, dear, this bell has already rung and I don’t think we can unring it,” Mirkarimi said.

Lopez has said publicly that she felt betrayed by Madison, and Canny filed motions to suppress the video on the grounds of attorney-client privilege, conflicts that seem to have soured the relationship between the two women and fed feelings by Mertens that Madison was wronged for doing the right thing during the media circus that followed.

As a result, as part of Mirkarimi’s plea deal last month, the District Attorney’s Office insisted that Mirkarimi publicly apologize to Madison. It was an odd demand, since nobody (other than an op-ed writer in the Chron who gave no substantiation for his charges) had ever said that Mirkarimi had any contact at all with Madison.

DA’s spokesperson Stephanie Ong Stillman explained the insistence to us this way: “Ivory Madison’s actions were courageous. She found herself in a difficult situation trying to protect a friend who was in danger. In a surprising and disappointing turn, she was vilified for this act of courage. She suffered much unnecessary public scrutiny.”

Stillman wouldn’t deviate from that prepared statement when we asked specifically what Mirkarimi had done to Madison – or if there was any indication that the sheriff had ever done anything to “vilify” her – but she did said that the insistence on that direct apology was about encouraging witnesses of domestic violence, an underreported crime, to come forward. “We didn’t want other witnesses to be discouraged from reporting crimes after seeing what Ivory Madison went through,” she said.

Yet Stiglich said Canny’s motions and the divisions that developed between Lopez and Madison had nothing to do with Mirkarimi: “There were lot of actions taken by Eliana’s lawyers that caused a backlash that affected Ross.”

It’s not a minor issue: The allegation that Mirkarimi attempted to dissuade witnesses and used his official position to gain advantage is central to the mayor’s formal misconduct charges. But Mirkarimi and Stiglich maintain that there is nothing in the public record that supports the charge that he dissuaded witnesses or that he used his position as sheriff to gain advantage either before or after the incident.

“I was very surprised to see the allegation from the Mayor’s Office about dissuasion [of witnesses or interfering with the investigation] because there was no evidence of that,” Stiglich said. “He was the last person to know there was a video and that police were involved.”

It appears that Mirkarimi thought his guilty plea would end the case – and it was crafted not to give the mayor any grounds for removal. “I would not have entered a plea in a way that would inhibit my ability to be sheriff,” Mirkarimi said. “This was a very lucid conversation.”

In fact, he said, his instinct was to fight the charges all the way. “We were dying to go to trial,” Mirkarimi said.

But the cops and the DA’s Office did an excellent job of creating pre-trial publicity that made it almost impossible for Mirkarimi to get an impartial jury pool. Jury surveys showed that more than 70 percent of the potential jurors had already formed a negative opinion about Mirkarimi based on news coverage, he said.  

He has belatedly sought to address other oft-repeated misimpressions, disputing telling his wife that he would get custody because “I am a powerful man” (he says he told her the U.S. has powerful child custody laws) and saying journalists have distorted his comment that the conflict was “a private matter.”

In a charge that will be central to the upcoming legal battles, Mirkarimi and his attorneys say Mayor Lee wasn’t interested in hearing from Mirkarimi or discovering the truth about what happened before deciding to suspend Mirkarimi without pay and bring official misconduct charges against him. That, they say, denied the elected sheriff his due-process rights.

In his sworn affidavit in the case, Lee characterized his March 19 meeting with Mirkarimi – which he began by asking Mirkarimi to resign within 24 hours or be suspended – this way: “I explained to Sheriff Mirkarimi that I wanted to give him an opportunity to talk to me about this issue. It was a free flowing conversation with no time constraints. Sheriff Mirkarimi told me that he has not yet told his side of the story. I said, Okay, and waited for him to tell me his side of the story. He did not. Instead, after pausing, he asked me whether the suspension was based on his conduct as Sheriff. I responded that it was based on his conduct as a public official. I paused again and waited for Sheriff Mirkarimi to give me whatever information he thought important. He did not. Instead, Sheriff Mirkarimi asked me whether the suspension would be with or without pay. I told him it would be without pay. After giving him another chance to ask questions or give more information, I told Mr. Mirkarimi to consider my instruction to resign over the next 24 hours.”

But Mirkarimi said that narrative isn’t accurate or complete. He had sought to talk with Lee the previous week to explain what happened, but Lee refused. And when he showed up to talk to Lee on the March 19, he brought Sheriff’s Department legal counsel Freya Horne with him and asked that she be included in the conversation, but Lee refused, so there were no witnesses to the conversation.

“I went into that meeting with the express purpose to tell the mayor everything…As soon as I walk in the door, he gives me a little bit of preamble and then asks me to resign,”Mirkarimi said. “I said I’d really like you to talk to Eliana, can I give you her phone number? Nothing…I was asking questions and I wasn’t getting answers.”

Asked why he didn’t just start telling the full story, as Lee’s narrative indicates he was ready to hear, Mirkarimi insists that Lee simply informed him of the decision he had made and didn’t want to hear anything else. “He wanted the meeting to end after a minute, and I dragged it out by asking questions,” Mirkarimi said of the 15-minute meeting. Asked why he didn’t take a more forceful position, insisting on Horne being there or telling his full story, Mirkarimi said, “I’m the guy who’s trying to be contrite, not the one to walk in there with muscle.”

But now that those lines have been drawn, Mirkarimi says he intends to mount a vigorous defense, and he has some serious muscle on his legal team, including Waggoner and Shepard Kopp, who has worked on a variety of high profile cases.

Waggoner said the mayor’s affidavit, which he made under penalty of perjury, “is not truthful,” noting the inconsistency between telling Mirkarimi that he had made a decision to suspend him and saying he wanted to hear his side of story.

“That claim is undermined by his statements after when he describes how the meeting went down,” Waggoner said, saying he’s hopeful that the courts will agree that Lee acted inappropriately. “All that language undermines his initial claim that the purpose of the meeting was to gather information.”

That’s a central question: Did the mayor give the sheriff a chance to defend himself before making the highly unusual decision to suspend him? Or did Lee base that decision on evidence (like Mertens’ opinion piece) that lacked substantiation without giving Mirkarimi a chance to rebut it?

In other words, was Lee’s decision already made when he met with Mirkarimi? And if so, did the city’s chief executive deny another elected official the basic legal right to a fair hearing?

That’s what the courts will address.

Then if the case moves forward, the Ethics Commission will hold hearings –and again, Mirkarimi is at a disadvantage. The Mayor’s Office, through the city attorney, is already sending subpoenas to witnesses and preparing testimony. The defense can’t do that – because there are, at this point, no rules of evidence, no rights for the defense to compel testimony and, frankly, nothing for Mirkarimi’s lawyers to go on.

Four of the five members of the Ethics Commission are lawyers. At some point, they’re going to have to find a way to make this case comply to the rule of law.

Stage Listings

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

THEATER

OPENING

"Bay One Acts Festival" Boxcar Theatre, 505 Natoma, SF; www.bayoneacts.org. $25-45. Opens Sun/22, 3pm. Runs Wed-Sat, 8pm (also May 5 and 12, 3pm); Sun, 3 and 7pm. Through May 12. Ten bold and adventurous short plays by local playwrights, performed two full programs running in repertory.

Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $20-50. Opens Thu/19, 8pm. Runs Thu, 8pm (no show April 26); Sat, 8:30pm; Sun, 7pm (no show May 6). Through June 10. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

BAY AREA

A Hot Day in Ephesus Live Oak Theatre, 1301 Shattuck, Berk; info@aeofberkeley.org. $12-15. Opens Fri/20, 8pm. Runs Fri-Sat, 8pm; May 13, 2pm. Through May 19. Actors Ensemble performs the world premiere of a musical based on Shakespeare’s Comedy of Errors.

Lucky Duck Julia Morgan Theatre, 2640 College, Berk; www.berkeleyplayhouse.org. $17-35. Previews Sat/21, 2pm. Opens Sat/21, 7pm. Runs Thu and Sat, 7pm (also Sat, 2pm); Sun, noon and 5pm (additional performance May 11, 7pm). Through May 13. Berkeley Playhouse performs a musical inspired by the "Ugly Duckling" tale.

Oleanna Berkeley City Club, 2315 Durant, Berk; www.theatrefirst.com. $15-30. Previews Fri/20, 8pm. Opens Sat/21, 8pm. Runs Thu-Sat, 8pm; Sun, 5pm. Through May 13. TheatreFIRST performs David Mamet’s tense two-charater drama.

ONGOING

Act One, Scene Two Phoenix Arts Association Theatre, 414 Mason, Ste 601, SF; www.un-scripted.com. $10-20. Opens Thu/19, 8pm. Runs Thu-Sat, 8pm. Through May 12. Un-Scripted Theater Company performs the beginning of a new, unfinished play by a local author — and creates an ending on the spot once the script runs out.

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through May 5. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. The Aliens unfolds in the days just around July 4, at slacker pace, in the backyard of a Vermont café (lovingly realized to palpable perfection by scenic designer Bill English), daily haunt of scruffy, post-Beat dropouts and sometime band mates Jasper (a secretly brooding but determined Peter O’Connor) and KJ (a charmingly ingenuous yet mischievous Haynes Thigpen). New employee and high school student Evan (a winningly eager and reticent Brian Miskell) is at first desperate to get the interlopers out of the "staff only" backyard but is just lonely enough to be seduced into friendship and wary idolatry by the older males. What unfolds is a small, sweet and unexpected tale of connection and influence, amid today’s alienated dream-sucking American landscape — same as it ever was, if you ask Charles Bukowski or Henry Miller, both points of reference to Jasper and KJ, who borrow Bukowski’s poem The Aliens for one of their many band names. An appropriate name for the alienated, sure, but part of the charm of these characters is just how easy they are to recognize, or how much we can recognize ourselves in them. Delusions of grandeur reside in every coffee house across this wistful, restless land. It’s not just Jasper and KJ who may be going nowhere. A final gesture to the young and awkward but clearly capable Evan suggests, a little ambiguously to be sure, that there’s promise out there yet for some. But more than that: the transaction makes clear by then that there are no fuck-ups, really; not among people with generous and open hearts — never mind how fucked up the country at large. (Avila)

Any Given Day Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Wed/18-Sat/21, 8pm (also Sat/21, 2:30pm); Sun/22, 2:30pm. Magic Theatre performs Linda McLean’s Glasgow-set play about modern, urban life.

*The Caretaker Curran Theater, 445 Geary, SF; www.shnsf.com. $25-175. Wed/18-Sat/21, 8pm (also Wed/18 and Sat/21, 2pm); Sun/22, 2pm. Harold Pinter’s 1960 drama gets its first major revival since the death of the playwright in 2008 in this touring English production featuring Jonathan Pryce in the ambiguous title role. Set in a worn and cluttered attic apartment amid a triangular power play between its seemingly nonchalant tenant, Aston (the excellently vacant, vaguely creepy Alan Cox), an older homeless man he’s just rescued named Davies (a shifty, richly detailed Pryce), and the tenant’s younger brother and landlord Mick (a tightly coiled yet comically skittish Alex Hassell). The story is minimal, the tensions and pivoting interpersonal dynamics all. The spookier aspects of the play are toned down, meanwhile, though not necessarily to bad effect. While the opening scenes are played with somewhat unexpected levity, director Christopher Morahan ensures a subtle shift midway through into a more threatening and serious tone that is perhaps all the more palpable for being less foreseen — as Davies, egged on by the hyper Mick’s persuasive vision of remaking the dumpy room into an elegant penthouse, makes an ill-considered play for dominance over his seemingly gentle but inscrutable host. (Avila)

*Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Wed-Sat, 8pm. Extended through April 28. Actors Theatre of San Francisco and director Keith Phillips offer a sharp, spirited production of the 1984 play by David Mamet in which four real estate agents (Mark Bird, Sean Hallinan, John Krause, and Christian Phillips) jockey and scheme for advantage in their Chicago office in a landscape of insecurity and fierce competition symbolized by the selective doling out of the best leads by manager and company man John (Frank Willey). Clients (like the gullible young husband played by Randy Blair), meanwhile, are just witless marks for the machinations of the predatory salesman, no more meaningfully human than the "muppets" targeted by Greg Smith’s Goldman Sachs. If the scenic design is a little shabby, the strong cast makes that hardly an impediment to a story that feels especially timely in its sharply etched, not to say angry portrait of the ruthless and corrosive business mentality to which egos, livelihoods, and lives — not to mention the culture at large — are enthralled. (Avila)

Goodfellas Live Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Fri-Sat, 8pm. Through April 26. The Dark Room offers a comedic take on Scorsese’s gangsters.

*Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-35. Thu-Sat, 8pm. Through May 5. Cheap thrills don’t come much cheaper or more thrilling than at a Thrillpeddlers musical extravaganza, and their newly remounted run of Hot Greeks affords all the glitter-dusted eye-candy and labyrinthian plot points we’ve come to expect from their gleefully exhibitionist ranks. Structured as loosely as possible on Aristophanes’ Lysistrata, Greeks appropriately enough follows the trials and tribulations of a college sorority tired of "losing" their boyfriends to the big football match every year (Athens U vs. Sparta Tech). Pledging to withhold sex from the men unless they call off the game results in frustration for all, only partially alleviated by the discovery that sexual needs can be satisfied by "playing the other team," as it were. But like other Cockettes’ revivals presented by the Thrillpeddlers, the momentum of the show is carried forward not by the rather thinly-sketched narrative, but by the group song-and-dance numbers, extravagant costuming (and lack thereof), ribald wordplay, and overt gender-fuckery. In addition to many TP regulars, including a hot trio of Greek columns topped with "capital" headdresses who serve as the obligatory chorus (Steven Satyricon, Ste Fishell, Bobby Singer), exciting new additions to the Hypnodrome stage include a bewigged Rik Lopes as stalwart sister Lysistrata, angelically-voiced Maggie Tenenbaum as the not-so-angelic Sodoma, and multi-faceted cabaret talent Tom Orr as heartthrob hunk Pendulum Pulaski. (Gluckstern)

It Is What It Is and The Watchtower Exit Theater, 156 Eddy, SF; www.myadultland.com. $20. Thu/19-Sat/21 and April 27-28, 8pm; April 29, 3pm. Through April 29. Short plays by Diane Karagienakos and Christopher Barranti, presented on the same stage with a brief intermission.

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu, 8pm; Sat, 8:30pm, Sun, 7pm. Extended through May 27. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor — including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships it has left in its wake) or in ominous memories of her too complacent mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. Note: review from the show’s 2009 run at the Marsh San Francisco. (Avila)

Maple and Vine American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-95. Wed/18-Sat/21, 8pm (also Wed/18 and Sat/21, 2pm); Sun/22, 2pm. American Conservatory Theater presents the West Coast premiere of Jordan Harrison’s thoughtful, mildly amusing, increasingly cluttered fantasy about an affluent but unsatisfied urban couple — Katha (Emily Donahoe) and Ryu (Nelson Lee) — who try to restart their lives and relationship by joining a cult-like community devoted to living in 1955 America in perpetuity. Directed swiftly but with a slightly shrill comic tone by Mark Rucker, it’s an intriguing premise that tries to be unexpected in its twists around modern modes of alienation and "simpler times." Community leaders (and Katha and Ryu’s new best friends) Dean (Jamison Jones) and Ellen (Julia Coffey) make it clear that they choose 1955 because 2012 is too easy, not too complicated: In the 1950s, technology has not yet completely subsumed human action, while the discrete spice of old-fashioned repression compensates for the sorry spectrum of salt and ketchup at the dinner table. When it becomes clear that the casual white superiority of Ryu’s new boss at the box factory (Danny Bernardy) masks his despair as a closeted homosexual, intrigue and power plays ensue. But the characters and situations have already started to become less and less credible, even for so whimsical a storyline, and the narrative more heavy-handed too as Katha begins to narrate a series of meaningful dreams conflating the characters and characteristics of their present-past and past-future. (Avila)

Thunder Above, Deeps Below Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $20-25. Thu-Sat, 8pm. Through May 5. Bindlestiff presents A. Rey Pamatmat’s dramatic comedy about three homeless young adults.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Extended through May 26. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)

BAY AREA

Anatol Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 13. Aurora Theatre Company performs a world premiere translation of Arthur Schnitzler’s drama about the love life of an Viennese philanderer.

The Coast of Utopia: Voyage Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through April 29. Shotgun Players present Tom Stoppard’s riff on pre-revolutionary Russia.

Hairspray Fox Theatre, 2215 Broadway, Redwood City; www.broadwaybythebay.org. $20-48. Fri/20-Sat/21, 8pm (also Sat/21, 2pm); Sun/22, 2pm. Broadway By the Bay opens its 47th season with the John Waters-based, Tony-winning musical.

John Brown’s Truth La Peña Cultural Center, 3105 Shattuck, Berk; www.brownpapertickets.com. $10-15. Sun, 7:30pm. Through April 29. The story of abolitionist John Brown comes to life via William Crossman’s script-libretto, plus dance, spoken word, and a variety of improvised music styles.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through May 6. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Of Mice and Men TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through April 29. TheatreWorks performs the Steinbeck classic.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Tue and Thu-Fri, 8pm (also April 26, 2pm; no show April 27); Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; no 8pm show May 12; Sun, 7pm). Extended through May 12. Mark Rothko (David Chandler) isn’t the only one painting with a broad brush in this labored and ultimately superficial two-hander by John Logan, enjoying a competent but underwhelming production by outgoing Berkeley Rep associate artistic director Les Waters. Set inside the late-1950s New York studio of the legendary abstract expressionist at the height of his fame, the play introduces a blunt and brash young painter named Ken (John Brummer) as Rothko’s new hired hand, less a character than a crude dramatic device, there first as a sounding board for the pompous philosophizing that apparently comprises a good chunk of the artist’s process and finally as a kind of mirror held up to the old iconoclast in challenging proximity to a new generation that must ultimately transcend Rothko’s canvases in turn. The dialogue holds up signs announcing intellectual and aesthetic depths but these remain surface effects, reflecting only platitudes, while the posturing tends to reduce Rothko to caricature. Much of the self-consciously reluctant filial interaction here smacks of biographical sound bites or heavy-handed underscoring of theme, and tends toward the outright hokey when touching on the credulity-bending subject of Ken’s murdered parents — with the attendant shades this adds to Rothko’s and the play’s chosen color palette. (Avila)

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis "The Amazing Bubble Man" Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

Alonzo King LINES Ballet Yerba Buena Center for the Arts, Novellus Theater, 700 Howard, SF; (415) 978-2787, www.ybca.org. Wed/18-Thu/19, 7:30pm; Fri/20-Sat/21, 8pm; Sun/22, 5pm. $30-65. The company performs Scheherazade.

BATS Improv Bayfront Theater, Fort Mason Center, Marina and Laguna, SF; www.improv.org. Fri/20, 8pm: "BATS Improv vs. Stanford Improv," $20. Sat/21 and April 28, 8pm: "Improvised Hitchcock," $20. April 27, 8pm: "Theatresports Madness," $20.

"CockTales: Fathers and Sons" McKenna Theater, Creative Arts Bldg, San Francisco State University, 1600 Holloway, SF; creativearts.sfsu.edu. Fri/20, 7pm. $8-15. Investigations of masculinity via poetry, monologues, music, and more.

"Comedy SuperPAC: Promoting Good Comedy and Great Causes Since 2012!" Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Mon, 7pm. Through May 7. $5. Nate Green and W. Kamau Bell present this ongoing comedy showcase; this week’s performers are Chris Garcia, Brendan McGowan, Jeff Kreisler, and Brandie Posey.

"CubaCaribe Dance Festival" This week: Dance Mission Theater, 3316 24th St, SF; www.cubacaribe.org. Fri/20-Sat/21, 8pm; Sun/22, 3 and 7pm. $10-24. Up first in this two-week festival (this year’s theme: "Poder Popular) is a mixed program featuring local artists (Grupo Experimental Nagó, Arenas Dance Company, and more), plus a Sunday matinee with youth performers.

"Dancers’ Group presents 2012 Bay Area Dance Week" Various locations; www.bayareadance.org. April 20, 29. Free. Over 600 free dance events at locations throughout San Francisco, the East Bay, and beyond.

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

"The Great Flood" Herbst Theatre, 401 Van Ness, SF; www.sfjazz.org. Sat/21, 8pm, $25-65. Guitarist Bill Frisell’s multimedia investigation into the 1927 Mississippi River flood.

"Gutterbunny in Chinatown" Dark Room Theater, 2263 Mission, SF; (415) 401-7987. Mon/23-Tues/24, 7 and 8pm. $10. Spy Emerson’s performance series is described as "theater of the absurdist vaudevillian furry-fetishists."

"Ironic/Not Ironic" Dark Room Theater, 2263 Mission, SF; (415) 401-7987. Sat/21, 10pm, $15. Comedian Harmon Leon performs.

Labayan Dance/SF ODC Theater, 3153 17th St, SF; www.odctheater.org. Fri/20-Sat/21, 8pm; Sun/22, 3pm. $25. The company performs its spring 2012 season, including the premieres of Kulang and Dasal and Rice Blues.

"Natya and Narration — Rebelution" CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/20-Sat/21, 8pm; Sun/22, 3pm. $20. Collaborative presentation of short stories, personal essays, and poems through narrative expression and dance.

"Qcomedy Showcase" Stage Werx, 446 Valencia, SF; www.qcomedy.com. Mon/23, 8pm. $8-20. With headliner Cookie Dough.

"RAWDance presents the Concept Series: 11" 66 Sanchez Studio, 66 Sanchez, SF; www.rawdance.org. Sat/21-Sun/22, 8pm (also Sun/22, 3pm). Pay what you can. RAWdance hosts EmSpace Dance, Christy Funsch, and other artists at this informal, intimate contemporary-dance salon.

"Round One Cabaret" Alcove Theater, 414 Mason, Ste 502, SF; www.thealcovetheater.com. Fri/20-Sat/21, 8pm; Sun/22, 4pm. $30. Not Quite Opera Productions presents this shocase of new musical-theater songs by Bay Area composers.

"The Standard Bearer" Royce Gallery, 2901 Mariposa, SF; www.brownpapertickets.com. Fri/2-Sat/21, 8pm. $25. Julian Sands directs Neil Dickson in this limited run of Stephen Wyatt’s play about a Shakespearean actor traveling through Africa.

"Subvert" Garage, 975 Howard, SF; www.eventbrite.com. Fri/20, 8pm. $15-25. Comedian Heather Gold performs.

"Tease-O-Rama" Bimbo’s 365 Club, 1025 Columbus, SF; www.teaseorama.com. Fri/20-Sat/21, 8pm. $40-150. Main showcase event in a weekend of burlesque-themed performances, classes, and more.

Alter egos

13

arts@sfbg.com

MUSIC At first blush the music of St. Vincent, the alter-ego of accomplished guitar hero Annie Clark, and that of live looping sensation tUnE-yArDs, born Merrill Garbus, don’t appear to have a lot in common.

Sure, they share a gender, a label, and an impulse for quirky alias and chimerical shape-shifting, but Clark’s complex guitar-and-synth driven compositions and Garbus’ polyrhythmic ukulele and percussion spree emerge from completely different musical impulses and backgrounds.

Even so, their upcoming double-header at the Fox Theater promises to be a thrilling combination, as both ladies share a reputation for explosive stagecraft and are currently creating some of the most uniquely stylized pop music in the country.

Annie Clark aka St. Vincent, may have hit the cover of Spin‘s “Style” issue, but in interviews Clark is more likely to refer to herself not as fashionista but as a “nerd”. As in, a prog-rock-loving, guitar-shredding, architecture of music kind of nerd.

Her third solo album Strange Mercy (4AD, 2011), an oblique reflection on old traumas and fresh starts is characterized by contrast. Bell-clear vocals edging towards the ethereal, meaty guitar riffs ricocheting in from unexpected directions, and soaring organ and mini-Moog fills contributed by acclaimed gospel musician, Bobby Sparks, (easily the second most striking musician on the album).

http://www.youtube.com/watch?v=6eOt1GWD7gU

A study in contraposition both as a musician and as a media personality,Clark admits to a fondness for playing with character — further evidenced by her stage alias and deceptively delicate off-stage physicality, which belies the raw power of her live performances — but is equally quick to assert ownership of all of her public faces.

“Whenever you walk onto a stage you are fundamentally yourself,” she explains over email. “It’s just that you hold a mixing board to your personality and turn up some aspects and turn down others.”

http://www.youtube.com/watch?v=sB3dBiD5Bj4

It’s almost impossible to speak of Oakland-dwelling Merrill Garbus, or tUnE-yArDs, without referencing the time she spent studying Taarab music in Kenya. The frenetic, border-blending polyrhythms on w ho k i l l (4AD, 2011) transport the listener into an experiential space in which music and body are inextricably enmeshed.

In the current ranks of American pop-makers it’s difficult to find an act to compare her to, though TV on the Radio’s Tunde Adebimpe does occasionally rise to mind, particularly in the context of vocal phrasing and politicized lyrical content.

No less of an onstage powerhouse than labelmate Clark, Garbus’ personal aesthetic skews more towards that of performance artist than rock star. With a fondness for facepaint, explosive vocalization techniques, and the rubber-mask facial tics of Lily Tomlin, Garbus’ previous training in the theater arts still serve as a springboard for her approach to performance, as well as composition.

“The music stems from how I can envision myself performing it,” she explains. “I like to think of the music in terms of…altering space, and transformation, and the experience of the group.”

Whether onstage or in the studio, Garbus flows smoothly between laying her own rhythm tracks, pounding fiercely on her uke, and charging into the musical fray with her battle cry vocals, but her personal fascination is with uncomfortable moments — highlighting them as absurdities and working thorough them with her audiences. Her other proclivity — that of an almost exaggerated playfulness — is less a spontaneous expression of id than an intentional construction of a persona who unifies the many strands of Garbus’ transcontinental influences and obsessions into one cohesive force.

“There is power in the facepaint, and in the performance, and of a warrior stance of sorts,” she opines. “I’m not using ‘tribal fashion’ in an ironic, disconnected and aloof way. I’m a freaking badass. And I wear face paint.” *

 

Can’t get enough of that tUnE-yArDs character? Look for extended interview highlights with Merrill Garbus online at sfbg.com

 

MERRILL GARBUS OF TUNE-YARDS WITH BUSTER KEATON SHORTS

Mon/23, 8pm, $20–<\d>$25

Castro Theatre

429 Castro, SF

(415) 621-6120

www.sffs.org

 

ST. VINCENT/TUNE-YARDS

With Kapowski Tue/24, 7:30pm, $29.50

Fox Theater

1807 Telegraph, Oakl. (510) 548-3010 www.thefoxoakland.com

Hot sexy events: April 13-19

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Kink.com is getting its star turn in the mainstream media – everyone’s favorite historic-building-cum-porn-palace served as the shooting locaiton for the movie that Stephen Elliott and Kink star Lorelei Lee penned, Cherry (trailer here). The flick, which makes its San Francisco debut at the SF International Film Festival (April 24, 27, 28) stars James Franco and Heather Graham, who plays a female director at a porn company.

It isn’t Kink in the movie, exactly — it’s not a BDSM company, for one. And I met up with Lee at Thieves Tavern this week and she told me that despite the vocation of Cherry‘s protagonist, she didn’t consider it a movie based in sex-positive activism.

“You can really destroy a movie by making it too political,” said the NYU student and star of multiple Kink sites, over a glass of red wine. Lee says she and co-writer Elliott wanted to write a story with a happy ending (er, spoiler alert.) “I think it’s a complicated story that doesn’t try to sell you on anything.” Of course, showing happy, functioning sex workers should be considered activism in and of itself these days.

Theirs isn’t the only project that uses the Armory as a backdrop for for an upcoming non-NSFW film. Filmmaker Simone Jude has been shooting a documentary on the lives of Kink’s women – Lee, Isis Love, and Princess Donna primarily — for the last four years. The trailer looks fucking awesome, and Jude needs your Kickstarting help funding the final editing process. 

The three women portrayed are total badasses, and it’d be great if this film could recieve the same kind of exposure that Cherry, which picked up IFC as its distributor and is being slated for a limited-city release, is enjoying. With all the sex-negative politicking going on these days, we could use some more high profile looks at women who refuse to let conservative social norms guide their views of fucking. People need to be exposed to that kind of stuff. Or at least, as Lee told me “I hope that they leave the theater feeling like they’ve watched a movie about real people.”

And now for your week in sex events.

“A Taste for Brown Sugar: The History of Black Women in American Pornography”

Rad lecture alert: University of California Santa Barbara professor Mireille Miller-Young will be giving a talk about her much-needed manuscript examining the history of black women in porn this afternoon. Miller-Young’s work tends to focus on race, gender, and sexuality as it appears in sex work and popular culture and she is also currently collaborating with sex-positive author Tristan Taormino and others on The Feminist Porn Book: The Politics of Producing Pleasure. 

Fri/13 4-7 p.m., free

California College of the Arts

1111 Eighth St., Room GC7, SF

(415) 703-9500

www.cca.edu

Writers With Drinks with Rachel Kramer Bussel and Curvy Girls

Rachel Kramer Bussel is the editor of Curvy Girls: Erotica For Women, which I recently had the pleasure of reading and is real hot. The stories are all about voluptuous women getting it on – in restaurant kitchens with the head chef, with the house sittee’s relative, with the guy that sold them those hot boots. The erotica follows curves like a racecar, and is a phenomenal piece of work for anyone who is looking for a re-up on body image – no matter what their measurements. Tonight, Bussel is reading at the much-loved Writers With Drinks event, so expect to get nicely liquored and hear her talk about sexy, body-positive couplings. 

Sat/14 7:30 p.m., $5-$10 sliding scale

The Make-Out Room

3225 22nd St., SF

www.writerswithdrinks.com

“A Taste of Rope”

The perfect opportunity to sample wines from around the globe while training your obedient submissive, this Femina Potens event has an value-added feature: different models from rope companies Maui Kink, Twisted Monk, Bind Me, Lover’s Knot, and Jugoya will be on hand, and wrist, and ankle, and ribs so that you can see the difference that quality and texture can make in your play. There’s limited space available here, so you should get on this quick-like.

Sat/14 9-10:30 p.m., $40-99 per couple

Location disclosed upon purchase

www.feminapotens.org

Bawdy Storytelling: Master and Servant

The pervy storytelling series goes on a power trip, with six kinky souls going on the record about their BDSM power play good-times. 

Thu/19 7-10:30 p.m., $12-$15

The Uptown 

1928 Telegraph, Oakl.

www.bawdystorytelling.com

Even more King Buzzo

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Punk icon King Buzzo of the Melvins is an amusing conversationalist. Veering toward the inane, he adds quirk to the boring, everyday topics, and clearly has the years of experience to casually offer words of wisdom without the inherent bitterness so often boiling in the belly of longtime touring musicians.

With such a propensity for fun chatter, naturally the maximum word count limit for the print article on Buzzo in this week’s issue had to leave some things out. Below are a few lost gems from a conversation last week:

SFBG: After living here for seven years before moving to LA, does [San Francisco] feel totally different when you visit?
Buzz Osborne: I’m not really sentimental along those lines, I’m not too much of a ‘good old days’ type of person, I’m more of a ‘what have you done lately’ type of person. So, I liked living there but I’ve moved on. I like California! I don’t hate LA, people hate LA. I always find that interesting. Nobody in LA hates anybody else! People don’t talk about how much they hate New York or San Francisco, that’s just crazy. Plenty of people talking shit about LA, but I can’t figure it out.

But I like San Francisco, don’t get me wrong. Like I said, if my wife didn’t live here, I probably would’ve stayed there.

SFBG: Speaking of what-have-you-done-lately, what does the title of [your upcoming LP] ‘Freak Puke’ mean?
BO: What does it mean? I don’t know what it means. Freak puke! Freaky puking. It’s a freak that pukes. It’s a freakish puke. It’s puke that becomes freaky. It just sounds good together. FREAK. PUKE. They work great.

I’m not sure where it came from? I write down stuff all the time that I hear, and like. It could’ve come from a wide variety of sources. Let’s say, let me make something up. Let’s say it came from a Bob Dylan poem I read. It’s not true, but we’ll say it is for today.

We’ll start the rumor! Bob Dylan.

SFBG: Huge proponent of freak puke.

BO: He was speaking of it when he was speaking in terms of protest songs, how about that? And I thought it was great. And I love to protest. If there’s one thing I love doing, it’s protesting. I’ll protest about anything you got. There. That sounds good, right?

SFBG: Yep, sounds punk.
BO: Yeah punk, it’s all about punk. And since now that you can buy our t-shirts at Hot Topic…

SFBG: Is that true?
BO: At least they sell them on their website.

SFBG: Does that not go through you?
BO: The guy that makes our shirts sells them to a wide variety of places, Hot Topic is just one of them. I’m fine with that. I think our stuff belongs in malls! Absolutely. I think everyone should own all of our records, [ages] 8 to 80. We make our music for the masses, not for the elite few. Just because the masses don’t like, it doesn’t mean it’s not made for them.

http://www.youtube.com/watch?v=xZxK5iP-5q8&feature=related

SFBG: Have you found any good new local bands in LA?
BO: Yes. My favorite band in LA, other than Big Business of course, is this band called Tweak Bird

We did some work with the singer recently, [that’s] going to come out at some point so…more and more stuff! It never ends. We did some recordings that are coming out but I don’t really want to tell you what they are because I don’t want anyone to know the secret!

It’s very mysterious. It’s not that big of a deal. We worked with a wide variety of people but I’m not going to tell you who they are.

Dancing in the deep

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DANCE Jodi Lomask has always been comfortable with both science and art. Perhaps that’s not surprising for someone who grew up with a physicist father and a visual artist mother — hanging around with his friends who would came to visit in Connecticut, and going with her to galleries and openings. Still, it’s not every child who, when trying to make sense of the world, was also “making dances” in her mind.

For the last 15 years, Lomask and her Capacitor collaborators (whose new work Okeanoswill be performed this weekend) have translated the dances in her head onto the stage. It’s a rather unusual way to establish an intimate human connection with the big world out there. Within Outer Spaces looked at our planet in context of the other heavenly bodies; Digging in the Dark examined Earth’s layers down to the molten core; futurespecies investigated reproduction in the past and the future.

For biome Lomask and her collaborators went to Costa Rica’s Monteverde Cloud Forest to study symbiotic relationships. For the upcoming premiere Okeanos, Lomask had herself certified as a diver and went to Bali to study marine protectorates and coral restoration projects.

Debunking the clichés of free-and-wild artists and right-brain-only scientists, she calls on the latter as essential collaborators and advisors.

“My personal theory is that art and science are at the bottom of a circle. As [their practitioners] get better, they separate for a while, but when they are very good they meet again,” she says. “The most successful scientists I know are also the most creative people I know. The most successful artists I know are the people who are very precise and rigorous in their craft; they have a lot of factual information that goes into their work.” It’s this kind of thinking that has made Lomask and Capacitor a regular participant at TED conferences.

In order to ground each work in “fact rather than fantasy,” in 2000 Lomask started a formal process consisting of six months of meetings between scientists and her creative team.

“A scientist makes a 20 minute presentation, then someone from our team — a designer, a musician — does the same,” she explains. “Then we have a show-and-tell about the specifics about what we are working on.” This way of working guides but also liberates the art-making because “we then can take off from factual information.”

At a late-stage rehearsal at Zaccho Dance Theatre’s whitewashed, concrete-walled studio, Okeanos‘ art and science elements were very much in evidence. Against the starkness of that environment, periodically punctuated by the rattling of a passing CalTrain, the stunning underwater videos by Australian cinematographer David Hannan suggested an unearthly yet innate beauty. Seahorses gave birth, an octopus explored its environment, schools of tiny fishes surrounded floating whales, and sharks shot by like torpedoes. Throughout, you got the sense that these creatures communicate with each other.

In addition to choreographing the movement vocabulary for the four dancers and five circus artists, Lomask also designed interactive physical structures that echo the natural world. One set calls up vortexes; another is an earth-like globe with many points of entry; yet another suggests a curtain of kelp. Lead science advisors Sylvia Earle and Tierney Thys provided taped narration. While helpful for its information, it’s most moving for the awe and love that is apparent in their voices.

As mentioned above, like many of Lomask’s works, Okeanos commingles circus artists and dancers. “It doesn’t make any difference to me whether a body is a trained dancer’s or a contortionist’s,” she says. “I am really interested in how the human body acts with the [sculptural] forms I have created. A contortionist can interact in a way a dancer cannot, but a dancer can embody an emotion or a concept that circus artists don’t have the training to do.”

Each Okeanos performance will be preceded by a different set of (separately ticketed) panel discussions surrounding issues of human interaction with the deep. The post-performance “Ocean Solutions Cafés” offer opportunities for continuing the conversation.

CAPACITOR: OKEANOS

Thu/12-Sun/15

Pre-show talks, 6:30pm, $20 (with show ticket); performances, 8pm, $25-$35

Herbst Pavilion

Fort Mason Center

Marina at Laguna, SF

www.capacitor.org

 

Weird me out

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emilysavage@sfbg.com

MUSIC Here is a partial list of not quite idioms, butchered sayings, and quasi heartfelt beliefs the Melvins’ Buzz “King Buzzo” Osborne peppered throughout a conversation during a phone call last week from his home in Hollywood.

“We can’t be lion tamers all the time.” “You can accuse me of a lot of things, being lazy isn’t one of them.” “When in fear, or in doubt, run in circles, scream and shout.” “Treat me right, I’ll be your best friend. Treat me wrong, you don’t exist.”

At least one of those deserves to be crocheted on a throw pillow. Or screenprinted on a Melvins backpatch.

“WE CAN’T BE LION TAMERS ALL THE TIME.”

Singer-guitarist Osborne met his longtime collaborator, drummer Dale Crover, in 1984, Aberdeen, Wash., one year after the Melvins had formed and were performing mostly Cream covers. Crover was also in a bad cover band, but Osborne knew he could play well, so he invited him to join his band.

“There’s a fine line between genius and stupidity for both of us. I like playing with him, one way or another,” Osborne says of their continued relationship. “And it seems to work, no reason to quit — until he gives me a reason, then that will be it.” Osborne’s speech patterns raise often with sarcasm; in person that signature fuzzy grey ‘fro of his is likely shaking, punctuating each joke.

After that first shaky year, the Melvins got an early foothold in the blending of punk and metal, influenced by first round Black Flag (The band would go on to influence scores of musicians itself, recently, Mastodon).

“Somehow I realized even then that I needed to work on writing my own music, not relying on playing cover songs — even though we love to play cover songs, and we still do. But I started writing music pretty quickly. Sometimes we still play those first songs I ever wrote.”

“YOU CAN ACCUSE ME OF A LOT OF THINGS, BEING LAZY ISN’T ONE OF THEM.”

In the past some 29 years, the Melvins — which is made up of a rotating lineup, save for Osborne and Crover — have recorded 19 full-length albums, and that’s not counting countless other releases (singles, EPs, comps).

Since the end of December, the band recorded more than 50 songs, Osborne notes proudly as his Jack Russell Terriers scream in the background. Included in that batch is The Bulls & the Bees EP, released for free download through Scion last month and the Freak Puke LP, which will be out in June on Ipecac.

“WHEN IN FEAR, OR IN DOUBT, RUN IN CIRCLES, SCREAM AND SHOUT.”

The head bang-worthy The Bulls & the Bees is five classic Melvins cuts, thundering drums, doomy guitar, and Osborne’s low octave howl, it’s drum-happy sludge rounded out by frequent Melvins players Jared Warren and Coady Willis from stoney LA band Big Business.

Up next, there’s the upcoming Freak Puke, which is being touted as Melvins Lite. In this record, the band is a trio: Osborne, Crover, and Trevor Dunn of Mr. Bungle and Fantomas fame on stand-up bass.

Freak Puke is similarly dense and dark, so that’s not the reason for the ‘Lite’ attached to the name. Is it? Osborne explains: “You be the judge. We’ve always done lighter stuff. I’ll just say it’s Melvins lighter in weight, as in, our weight is less with three guys in it, as opposed to four. That record just has a different vibe.”

He’s, of course, right, it’s more the vibe of the record that sets it apart. The frenzied plucking of strings that kick off “Baby, Won’t You Weird Me Out” take the Melvins even further down the strange hybrid wormhole they’ve long been building out of mud — yet not so far that we can’t recognize their inimitable sound.

“TREAT ME RIGHT, I’LL BE YOUR BEST FRIEND. TREAT ME WRONG, YOU DON’T EXIST.”

After Osborne moved from Aberdeen, but before his trek to LA to be with his wife (and now, their many dogs), he lived for seven years in the Richmond District of San Francisco, near the Presidio. And while he claims to not be sentimental about the past (“I’m more of a ‘what have you done lately’ type of person”) he mentions that he remains loyal to the promoters at Slim’s and Great American Music Hall, where the Melvins four-piece/non-lite will be performing all the tracks off the new EP later this week. “As long as those people want to continue doing shows with us, we’re there.” 

MELVINS

With Unsane

Thu/12, 9pm, sold out

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

Stage Listings

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

THEATER

OPENING

Act One, Scene Two Phoenix Arts Association Theatre, 414 Mason, Ste 601, SF; www.un-scripted.com. $10-20. Previews Thu/12-Sat/14, 8pm. Opens April 19, 8pm. Runs Thu-Sat, 8pm. Through May 12. Un-Scripted Theater Company performs the beginning of a new, unfinished play by a local author — and creates an ending on the spot once the script runs out.

It Is What It Is and The Watchtower Exit Theater, 156 Eddy, SF; www.myadultland.com. $20. Opens Fri/13, 8pm. Runs Sat/14, April 19-21, and 27-28, 8pm; Sun/15 and April 29, 3pm. Through April 29. Short plays by Diane Karagienakos and Christopher Barranti, presented on the same stage with a brief intermission.

Thunder Above, Deeps Below Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $20-25. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm. Through May 5. Bindlestiff presents A. Rey Pamatmat’s dramatic comedy about three homeless young adults.

BAY AREA

John Brown’s Truth La Peña Cultural Center, 3105 Shattuck, Berk; www.brownpapertickets.com. $10-15. Opens Sun/15, 7:30pm. Runs Sun, 7:30pm. Through April 29. The story of abolitionist John Brown comes to life via William Crossman’s script-libretto, plus dance, spoken word, and a variety of improvised music styles.

ONGOING

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through May 5. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. The Aliens unfolds in the days just around July 4, at slacker pace, in the backyard of a Vermont café (lovingly realized to palpable perfection by scenic designer Bill English), daily haunt of scruffy, post-Beat dropouts and sometime band mates Jasper (a secretly brooding but determined Peter O’Connor) and KJ (a charmingly ingenuous yet mischievous Haynes Thigpen). New employee and high school student Evan (a winningly eager and reticent Brian Miskell) is at first desperate to get the interlopers out of the "staff only" backyard but is just lonely enough to be seduced into friendship and wary idolatry by the older males. What unfolds is a small, sweet and unexpected tale of connection and influence, amid today’s alienated dream-sucking American landscape — same as it ever was, if you ask Charles Bukowski or Henry Miller, both points of reference to Jasper and KJ, who borrow Bukowski’s poem The Aliens for one of their many band names. An appropriate name for the alienated, sure, but part of the charm of these characters is just how easy they are to recognize, or how much we can recognize ourselves in them. Delusions of grandeur reside in every coffee house across this wistful, restless land. It’s not just Jasper and KJ who may be going nowhere. A final gesture to the young and awkward but clearly capable Evan suggests, a little ambiguously to be sure, that there’s promise out there yet for some. But more than that: the transaction makes clear by then that there are no fuck-ups, really; not among people with generous and open hearts — never mind how fucked up the country at large. (Avila)

Any Given Day Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Opens Wed/11, 8pm. Runs Wed-Sat, 8pm (also April 21, 2:30pm); Sun, 2:30pm; Tue, 7pm. Through April 22. Magic Theatre performs Linda McLean’s Glasgow-set play about modern, urban life.

*The Caretaker Curran Theater, 445 Geary, SF; www.shnsf.com. $25-175. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through April 22. Harold Pinter’s 1960 drama gets its first major revival since the death of the playwright in 2008 in this touring English production featuring Jonathan Pryce in the ambiguous title role. Set in a worn and cluttered attic apartment amid a triangular power play between its seemingly nonchalant tenant, Aston (the excellently vacant, vaguely creepy Alan Cox), an older homeless man he’s just rescued named Davies (a shifty, richly detailed Pryce), and the tenant’s younger brother and landlord Mick (a tightly coiled yet comically skittish Alex Hassell). The story is minimal, the tensions and pivoting interpersonal dynamics all. The spookier aspects of the play are toned down, meanwhile, though not necessarily to bad effect. While the opening scenes are played with somewhat unexpected levity, director Christopher Morahan ensures a subtle shift midway through into a more threatening and serious tone that is perhaps all the more palpable for being less foreseen — as Davies, egged on by the hyper Mick’s persuasive vision of remaking the dumpy room into an elegant penthouse, makes an ill-considered play for dominance over his seemingly gentle but inscrutable host. (Avila)

*Fool For Love Boxcar Studios, 125A Hyde, SF; www.boxcartheatre.org. $25. Wed/11-Sat/14, 8pm. Another installment of Boxcar Theatre’s epic Sam Shepard repertory project, Fool for Love inaugurates their newest performance space within their Hyde Street Studios location. A depressingly realistic reproduction of a claustrophobic motel room, the tiny jewel-box theatre provides no refuge for the actors, and certainly not for the audience, each trapped beneath the pitiless gaze of the other. And if that too-close-for-comfort intimacy doesn’t get to you, the intentionally difficult subject matter — a "typical" Shepardian foray into alcohol-fueled ranting, violence, incest, and casual cruelty — probably will. Shepard’s strength in monologue shows itself off to meaty effect from May’s (Lauren Doucette) melancholy description of her mother’s love affair with the Old Man (Jeff Garrett) to Eddie’s (Brian Trybom) candid admittance to May’s timid suitor Martin (Geoffrey Nolan) that he and May are not cousins at all but half-siblings who have "fooled around" with each other. In addition to the reliably strong performances from each of the actors, Fool features a notably clever bit of staging involving the Old Man who appears not as a specter wandering the periphery of the stage, but as a recurring figure on the black-and-white television, interrupting the flow of cheesy Westerns with his garrulous trailer park wisdom and an omnipresent Styrofoam cup filled, one suspects, with something stronger than just coffee. (Gluckstern)

*Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Wed-Sat, 8pm. Extended through April 28. Actors Theatre of San Francisco and director Keith Phillips offer a sharp, spirited production of the 1984 play by David Mamet in which four real estate agents (Mark Bird, Sean Hallinan, John Krause, and Christian Phillips) jockey and scheme for advantage in their Chicago office in a landscape of insecurity and fierce competition symbolized by the selective doling out of the best leads by manager and company man John (Frank Willey). Clients (like the gullible young husband played by Randy Blair), meanwhile, are just witless marks for the machinations of the predatory salesman, no more meaningfully human than the "muppets" targeted by Greg Smith’s Goldman Sachs. If the scenic design is a little shabby, the strong cast makes that hardly an impediment to a story that feels especially timely in its sharply etched, not to say angry portrait of the ruthless and corrosive business mentality to which egos, livelihoods, and lives — not to mention the culture at large — are enthralled. (Avila)

Goodfellas Live Dark Room Theater, 2263 Mission, SF; www.darkroomsf.com. $20. Fri-Sat, 8pm. Through April 26. The Dark Room offers a comedic take on Scorsese’s gangsters.

*Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-35. Thu-Sat, 8pm. Through May 5. Cheap thrills don’t come much cheaper or more thrilling than at a Thrillpeddlers musical extravaganza, and their newly remounted run of Hot Greeks affords all the glitter-dusted eye-candy and labyrinthian plot points we’ve come to expect from their gleefully exhibitionist ranks. Structured as loosely as possible on Aristophanes’ Lysistrata, Greeks appropriately enough follows the trials and tribulations of a college sorority tired of "losing" their boyfriends to the big football match every year (Athens U vs. Sparta Tech). Pledging to withhold sex from the men unless they call off the game results in frustration for all, only partially alleviated by the discovery that sexual needs can be satisfied by "playing the other team," as it were. But like other Cockettes’ revivals presented by the Thrillpeddlers, the momentum of the show is carried forward not by the rather thinly-sketched narrative, but by the group song-and-dance numbers, extravagant costuming (and lack thereof), ribald wordplay, and overt gender-fuckery. In addition to many TP regulars, including a hot trio of Greek columns topped with "capital" headdresses who serve as the obligatory chorus (Steven Satyricon, Ste Fishell, Bobby Singer), exciting new additions to the Hypnodrome stage include a bewigged Rik Lopes as stalwart sister Lysistrata, angelically-voiced Maggie Tenenbaum as the not-so-angelic Sodoma, and multi-faceted cabaret talent Tom Orr as heartthrob hunk Pendulum Pulaski. (Gluckstern)

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu/12, 8pm; Sat/14, 8:30pm, Sun/15, 7pm. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor — including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships it has left in its wake) or in ominous memories of her too complacent mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. Note: review from the show’s 2009 run at the Marsh San Francisco. (Avila)

*A Lie of the Mind Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Wed/11-Sat/14, 8pm. Sam Shepard’s three-act drama is streaked with humor, horror and heartbreak, all of it arising from the most mundane but also extraordinary of things, love and family. That’s Shepard territory, of course, as surely as is the rowdy backwater of the American West where much of the play unfolds. But seeing the exceptionally sharp and powerful production currently up at Boxcar Theatre under direction of Susannah Martin — in the midst of Boxcar’s mostly terrific four-play Shepard fest that includes his better known Pulitzer-winner, Buried Child (1979) — suggests 1985’s Lie may cut deeper than most. It begins in the immediate aftermath of a vicious episode of domestic abuse, from which the married couple of Beth (Megan Trout) and Jake (Joe Estlack) flies apart and back into the ambivalent arms of their mutually dysfunctional families (played wonderfully by Carolyn Doyle, Marissa Keltie, Tim Redmond, Katja Rivera, Josh Schell, and Don Wood). Trout’s brain-damaged Beth is a wrenching figure, not merely for her confusion and vulnerability but more so for the certainty and determination that make their way from her heart through the prison bars of her hampered mind. As Jake, Estlack is doing some of his finest work, convincingly incarnating a veritable beast whose roaring, roiling emotions sound the loneliest and most desolate of souls within. Martin’s intelligent staging — aided by Steve Decker’s beautifully spare wood-plank set, Lucas Krech’s moody lighting, and a choice, eerie sound design by Teddy Hulsker — adds tangible weight and texture to the play’s radiant dialogue and engrossing characters, realized by one of the finest ensemble casts all year. (Avila)

Maple and Vine American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-95. Tue-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm (Sun/15, show at 7pm). Through April 22. ACT performs the West Coast premiere of Jordan Harrison’s play about a 21st century couple drawn into a community of people who live as if it’s the 1950s.

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $25-50. Fri/13, 8pm; Sat/14, 5pm. Dan Hoyle revives his hit solo show about small-town America.

Waiting for Godot New venue: SF Playhouse Stage Two, 533 Sutter, SF; (415) 336-3522, www.tidestheatre.org. $20-32. Thu/12, 7pm; Fri/13-Sat/14, 8pm. The fuchsia papier-mâché tree and swirling grey-on-white floor pattern (courtesy of scenic designer Richard Colman) lend a psychedelic accent to the famously barren landscape inhabited by Vladimir (Keith Burkland) and Estragon (Jack Halton) in this production of the Samuel Beckett play by newcomers Tides Theatre. The best moments here broadcast the brooding beauty of the avant-garde classic, with its purposely vague but readily familiar world of viciousness, servility, trauma, want, fear, grudging compassion, and the daring, fragile humor that can look it all squarely in the eye. (Avila)

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

BAY AREA

Anatol Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $30-55. Previews Wed/11, 8pm. Opens Thu/12, 8pm. Runs Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through May 13. Aurora Theatre Company performs a world premiere translation of Arthur Schnitzler’s drama about the love life of an Viennese philanderer.

Cabaret Larkspur Café Theater (American Legion Hall Post 313), 500 Magnolia, Larkspur; www.brownpapertickets.com. $25-45. Fri/13-Sat/14, 8pm; Sun/15, 7pm. Independent Cabaret Productions and Shakespeare at Stinson move their production of the Kander and Ebb classic from Fort Mason to the North Bay.

The Coast of Utopia: Voyage Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through April 29. Shotgun Players present Tom Stoppard’s riff on pre-revolutionary Russia.

Hairspray Fox Theatre, 2215 Broadway, Redwood City; www.broadwaybythebay.org. $20-48. Thu/12 and Fri-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through April 22. Broadway By the Bay opens its 47th season with the John Waters-based, Tony-winning musical.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through May 6. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Of Mice and Men TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $19-69. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through April 29. TheatreWorks performs the Steinbeck classic.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Tue and Thu-Fri, 8pm (also April 26, 2pm; no show April 27); Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; no 8pm show May 12; Sun, 7pm). Extended through May 12. Mark Rothko (David Chandler) isn’t the only one painting with a broad brush in this labored and ultimately superficial two-hander by John Logan, enjoying a competent but underwhelming production by outgoing Berkeley Rep associate artistic director Les Waters. Set inside the late-1950s New York studio of the legendary abstract expressionist at the height of his fame, the play introduces a blunt and brash young painter named Ken (John Brummer) as Rothko’s new hired hand, less a character than a crude dramatic device, there first as a sounding board for the pompous philosophizing that apparently comprises a good chunk of the artist’s process and finally as a kind of mirror held up to the old iconoclast in challenging proximity to a new generation that must ultimately transcend Rothko’s canvases in turn. The dialogue holds up signs announcing intellectual and aesthetic depths but these remain surface effects, reflecting only platitudes, while the posturing tends to reduce Rothko to caricature. Much of the self-consciously reluctant filial interaction here smacks of biographical sound bites or heavy-handed underscoring of theme, and tends toward the outright hokey when touching on the credulity-bending subject of Ken’s murdered parents — with the attendant shades this adds to Rothko’s and the play’s chosen color palette. (Avila)

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis "The Amazing Bubble Man" Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

Alonzo King LINES Ballet Yerba Buena Center for the Arts, Novellus Theater, 700 Howard, SF; (415) 978-2787, www.ybca.org. Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 5pm. Through April 22. $30-65. The company performs Triangle of the Squinches (Thu/12-Sun/15) and Scheherazade (April 18-22).

BATS Improv Bayfront Theater, Fort Mason Center, Marina and Laguna, SF; www.improv.org. Fri/13 and April 27, 8pm: "Theatresports Madness,"$20. Sat/14, April 21, and 28, 8pm: "Improvised Hitchcock," $20.

"The Collection" Exit Stage Left, 156 Eddy, SF; www.brownpapertickets.com. Wed/11-Fri/13, 8pm. $20-50. Theatrical magician Christian Cagigal debuts his brand-new, top-secret show.

"Comedy SuperPAC: Promoting Good Comedy and Great Causes Since 2012!" Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Mon, 7pm. Through May 7. $5. Nate Green and W. Kamau Bell present this ongoing comedy showcase; this week’s performers are Chris Garcia, Brendan McGowan, Jeff Kreisler, and Brandie Posey.

Jorge Rodolfo De Hoyos Garage, 975 Howard, SF; www.brownpapertickets.com. Sat/14-Sun/15, 8pm. $10-20. As part of the MOVE(MEN)T5 festival of men’s choregraphy, De Hoyos performs Departing Things.

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

"Heart and Soul: The Music of Diana Ross, Dionne Warwick, and Whitney Houston" Rrazz Room, 222 Mason, SF; www.therrazzroom.com. Sat/14, 7 and 9:30pm. $35-45. Cabaret show paying homage to three of music’s most beloved divas.

"Love/Hate" ODC Theater, 3153 17th St, SF; www.odctheater.org. Thu/12 and Sat/14, 8pm; Sun/15, 7pm. $35-65. In association with the San Francisco Opera Center, ODC Theater presents the world premiere of a chamber opera by Jack Perla and Rob Bailis.

Natasha Carlitz Dance Ensemble Cowell Theater, Fort Mason Center, Marina at Laguna, SF; www.carlitzdance.org. Fri/13-Sat/14, 8pm. $14-24. The company performs With a Little Help From My Friends.

"Previously Secret Information" Stage Werx, 446 Valencia, SF; www.eventbrite.com. Sun/15, 7pm. The comedic storytelling series celebrates its second anniversary with performances by Joe Klocek, Dhaya Lakshminarayanan, and Nina G.

"Qcomedy Presents Bear Comedy Night" Stage Werx, 446 Valencia, SF; www.qcomedy.com. Mon/16, 8pm. $8-20. With Bob "Bobaloo" Koenig, Nick Leonard, and more.

Sing for America Herbst Theater, 401 Van Ness, SF; (415) 392-4400, www.singforamerica.org. Tue/17, 8pm. $30. Amateur singers in the SFA chorus perform alongside the San Francisco Boys’ Chorus and professional soloists; ticket proceeds benefit Bay Area arts organizations.

Tim Rubel Human Shakes Garage, 975 Howard, SF; www.brownpapertickets.com. Thu/12-Fri/13, 8pm. $10-20. As part of the MOVE(MEN)T5 festival of men’s choregraphy, the company performs We Have (Not).

"Uhane" Children’s Creative Museum Theater, Yerba Buena Gardens, 221 Fourth St, SF; www.creativity.org. Fri/13-Sat/14, 8pm; Sun/15, 2pm. $25. Purple Moon Dance Project founder and artistic director Jill Togawa leads this ten-women dance piece in her last San Francisco performance.

BAY AREA

"All Agita All the Time" Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. Mon/16, 8pm. $10. Shotgun Cabaret presents First Person Singular’s family-style reading of The Sopranos‘ pilot episode.

Dimensions Dance Theater Malonga Casquelourde Center, 1428 Alice, Oakl; www.brownpapertickets.com. Sat/14, 8pm. $15-25. The company performs Down the Congo Line.

Who bombed Judi Bari?

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THE GREEN ISSUE Darryl Cherney is determined. “I have a mission in life,” he says. “And that is to find out who bombed Judi Bari.” This week, a judge may have gotten him closer to that goal, ordering evidence in the case be sent to a lab for forensic testing.

Cherney was in the car with Bari, a fellow environmental activist from Earth First, when a pipe bomb wrapped with nails exploded, maiming Bari and leaving Cherney with serious injuries.

It was 1990, and the two were in Oakland on their way to speak about the upcoming Redwood Summer, three months of picketing, tree-sitting, and otherwise blocking the clear-cutting of the California redwoods.

The Redwood Summer went on, but not before Bari and Cherney were arrested: The Oakland Police Department said they had constructed the bomb themselves and were transporting it in the back seat.

Before Bari and Cherney went to trial, it became clear that the bomb had been under the front seat (Exhibit A: Bari’s shattered pelvis and the unscathed backseat), and that there was absolutely no evidence Bari or Cherney had known it was there, and the charges were dropped. But the true culprit was never found.

In 2002, Cherney sued the FBI for attempting to frame him and Bari (who died of breast cancer in 1997), and won. But he’s still set on testing the remaining evidence for DNA.

“We rely on the government to examine physical evidence in a violent criminal case, and when they fail to do that, we have to react,” Ben Rosenfeld, Cherney’s attorney, told the Guardian.

“It should be an open attempted-murder investigation.”

But the authorities not only weren’t investigating, they were seeking to destroy the evidence, something Cherney and his lawyers have been fighting. On April 2, they scored an important victory when U.S. District Court Judge Claudia Wilkens issued an order preserving the material and allowing its transfer to a Hayward forensic lab for testing.

In August 2010, government lawyers had unceremoniously announced that they planned to destroy the case’s remaining evidence, which includes remnants of this bomb and another one that partially exploded in Cloverdale two weeks earlier, as well as a hand-lettered sign that was near the Cloverdale bomb. The Cloverdale bomb and the bomb that exploded in Bari’s car were constructed similarly, and no one has been convicted of either attack. Because they contain unintentionally intact evidence, partially exploded bombs are “considered to be the Holy Grail in bombing investigations. That slightly exploded bomb in Cloverdale is key to solving the case,” said Cherney. Lawyers for Cherney responded with a motion calling instead for testing of the evidence; the government opposed the motion.

But at a Sept. 8, 2010 hearing, Magistrate Judge James Larson ordered the FBI to turn the evidence over to an independent analyst for testing.

Again, the feds opposed the order, and asked for a de novo review of the case, essentially asking that the court go over all previous briefings once again. The motion seemed like a stalling tactic, and it worked; the motion was pending in court for a year.

Recently, it was brought back up again, when the plaintiff’s motioned to move forward with testing the evidence. They suggested a lab in Hayward, Forensic Analytics Laboratories, and Wilkens agreed on April 2.

Bari’s case came out at the start of what became a large-scale FBI crackdown on environmental justice movements in the 1990s and throughout the 2000s. Activists protesting companies that they thought were harmful towards animals and the earth became a special target of the FBI in what became known as the “Green Scare.”

The era was characterized by crackdowns on the Earth Liberation Front and the Animal Liberation Front, although it also affected groups like Food Not Bombs and Earth First.

“The case was an early forerunner of what we call the Green Scare cases, where the government sets out to make examples of people it perceives as leaders to try to chill activism in the environmental movement,” said Rosenfeld. “It was quite a scary season for environmental activists.”

The Green Scare did a lot to quell environmental activism, and some who were arrested at its peak remain in prison. But it didn’t stop many — including Bari and Cherney — from continuing their work.

“Both Judi and I continued right out of jail. Actually, in jail the police wrote in their police report that I was trying to convert them to environmentalism,” laughed Cherney.

“I participated in Redwood Summer and the Headwater Forest Campaign right through 1999 and continued through 2003. And now I’m making a movie about it.”

The movie, Who Bombed Judi Bari? has been doing well since it had its world premiere at the SF Green Film Festival March 2.

The film’s reception is “definitely very gratifying,” says Mary Liz Thomson, the film’s director, who “spent a lot of time editing it living in a cabin on [Cherney’s] land up in the woods, using solar power.”

Now she’s touring California with sold-out screenings, as well as some free screenings, including a well-attended March 26 screening at Occupy Oakland.

Thomson says she has gotten positive feedback from occupiers and others currently working in social movements.

“We’re just at the beginning of our launch and people are saying that it’s really relevant right now. The timing was great”

Indeed, laws that build on the Green Scare have been rapidly passed in recent months, targeting other political groups.

Controversy flared after President Obama signed the National Defense Authorization Act, which allows the U.S. to detain suspects without charge. Attorney General Eric Holder claimed that the government can kill its own citizens abroad without trial. And on Feb. 27, The House of Representatives voted in favor of HR 347, the so-called “Anti-Occupy Bill.”

Who Bombed Judi Bari? is an important history lesson for those faced with these new challenges. And Cherney may finally be on track to finding out the answer to the title’s question.

Fact: your heart will go on if you skip ‘Titanic 3D’

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We already made fun of Titanic 3D last week (spoiler alert: Kate aged better than Leo), and the only other big Hollywood cheese opening this week is American Reunion (spoiler alert: Alyson Hannigan‘s career has aged better than Jason Biggs‘).

Of slightly more urgent, politically relevent, Celine Dion-less note, check out Sam Stander’s review of This Is Not a Film, a movie by embattled filmmaker Jafar Panahi that was literally smuggled out of Iran on a flash drive hidden in a cake. It opens Fri/13 at the SF Film Society Cinema (a zone soon to be taken over by the upcoming San Francisco International Film Festival, kicking off April 19).

If you’re an artist yourself, possibly one who looks spiffy in a pair of chaps, the Folsom Street Fair (which has a new date this year!) has put out a call to independent filmmakers interested in working on a planned documentary on “the grandaddy of all leather events.” From the Folsom Street Events press release:

“Demetri Moshoyannis, Executive Director, said, ‘As Folsom Street Fair approaches its 30th anniversary, Folsom Street Events is seeking an independent filmmaker to help document our rich, diverse, and sometimes salacious history. With so much film talent in California, across the U.S., and even abroad, we believe that the development of Folsom Street Fair is a compelling story that must be shared.’ Jacob Richards, Board President, added, ‘The Board of Directors has agreed to provide support for the project in the form of a very modest grant (if requested), fundraising appeals to its donor base, access to historical documents and agency contacts, and more. We are hoping to receive a broad range of proposals from diverse filmmakers.'”

Head to www.folsomstreetevents.org for more info.

And if you’re simply looking for a new movie to see (The Hunger Games has grossed $373,330,642 worldwide … so far. Katniss Everdeen, you’ll never go hungry again!), you can geek out with Morgan Spurlock‘s fun doc Comic-Con IV: A Fan’s Hope; check out Moroccan filmmaker Ismaël Ferroukhi’s latest, Free Men; see a couple of American Reunion cast members moonlight in the hockey flick Goon; and learn more about the recently-in-the-news-for-hopeful-reasons-for-once country of Myanmar in doc They Call it Myanmar: Lifting the Curtain. Reviews follow.

http://www.youtube.com/watch?v=ZN41gXXUlLI

Comic-Con IV: A Fan’s Hope When what is now known as the San Diego Comic-Con International launched in 1970, attendance consisted of a couple hundred comic-book fans. Now, it’s a huge event thronging with hundreds of thousands of geek-leaning movie, TV, video game, and — oh, yeah — comic-book fans; it’s also become an essential part of the hype-building machine for every major pop-culture property. Super Size Me (2004) director Morgan Spurlock’s lively doc examines the current state of Comic-Con with input from those who’ve ridden the nerd train to fame and fortune (Joss Whedon, Guillermo Del Toro, Stan Lee) — but the film’s most compelling sequences zero in on a handful of ordinary folks obsessed with the event for a variety of reasons. There’s the proprietor of a Denver comics shop, a 38-year Comic-Con veteran, faced with the chilling prospect of having to sell his most valuable (and most beloved) comic in order to keep his business afloat; the Carrie Brownstein look alike who spends the entire year crafting incredibly detailed costumes for Comic-Con’s annual masquerade contest; the soldier and family man who dreams of drawing comics for a living; and the sweetly dorky young man nervously planning to propose to his girlfriend … during a Kevin Smith panel. To its credit, Comic-Con IV never mocks its subjects, and it manages to infuse its many storylines with surprising emotional depth. Extra points for the clever, comics-inspired transitions, too. Director Spurlock appears in person for post-film Q&As Sun/8 at 5 and 7:30pm shows. (1:26) Vogue. (Cheryl Eddy)

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

Free Men Amid moderate hoopla for Casablanca‘s 70th anniversary, it’s a good time for something that was a whole lot more common back then — a wartime drama not about battle or victimization, but espionage intrigue crossing the lines between military, diplomatic, and civilian sectors. Arrested for participating in the black market in the occupied Paris of 1942, North African émigré Younes (Tahar Rahim from 2009’s A Prophet) evades prison or deportation by agreeing to spy on a local mosque suspected by the Nazis of harboring and smuggling out Jews. His clumsy efforts are quickly found out by a visiting imam (Michael Lonsdale), with the result that Younes — whose brother (Farid Larbi) is already a committed fighter in the Resistance underground — winds up playing double-agent, pretending to serve the police and SS while actually working against them. En route he becomes entangled in the disparate agendas of others including Leila (Lubna Azabal), who’s secretly involved in the Algerian liberation movement, and Salim (Mahmud Shalaby), an apolitical, bisexual singer whose career ambitions blind him to the personal dangers he risks. Ismaël Ferroukhi’s handsome, twisty drama won’t have you white-knuckling the armrests, but it’s an intelligent, satisfying throwback to the colorful characters and narrative intricacies of another era’s cinematic melodramas — with the welcome update of making non-white players our protagonists rather than “exotic” support players. (1:39) Lumiere, Shattuck. (Dennis Harvey)

http://www.youtube.com/watch?v=sytVoTYFT08

Goon An amiable Massachusetts bar bouncer who’s the odd one out within his highly-educated, high-achieving Jewish family (led by Eugene Levy), Doug Glatt (Seann William Scott) can punch your lights out as easily — and with as little malice — as he’d flip a light switch. That skill looks useful to a local hockey team in need of an enforcer to disable relevant members of the opposing team when needed, then sit in the penalty box. Soon “Doug the Thug’s” burgeoning reputation brings him to the relative big leagues of Halifax, where his main job for the Highlanders is protecting a star (Marc-André Grondin) who’s been skittish since his serious bruising at the hands of “Ross the Boss” (Liev Schreiber), our hero’s veteran equivalent. Based very loosely on Doug “The Hammer” Smith’s memoir, this latest from director Michael Dowse (2004’s It’s All Gone Pete Tong) and co-scenarist Jay Baruchel (who also plays Doug’s incredibly crass best friend) is a cut above most Canadian hockey comedies — which, trust me, is not saying much. But it is indeed rather endearing eventually as an exercise in rude, pretty funny yet non-loutish humor about oafish behavior. A lot of its appeal has to do with Scott, who is arguably miscast and somewhat wasted as this “Hebrew Dolph Lundgren” — the actor’s forte being manic, impulsive, near-lunatic rather than slow-witted characters — yet who helps Goon maintain a no-foul friendliness in inverse proportion to its face-mashing action on ice. The writing could be sharper, but apparently there is only room for one smart hockey satire in our universe, and that spot was taken by Slap Shot 35 years ago. (1:30) Lumiere. (Harvey)

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

They Call it Myanmar: Lifting the Curtain Recent elections signal that Myanmar’s status as “the second-most isolated country on the planet,” per Robert H. Lieberman’s doc, may soon be changing. With that hopeful context, this insightful study of Myanmar (or Burma, depending on who’s referring to it) is particularly well-timed. Shot using clandestine methods, and without identifying many of its fearful interviewees — with the exception of recently-released-from-house-arrest politician Aung San Suu Kyi, a Nobel Peace Prize winner — They Call it Myanmar offers a revealing look at a country largely untouched by corporate influences and pop culture. Myanmar’s military dictatorship is the opposite of a cult of personality; it’s scarier, one subject reflects, because “it’s a system, not an individual,” with faceless leaders who can be quietly be replaced. The country struggles with a huge disconnect between the very rich and the very poor; it has a dismal health care system overrun by “quacks,” and an equally dismal educational system that benefits very few children. Hunger, disease, child labor — all prevalent. Surprisingly, though the conditions that surround them are grim, Myanmar’s people are shown to be generally happy and deeply spiritual as they go about their daily lives. A highlight: Lieberman’s interactions with excited Buddhist pilgrims en route to Kyaiktiyo Pagoda, with an up-close look at the miraculously teetering “Golden Rock.” (1:23) Bridge. (Eddy)

And if none of the above are weird or insane enough for your tastes, the new series at the Vortex Room, “Starship Vortex,” will not, we repeat not, in no way, shape, or form, let you down. Blast off!

Our Weekly Picks: April 4-10

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WEDNESDAY 4

 

Nile

Death metal fans are eagerly awaiting At the Gate of Sethu, the newest album from South Carolina speed-demons Nile. Influenced, as always, by singer-guitarist Carl Sanders’ exhaustive study of Egyptian history and myth, the band’s new offering is sure to feature Nile’s distinctive traits: impossibly fast blast-beats (courtesy of drummer George Kollias), keening, Middle Eastern chords, and creepy, atmospheric interludes played on traditional instruments. Still, the chief delight for any Nile fan should be witnessing the band’s superhuman stamina and chops in person — despite a truncated opening set, few bands can play more individual notes in a single night.(Ben Richardson)

With the Black Dahlia Murder, Skeletonwitch, Hour of Penance

7:30pm, $21

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

Blank Tape Beloved featuring Brother Ali

“Sometimes I don’t write a lot/ I know folks out there call that writer’s block/ I just call it my process/ It comes out when it’s ready to, I guess…” So explains Brother Ali in new single “Writer’s Block,” perhaps as a reply to fans asking about the lengthy stretches between releases. The Minneapolis-based emcee brings a big-picture perspective, striking a lyrical balance between brevity and bookishness. New (and free!) seven-song EP The Bite Marked Heart provides the appetizer for upcoming LP Mourning in America and Dreaming in Color. Ali brings in the band Blank Tape Beloved for what he describes as an impromptu and intimate performance. (Kevin Lee)

9pm, $10

Cafe Du Nord

2170 Market, SF

(415) 861-5016

www.cafedunord.com

 

Cults

Cults sound like a ’60s girl group (think the Shangri-Las/Ronettes) drenched in dreamy, lo-fi noise. New York-based couple and artistic collaborators Madeline Follin and Brian Oblivion began making music in their home as a hobby not too long ago. Shortly after their hit single “Go Outside” went viral in the blogosphere, however, they landed a record deal and released their first album (Cults). Their vocals, which Follin belts out in a sweet, crooning manner, suggest foreboding themes like senseless depression, unalterable inadequacies, and uneven, entrapping love. You’ll most likely want to slowly sway to these songs — and reverently mimic Oblivion’s steady, controlled head banging. (Mia Sullivan)

With Spectrals, Mrs. Magician

8pm, $21

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

Thu/5, 8 p.m., $21

Slim’s

333 11th St., SF

(415) 255-0333

www.slimspresents.com

 

THURSDAY 5

“Behind The Scenes: The Art and Craft of Cinema”

As a costume designer in Hollywood, Deborah Nadoolman Landis has worked on a host of legendary films and created iconic looks such as the fedora and jacket of Harrison Ford (Indiana Jones) in Raiders of The Lost Ark (1981), the candy apple red leather jacket for Michael Jackson in Thriller, the “College” shirt worn by John Belushi in Animal House (1978), and many more. Landis will be appearing at PFA this week to discuss her work as part of “Behind The Scenes: The Art and Craft of Cinema,” a special two-night program — on Thursday she will be joined by her husband, director John Landis, for a screening of Three Amigos! (1986) — one of several projects they’ve worked on together over the years. On Friday she will join fellow costume designer Aggie Guerard Rodgers for a talk and screening of the classic American Graffiti (1973). (Sean McCourt)

Thu/4-Fri/5, 7pm, $5.50–<\d>$9.50

Pacific Film Archive

2575 Bancroft Way, Berk.

(510) 642-1412

bampfa.berkeley.edu

 

Argentine Tango USA Festival

There are few cities more similar to San Francisco than Buenos Aires — leaving aside the vagaries of bistec versus burrito and geographic shaping (121 compared to 203 square kilometers). The two are major cities with world-class art scenes, passionate histories of social protest, and dammit, we dance. Be you a hippie-shaker or a vogue hand-waver, the motion in your ocean will most surely respond to the sultry allure of tango, brought to us this week in spades in a big-time competition authorized by the Buenos Aires city government. Spring to attend a milonga, which is like a tango jam session, or take a seat to watch the pros pivot it out. (Caitlin Donohue)

Thu/5-Sun/8, $20 competition spectator admission Check website for competition times

San Francisco Airport Marriott

1800 Old Bayshore Highway, Burlingame

www.argentinetangousa.com

 

 

Dark Star Orchestra

Depending on how much second-hand pot you’ve smoked, if you close your eyes and listen up to Dark Star Orchestra, it’s possible to convince yourself you’ve transported back to 1969 for a Grateful Dead show. Yes, DSO is a nationally recognized and acclaimed Dead tribute act (seriously, the band really sound like the Dead) that is coming to show us young whippersnappers what we missed in the 1960s, ’70s, ’80s, and ’90s. So melt into the sunny jams that have shaped our fair city’s culture, expose your inner ecstasy, and rub against the person next to you; lovingly. Also, consider this is a prime opportunity to people-watch and swap Jerry Garcia-related personal transformation stories. (Sullivan)

9pm, $35

Great American Music Hall

859 O’Farrell, SF

(415) 885-0750

www.slimspresents.com

 

FRIDAY 6

 

Yours and Mine

If contemporary performance originated partly in response to the cultural primacy of visual art, Macklin Kowal’s Yours and Mine suggests a full-circle act of reclamation in which performance shares not only space but a full dynamic partnership with other objets d’art. In it Kowal, a San Francisco performer-choreographer and current artist-in-residence at Meridian Gallery, responds with capable, thoughtful intelligence to an exhibition by leading Irish contemporary painter Patrick Graham, in an hour-long performance installation involving ten dancers and all three floors of the gallery. The piece promises a further livening of the rooms beyond the already electric effect of Graham’s roiling canvases, as well as an exploration of the way we literally embody the aesthetic experience. (Robert Avila)

Fri/6-Sat/7, 7:30pm, $10–<\d>$20

Meridian Gallery

535 Powell, SF

(415) 624-6765.

www.meridiangallery.org

 

“Beautiful Rebels: A Celebration of the Fashion World of Jean Paul Gaultier”

You got epaulet envy trawling the paparazzi shots from the opening of the JPG-de Young exhibit a few weeks ago. Chin up girl, your chance to fete fashion’s enfant terrible hasn’t passed you by. Sashay to Golden Gate Park to hang with the Guardian (we’re the media sponsors) at this Friday night happy hour event. Drag-cinema supernova Peaches Christ will be doing us the honor of emceeing, and would you believe there will be a fashion show featuring the work of Mister David and others — not to mention a performance by SF’s queer-hop representatives Double Duchess and a craft table by Some Thing artisan Haute Gloo? (Donohue)

Fri/6 5:30pm, free de Young Museum 50 Hagiwara Tea Garden, SF (415) 750-7694

Facebook: Beautiful Rebels www.peacheschrist.com

 

dead prez

The dead prez anthem “It’s Bigger Than Hip-Hop” may as well apply to both dead prez lyricists-producers M-1 and stic.man. Since teaming together in New York in the mid-1990s in New York, M-1 and stic.man have developed from hip-hop artists into social change activists, revolutionary lecturers, and health advocates. (Legend has it the duo used to fling apples into the crowd at concerts.) Both have kept busy with their own projects — stic.man came out with a “fit-hop” album The Workout (Boss Up Inc) espousing the benefits of good breathing tactics and calisthenics, while M-1 has paired with Italian electro producer Bonnot of Assalti Frontali to become AP2P (aka All Power to the People). But dead prez is still very much alive, continuing to tour and working on the long-delayed LP Information Age. (Lee)

With Los Rakas, DJ Mr. E

9pm, $20

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com

 

 

Thrones

Game on: the band Thrones has been around far longer than that newbie medieval fantasy television show (though not quite as long as the book series it’s based on). Another key difference, this Thrones is actually just one dude: Seattle’s Joe Preston, the metal-grinding doom bassist/Moog-enthusiast who’s spent time on tastemaker labels Kill Rock Stars and Southern Lord, and played alongside Earth, the Melvins, and High on Fire. If Preston were to play his own Thrones game, it would likely involve some sort of underground “chew up this sheet metal and spit it out stylishly” auditory sensation contest. Coda: I was advised against relating Thrones in any way to Games of Thrones, but it has now just happened, so do with that what you will. (Emily Savage)

With Helms Alee, Grayceon

9:30pm, $10

Hemlock Tavern

1131 Polk, SF

(415) 923-0923

www.hemlocktavern.com

 

 

GWAR

You know a band is worth seeing when the singer has a seven-syllable name for his prosthetic penis. The “Cuttlefish of Cthulu” has flopped mightily at the forefront of GWAR shows for over 20 years, and the Richmond, Va. outfit shows no signs of slowing down. The tunes are still mostly straightforward, forgettable headbanger fuel, but the elaborate costumes and stage show change every tour — half the fun is discovering which foam-rubber politician effigy GWAR is going to disembowel next. My money’s on Rick Santorum this time around. (Ben Richardson)

With Municipal Waste, Ghoul, Legacy of Disorder

8pm, $25

Regency Ballroom

1300 Van Ness, SF

(415) 673-5716

www.theregencyballroom.com

 

MONDAY 9

Jeff Mangum

How much do we owe the Elephant Six Recording Company collective for our current slate of folk and indie rock? Two decades after a group of four friends launched their own record label in Denver, Elephant Six bands and spin-off projects (The Apples in Stereo and of Montreal among them) are still pushing critically acclaimed music. Core member Jeff Mangum remains among the collective’s most followed musicians, even though his Neutral Milk Hotel released the last of its two LPs fifteen years ago. The everlasting appeal of On Avery Island and In the Aeroplane Over the Sea may stem from a refreshing rawness devoid of glossy production. In these two shows before Coachella, Mangum’s acoustic performances highlight his signature sweet serenade. (Lee)

With Laura Carter and Andrew Rieger of Elf Power and Scott Spillane of the Gerbils

Mon/9-Tue/10, 8pm, $36

Fox Theater

1807 Telegraph, Oakl.

(510) 548-3010

www.thefoxoakland.com 

 

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Five weeks till “The Avengers”! What to watch while you’re counting down

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The truth is, The Hunger Games will still be raking in mad dough this weekend. (Even Julia Roberts can’t step to Katniss Everdeen, and if John Carter is any indication of moviegoers’ fatigue of CG uber-spectacle, Wrath of the Titans is doomed. Though, to be fair, if anyone can step to Katniss Everdeen, it’s Liam Neeson.)

So. Your weekend options include: The Hunger Games, round two; re-watching last week’s zooby-zooby-zoo-tastic Mad Men season premiere over and over until episode two airs; or binging on all of Game of Thrones, season one, to prep for that show’s return to HBO (praise to R’hllor!) Also: Sat/31 and Sun/1 screenings remain of 1927 masterpiece/cinema event of the season Napoleon at Oakland’s Paramount. (Ain’t cheap, but worth it.)

If you really, really want to take in a new movie, the rep and art houses are the place to be Fri/30. Tom “Loki” Hiddleston squeezes in some acting cred ahead of The Avengers‘ May 4 release, starring opposite Oscar winner Rachel Weisz in the new one from Terence Davies (2000’s The House of Mirth):

The Deep Blue Sea Caught between the devil and the deep blue sea, filmmaker Terence Davies, much like his heroine, chooses a mutable, fluid sensuality, turning his source material, Terence Rattigan’s acclaimed mid-century play, into a melodrama that catches you in its tide and refuses to let go. At the opening of this sumptuous portrait of a privileged English woman who gives up everything for love, Hester (Rachel Weisz) goes through the methodical motions of ending it all: she writes a suicide note, carefully stuffs towels beneath the door, takes a dozen pills, turns on the gas, and lies down to wait for death to overtake her. Via memories drifting through her fading consciousness, Davies lets us in on scattered, salient details in her back story: her severely damped-down, staid marriage to a high court judge, Sir William (Simon Russel Beale), her attraction and erotic awakening in the hands of charming former RF pilot Freddie Page (Tom Hiddleston), her separation, and her ultimate discovery that her love can never be matched, as she hazards class inequities and ironclad gender roles. “This is a tragedy,” Sir William says, at one point. But, as Hester, a model of integrity, corrects him, “Tragedy is too big a word. Sad, perhaps.” Similarly, Sea is a beautiful downer, but Davies never loses sight of a larger post-war picture, even while he pauses for his archetypal interludes of song, near-still images, and luxuriously slow tracking shots. With cinematographer Florian Hoffmeister, he does a remarkable job of washing post-war London with spots of golden light and creating claustrophobic interiors — creating an emotionally resonant space reminiscent of the work of Wong Kar-wai and Christopher Doyle. At the center, providing the necessary gravitas (much like Julianne Moore in 2002’s Far From Heaven), is Weisz, giving the viewer a reason to believe in this small but reverberant story, and offering yet another reason for attention during the next awards season. (1:38) Embarcadero, Piedmont, Shattuck, Smith Rafael. (Kimberly Chun)

Liked A Separation, recent Oscar winner for Best Foreign Language Film? Here’s another standout Iranian film, The Hunter, not to be confused with the upcoming Australian film of the same title starring Willem Dafoe:

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

The Hunter Shot and set during Iran’s contentious 2009 Presidential campaign, The Hunter starts as a Kafka-esque portrait of quiet desperation in a cold, empty Tehran, then turns into a sort of existential thriller. The precise message may be ambiguous, but it’s no surprise this two-year-old feature has so far played nearly everywhere but Iran itself. Ali (filmmaker Rafi Pitts) is released from prison after some years, his precise crime never revealed. Told that with his record he can’t expect to get a day shift on his job as security guard at an automotive plant, he keeps hours at odds with his working wife Sara (Mitra Haijar) and six-year-old daughter Saba (Saba Yaghoobi). Still, they try to spend as much time together as possible, until one day Ali returns to find them uncharacteristically gone all day. After getting the bureaucratic runaround he’s finally informed by police that something tragic has occurred; one loved one is dead, the other missing. When his thin remaining hope is dashed, with police notably useless in preventing that grim additional news, Ali snaps — think Peter Bogdanovich’s 1968 Targets. He’s soon in custody, albeit in that of two bickering officers who get them all lost in the countryside. Pitts, a long-ago child performer cast here only when the actor originally hired had to be replaced, makes Ali seem pinched from the inside out, as if in permanent recoil from past and anticipated abuse. This thin, hunched frame, vulnerable big ears, and hooded eyes — the goofily oversized cap he wears at work seems a deliberate affront — seems so fixed an expression of unhappiness that when he flashes a great smile, for a moment you might think it must be someone else. He’s an everyman who only grows more shrunken once the film physically opens up into a natural world no less hostile for being beautiful. (1:32) Roxie. (Dennis Harvey)

Finally, a timely doc about the recently forced-to-resign-under-shady-circumstances prez of the Republic of Maldives, an island nation imperiled by the planet’s changing climate:

The Island President The titular figure is Mohamed Nasheed, recently ousted (by allies of the decades long dictator he’d replaced) chief executive of the Republic of Maldives — a nation of 26 small islands in the Indian Ocean. Jon Shenk’s engaging documentary chronicles his efforts up to and through the 2009 Copenhagen Climate Summit to gather greater international commitment to curbing greenhouse gas emissions. This is hardly do-gooderism, a bid for eco-tourism, or politics as usual: scarcely above sea level, with nary a hill, the Maldives will simply cease to exist soon if waters continue to rise at global warming’s current pace. (“It won’t be any good to have a democracy if we don’t have a country,” he half-jokes at one point.) Nasheed is tireless, unjaded, delightful, and willing to do anything, at one point hosting “the world’s first underwater cabinet meeting” (with oxygen tanks, natch) as a publicity stunt. A cash-strapped nation despite its surfeit of wealthy vacationers, it’s spending money that could go to education and health services on the pathetic stalling device of sandwalls instead. But do bigger powers — notably China, India and the U.S. — care enough about this bit-part player on the world stage to change their energy-use and economic habits accordingly? (A hint: If you’ve been mulling a Maldivian holiday, take it now.) Somewhat incongruous, but an additional sales point nonetheless: practically all the film’s incidental music consists of pre-existing tracks by Radiohead. (1:51) Embarcadero. (Harvey)

P.S. In honor of next Wed/4’s re-release of James Cameron’s Titanic in 3D … the immortal Titanic II (not coming to an IMAX near you anytime soon.)

“Looks like history’s repeating itself!”

Southern obsession

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virginia@sfbg.com

APPETITE Southern food has a profound hold on me. No, I’m not a Southerner — but few cuisines the world over elicit in me such yearning and comfort. Finding the real deal in the Bay Area is tricky, although a recent Southern trend has helped. Aside from my beloved Brenda’s and delightful Boxing Room, the following spots fulfill cravings.

 

HOPS AND HOMINY

Recently opened downtown, Hops and Hominy has the charm of being tucked away at the end of an alley off bustling Grant Ave. I must admit, when I saw packed crowds and a neon maraschino cherry (versus a quality brandied one) in my cocktail, I doubted H&H, opened by three Florida natives. But in this early stage, it shows promise.

Despite the cherry and too much ice, a Smoked Bacon Old Fashioned was more balanced than I expected. Using Bulleit bourbon infused with bacon, the drink is thankfully light on maple syrup. This is not exactly a cocktailian’s destination but you can get a decent beverage. Better to go with the beer menu: Dogfish Head 90 Minute IPA and Ommegang Hennepin Saison are examples of the greats they have on tap.

In terms of food, a couple dishes jump out. The most unusual for this setting is espresso-cured chocolate duck ($12). Rare duck is perched on a potato pancake with mascarpone drizzled on top. Chocolate and coffee notes are subtle, adding an unexpected seductiveness to the dish. While the potato pancake doesn’t exactly fit, it doesn’t detract either. Mac ‘n cheese is so common, but here, served piping hot in a skillet ($8), it’s oozing with cheddar goodness and typical house cured bacon. Crispy sage leaves elevate it.

Buttermilk battered chicken ($19) is not the best in town, but free-range chicken is tender and generously portioned. This dish is an ideal way to also try the mac and cheese, a companion along with Brussels sprouts. Deep water shrimp and cheesy Southern grits ($19) work but don’t recall the best of the South.

1 Tillman Pl., SF. (415) 373-6341, www.hopsandhominy.com

 

HOG AND ROCKS

Hog and Rocks has grown into one of our great casual gathering spots, with better-than-ever cocktails and food, and a winning American whiskey selection. I’ve been a huge fan of the ham platters (the hog) and oyster selection (the rocks) since they opened, particularly when H&R offer such incredible Southern hams as one from Tennessee’s G&W Hamery, lightly drizzled with sweet Fresno chili syrup.

The impetus for recent visits was a new Scott Beattie-designed cocktail menu and new bar manager Michael Lazar. There are longtime Beattie favorites on the menu, like the fall-influenced, whiskey-apple-ginger lushness of his John Chapman. (Oh, that Thai coconut foam!)

Two original drinks are Lazar’s bright Calabria ($11) — Old Grandad 114 bourbon, bergamot, honey, and Averna, bright with ginger beer — and Beattie’s Coastal Collins ($10.50) which stood out with St. George’s fabulous Terroir gin, lemon, soda, bay laurel and huckleberries. It’s a refreshing, herbaceous sipper. Ask Lazar to make you a Hanky Panky, a classic London Savoy cocktail. Lazar tweaks the measurements of gin, sweet vermouth, and Fernet Branca for a more complex, sexy whole.

Foodwise, I’ve long found the pimento cheese in a jar ($7.50) the best in town — bordering on addictive. Recent enjoyments include hefty meatballs ($12.50) in whiskey barbecue sauce over cheddar cheese grits and white cabbage, and fat cheddar beer sausages ($13.50). Standout dish: a Berkshire pork cutlet ($16), prepared like German schnitzel (pounded flat, breaded), in a smoky maple syrup and hot pepper relish alongside Red Russian kale evoking collard greens. Here’s to chef Scott Youkilis’ upcoming BBQ venture across the street, Hi-Lo, due to open this Summer.

3431 19th St., SF. (415) 550-8627, www.hogandrocks.com

 

THE FRONT PORCH

The Front Porch’s garage sale, drafty charm still works. Over the years, it’s been a consistent source of quality, quirky Southern eats in cozy, worn red booths beneath pressed tin ceilings.

Crab fritters ($9) won me over immediately, packed with fresh, flaky crab meat, dipped in remoulade. Discounting Brenda’s incomparable take and 1300 on Fillmore’s refined twist, Front Porch serves the best shrimp n’ grits in town ($18.50). Bacon and less traditional wild mushrooms add heft to white wine-doused arbuckle grits. The Porch does right by fried chicken ($17 for 3 pieces, $34 for 9 pieces). Though it’s not the ultimate version, tender Rocky Jr. organic chicken satisfies alongside garlic mashed potatoes and collard greens.

You could do worse than finishing with an Abita root beer float — add in bourbon, if you like. Then head across to the street to new sister location, the comfy, divey Rock Bar for a nightcap.

65A 29th St., SF. (415) 695-7800, www.thefrontporchsf.com *

Subscribe to Virgina’s twice-monthly newsletter, The Perfect Spot, www.theperfectspotsf.com

 

Past, present, future

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arts@sfbg.com

DANCE This weekend choreographers Robert Moses and Sean Dorsey present new dances. Moses’ Helen, inspired by the myth of the beautiful Greek whose face launched a thousand ships, is at Yerba Buena Center for the Arts; Dorsey’s The Secret History of Love, based on how LGBT people used to meet, plays Dance Mission Theater. Both choreographers started dancing in their hometowns — Philadelphia for Moses, Vancouver for Dorsey — and began choreographing professionally in San Francisco. They recently talked to the Guardian about how they came to be where they are now.

SFBG Do you remember how dance entered your life?

Robert Moses We danced the way kids do. My sister and family members all danced. As teenagers we would get together in clubs where you showed your steps, and you had a contest. You couldn’t just jump around a little bit. You had to be the very best dancer that you could be.

Sean Dorsey My first memory is spinning round the living room in a leotard to “Free to Be … You and Me.” There was a lot of music in my house, lots of artists in my family, and there was a lot of space and encouragement for that kind of activity.

SFBG How did your formal training in dance start?

RM In my last semester in high school, I ended up in a dance class when another class was cancelled. At university, I started training in West African, Haitian, ballet, contemporary, tap, and musical theater. I did all of it because I knew that’s what I wanted to do.

SD My big childhood hero was Carol Burnett; my dream was to go into comedy. I was in graduate school in Community Development when I was invited to audition for the dance department. So I started to study dance at 25. It was going to be recreational, but I found that it was my deepest love.

SFBG We all bring our cultural background and life experiences to our work. If and in what way does that influence what you do?

RM Of course, it influences what you do; there is no way that it couldn’t. You are a member of group but you are also an individual who is changing and maturing. Sure, I have put perspectives on American, African American, and displacement issues. The thing to remember is what you do is not who you are.

SD As a transgendered person, a queer person, and an immigrant person, an outsider’s consciousness charges my art-making, and I hope that brings a heightened awareness and sensitivity to the kind of themes that I explore in my work such as family, love, or searching for a place in the world.

SFBG How does the process of making a new piece start?

RM It’s different each time. Sometimes it starts with a topic; sometimes with just a movement. A work might also tell me to lean more on the music or talk more about a subject. I also consider how a piece will be presented within a particular frame. The movement itself is created in the studio by the dancers and myself.

SD My process feels ridiculously long. All my pieces are accompanied by a sound score of narration and music. It takes four to six hours in the studio to make one minute. It’s always music, music, music and words, words, words. Once that is finished, I take the draft to the dancers and we make the movement together.

SFBG What would you like us to know about the upcoming premieres?

RM We are talking about the Greek Helen and the notion of an idealized woman, but also about the way people are the playthings of the gods. I am a fan of Carl Hancock Rux’s spoken word and music; he alludes to the Iliad but I am really interested in how women react to the situations they are in.

SD The show is based on archival research and features the real-life stories and voices of eight LGBT elders, from 1920s speakeasies to wartime love affairs, and the really repressive 1950s.

ROBERT MOSES’ KIN

Fri/30-Sun/1, 8 p.m., $25-$45

Novellus Theater

Yerba Buena Center for the Arts

700 Howard, SF

www.robertmoseskin.org

SEAN DORSEY DANCE

Thurs/28-Sun/1, 8 p.m. (also Sat/31-Sun/1, 4 p.m.), $10-$25

Dance Mission Theater

3316 24th St., SF

www.brownpapertickets.com

www.seandorseydance.com

Stage Listings

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

THEATER

OPENING

Any Given Day Magic Theatre, Fort Mason Center, Marina at Laguna, SF; www.magictheatre.org. $20-60. Previews Thurs/29-Sat/31 and April 4-7, 8pm (also April 7, 2:30pm); Sun/1 and April 8, 2:30pm; Tues/3 and April 10, 7pm. Opens April 11, 8pm. Runs Wed-Sat, 8pm (also April 21, 2:30pm); Sun, 2:30pm; Tues, 7pm. Through April 22. Magic Theatre performs Linda McLean’s Glasgow-set play about modern, urban life.

Maple and Vine American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-95. Previews Thurs/29-Sat/31 and Tues/3, 8pm (also Sat/31, 2pm). Opens April 4, 8pm. Runs Tues-Sat, 8pm (April 10, show at 7pm); Wed and Sat-Sun, 2pm (no matinees Sun/1 or April 4); April 15, show at 7pm). Through April 22. ACT performs the West Coast premiere of Jordan Harrison’s play about a 21st century couple drawn into a community of people who live as if it’s the 1950s.

ONGOING

*The Aliens SF Playhouse, 533 Sutter, SF; (415) 677-9596, www.sfplayhouse.org. $20-70. Tues-Thurs, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through May 5. On the heels of Aurora Theatre’s production of Body Awareness, SF Playhouse introduces local audiences to another of contemporary American playwright Annie Baker’s acclaimed plays, in a finely tailored West Coast premiere directed by Lila Neugebauer. The Aliens unfolds in the days just around July 4, at slacker pace, in the backyard of a Vermont café (lovingly realized to palpable perfection by scenic designer Bill English), daily haunt of scruffy, post-Beat dropouts and sometime band mates Jasper (a secretly brooding but determined Peter O’Connor) and KJ (a charmingly ingenuous yet mischievous Haynes Thigpen). New employee and high school student Evan (a winningly eager and reticent Brian Miskell) is at first desperate to get the interlopers out of the “staff only” backyard but is just lonely enough to be seduced into friendship and wary idolatry by the older males. What unfolds is a small, sweet and unexpected tale of connection and influence, amid today’s alienated dream-sucking American landscape — same as it ever was, if you ask Charles Bukowski or Henry Miller, both points of reference to Jasper and KJ, who borrow Bukowski’s poem The Aliens for one of their many band names. An appropriate name for the alienated, sure, but part of the charm of these characters is just how easy they are to recognize, or how much we can recognize ourselves in them. Delusions of grandeur reside in every coffee house across this wistful, restless land. It’s not just Jasper and KJ who may be going nowhere. A final gesture to the young and awkward but clearly capable Evan suggests, a little ambiguously to be sure, that there’s promise out there yet for some. But more than that: the transaction makes clear by then that there are no fuck-ups, really; not among people with generous and open hearts — never mind how fucked up the country at large. (Avila)

A Bright Room Called Day Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $25-32. Thurs-Sat, 8pm; Sun, 7pm. Through April 8. Custom Made Theatre performs Tony Kushner’s drama set in Berlin just before the Nazi takeover.

“Celebration of Women’s History Month:” The Right Thing Thick House, 1695 18th St, SF; www.3girlstheatre.org. $30. Fri/30-Sat/31, 8pm; Sun/1, 4pm. Over one long day of legal mediation, aggrieved former CEO Zell Gardner (a brash but vulnerable Catherine Castellanos) and attorney Manny Diamond (a sharp, loquacious Louis Parnell) square off against Zell’s former Big Pharma pals headed up by vindictive interim CEO David Heller (a coolly cutting Lol Levy) flanked by Zell’s longtime colleague Chris McKnight (a nicely down-to-earth John Flanagan). Zell’s lawyer becomes increasingly ambivalent, however, as Manny discovers his tough, brassy mess of a pill-popping client has been less than forthcoming about the charge of sexual harassment the other side is using to justify her dismissal and the company’s pocketing of the three million Zell expected as compensation — a charge involving Zell’s 19-year-old goddaughter, Sam (Karina Wolfe). Attempting to reconcile the parties and broker a deal is retired judge Leigh Mansfield (Helen Shumaker), but she has her work cut out for her with this crowd. AJ Baker’s new drama — the inaugural production of newcomers 3Girls Theatre — take issues of sexual politics and power in its high-powered setting and cracks them against the everyday familial and social dynamics that are perhaps a casualty of the corporate ethos, but without opening them up to a satisfactory degree. Director Suze M. Allen assembles a generally strong cast (Castellanos is riveting throughout), and some scenes smolder with just the right teeth-baring tension, but pacing is inconsistent and the script’s own wayward drift — together with an odd, unnecessary video backdrop—distract from the concentrated treatment the story demands. (Avila)

Certitude and Joy Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. $25-35. Thurs/29-Sun/1, 8pm. In his latest chamber opera, composer Erling Wold (Queer, Mordake) uses his own memories of growing up in an evangelical household, and the harrowing incident in 2005 in which an Oakland mother (played by Talya Patrick) murdered her three children and threw them into the Bay on orders from God, to explore the dark attraction of religious certainty. Surprisingly, while this seems to be among Wold’s most personal works (he even participates intermittently as a character), it is one of his less inspired musically. The score for voices and two pianos (delivered with clarity and finesse by soprano Laura Bohn, baritone Jo Vincent Parks, and pianists Keisuke Nakagoshi and Eva-Marie Zimmerman) is often lovely, but it rarely achieves either the transcendence or dissonance seemingly called for by the libretto. And while the performers (directed by Jim Cave and including actor Robert Ernst and dancers Kerry Mehling and Travis Rowland) deliver the story charmingly, something is lost in the move away from a single narrator. The multiplying of voices may make thematic sense — schizophrenia, religious inspiration, a doubling of stories, and a kind of communal complicity all being operative — but the text is finally divvied up between too many performers and styles of delivery to feel cohesive or even, at times, coherent. Perhaps equally problematic is the overture, which gives away so much that there is little tension or suspense in the story that follows, let alone revelation. (Avila)

*Fool For Love Boxcar Studios, 125A Hyde, SF; www.boxcartheatre.org. $25. Showtimes vary. Through April 14. Another installment of Boxcar Theatre’s epic Sam Shepard repertory project, Fool for Love inaugurates their newest performance space within their Hyde Street Studios location. A depressingly realistic reproduction of a claustrophobic motel room, the tiny jewel-box theatre provides no refuge for the actors, and certainly not for the audience, each trapped beneath the pitiless gaze of the other. And if that too-close-for-comfort intimacy doesn’t get to you, the intentionally difficult subject matter — a “typical” Shepardian foray into alcohol-fueled ranting, violence, incest, and casual cruelty — probably will. Shepard’s strength in monologue shows itself off to meaty effect from May’s (Lauren Doucette) melancholy description of her mother’s love affair with the Old Man (Jeff Garrett) to Eddie’s (Brian Trybom) candid admittance to May’s timid suitor Martin (Geoffrey Nolan) that he and May are not cousins at all but half-siblings who have “fooled around” with each other. In addition to the reliably strong performances from each of the actors, Fool features a notably clever bit of staging involving the Old Man who appears not as a specter wandering the periphery of the stage, but as a recurring figure on the black-and-white television, interrupting the flow of cheesy Westerns with his garrulous trailer park wisdom and an omnipresent Styrofoam cup filled, one suspects, with something stronger than just coffee. (Gluckstern)

*Glengarry Glen Ross Actors Theatre of San Francisco, 855 Bush, SF; (415) 345-1287, www.brownpapertickets.com. $26-40. Wed-Sat, 8pm. Extended through April 28. Actors Theatre of San Francisco and director Keith Phillips offer a sharp, spirited production of the 1984 play by David Mamet in which four real estate agents (Mark Bird, Sean Hallinan, John Krause, and Christian Phillips) jockey and scheme for advantage in their Chicago office in a landscape of insecurity and fierce competition symbolized by the selective doling out of the best leads by manager and company man John (Frank Willey). Clients (like the gullible young husband played by Randy Blair), meanwhile, are just witless marks for the machinations of the predatory salesman, no more meaningfully human than the “muppets” targeted by Greg Smith’s Goldman Sachs. If the scenic design is a little shabby, the strong cast makes that hardly an impediment to a story that feels especially timely in its sharply etched, not to say angry portrait of the ruthless and corrosive business mentality to which egos, livelihoods, and lives — not to mention the culture at large — are enthralled. (Avila)

Hot Greeks Hypnodrome Theatre, 575 10th St, SF; www.brownpapertickets.com. $30-69. Opens Thurs/29, 8pm. Runs Thurs-Sat, 8pm. Through May 5. Thrillpeddlers launch a new version (new cast, songs, costumes, etc.) of the Cockettes classic by Scrumbly Koldewyn and Martin Worman.

It’s All the Rage Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thurs, 8pm; Sat, 8:30pm, Sun, 7pm. Through April 15. Longtime comedian and radio host Marilyn Pittman’s solo play wrestles with the legacy of her parents’ violent deaths in a 1997 murder-suicide initiated by her father. It’s disturbing material that Pittman, a stout middle-aged woman with a gregarious and bounding personality, approaches indirectly via a good deal of humor — including recounting the first time she did her growing-up-lesbian bit before her mother in a DC comedy club. But the pain and confusion trailing her for 13 years is never far behind, whether in accounts of her own battle with anger (and the broken relationships it has left in its wake) or in ominous memories of her too complacent mother or her charming but domineering father, whose controlling behavior extended to casually announcing murderous dreams while policing the boundaries of his marriage against family interference. A fine mimic, Pittman deploys a Southern lilt in playing each parent, on a stage decorated with a hint of their Southwestern furnishings and a framed set of parental photographs. In not exactly knowing where to lay blame for, or find meaning in, such a horrifying act, the play itself mimics in subtler form the emotional tumult left behind. There’s a too brief but eerie scene in which her veteran father makes reference to a murder among fellow soldiers en route to war, but while PTSD is mentioned (including as an unwanted patrimony), the 60-minute narrative crafted by Pittman and director David Ford wisely eschews any pat explanation. If transitions are occasionally awkward and the pace a bit loose, the play leaves one with an uncomfortable sense of the darker aspects of love, mingled with vague concentric histories of trauma and dislocation in a weird, sad tale of destruction and staying power. Note: review from the show’s 2009 run at the Marsh. (Avila)

Julius Caesar Buriel Clay Theater, African American Art and Culture Complex, 762 Fulton, SF; 1-800-838-3006, www.african-americanshakes.org. $10-30. Sat/31, 8pm; Sun/1, 4pm. Ever since there have been politicians there have been political intrigues, making it completely possible to take a play written around 1599 about Roman politicians in 44 BC, and present it as a thoroughly modern coup d’état with very little alteration. In the African-American Shakespeare Company’s compact adaptation of Julius Caesar, ancient Rome becomes a modern African nation, evoked sparingly by crumbling cement, untamed foliage, camouflage uniforms, and crudely menacing machetes. The overblown syntax of Shakespearean English lends itself particularly well to the heavy West African accents utilized by the actors — most successfully by B. Chico Purdiman, as surprisingly sympathetic assassination mastermind Cassius — and the constant upheavals of public opinion and political influence could be ripped right from the headlines of certain restless regions. The small ensemble cast makes the best of their streamlined numbers to create as big a ruckus as possible during crowd scenes, but having them running around the aisles of the Buriel Clay Theater unfortunately dilutes the power of their limited mass. But excellent performances are rendered unto Caesar by Purdiman and David Moore, who plays co-conspirator Brutus, while Frederick Pitts’ Mark Anthony skillfully delivers a eulogy full of slyly self-serving political double-speak worthy of any modern tyrant-in-waiting. (Gluckstern)

*A Lie of the Mind Boxcar Playhouse, 505 Natoma, SF; www.boxcartheatre.org. $25. Showtimes vary. Through April 14. Sam Shepard’s three-act drama is streaked with humor, horror and heartbreak, all of it arising from the most mundane but also extraordinary of things, love and family. That’s Shepard territory, of course, as surely as is the rowdy backwater of the American West where much of the play unfolds. But seeing the exceptionally sharp and powerful production currently up at Boxcar Theatre under direction of Susannah Martin — in the midst of Boxcar’s mostly terrific four-play Shepard fest that includes his better known Pulitzer-winner, Buried Child (1979) — suggests 1985’s Lie may cut deeper than most. It begins in the immediate aftermath of a vicious episode of domestic abuse, from which the married couple of Beth (Megan Trout) and Jake (Joe Estlack) flies apart and back into the ambivalent arms of their mutually dysfunctional families (played wonderfully by Carolyn Doyle, Marissa Keltie, Tim Redmond, Katja Rivera, Josh Schell, and Don Wood). Trout’s brain-damaged Beth is a wrenching figure, not merely for her confusion and vulnerability but more so for the certainty and determination that make their way from her heart through the prison bars of her hampered mind. As Jake, Estlack is doing some of his finest work, convincingly incarnating a veritable beast whose roaring, roiling emotions sound the loneliest and most desolate of souls within. Martin’s intelligent staging — aided by Steve Decker’s beautifully spare wood-plank set, Lucas Krech’s moody lighting, and a choice, eerie sound design by Teddy Hulsker — adds tangible weight and texture to the play’s radiant dialogue and engrossing characters, realized by one of the finest ensemble casts all year. (Avila)

The Real Americans Marsh Studio Theater, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $25-50. Fri, 8pm; Sat, 5pm. Extended through April 14. Dan Hoyle revives his hit solo show about small-town America.

The Rita Hayworth of this Generation Shotwell Studios, 3252-A 19th St, SF; www.brownpapertickets.com. $10-15. Fri-Sat, 8pm. Through April 7. Writer and performer Tina D’Elia performs her solo, multi-character play about a queer Latina performer inspired by the legendary Hollywood goddess.

Sam Marlowe and the Mean Streets of San Francisco Stage Werx, 446 Valencia, SF; (415) 412-3989, www.catchynametheatre.org. $20. Thurs-Sat, 8pm. Through April 7. Catchy Name Theatre presents a world premiere noir play by Jim Strope.

Suicide in B Flat Stagewerx, 446 Valencia, SF; suicideinbflat.blogspot.com. $15. Fri-Sat, 11pm. Through April 7. Sam Shepard is all over SF at the moment. Contributing to the four-play repertory program Boxcar Theatre has underway comes this lively if uneven production of a little seen Shepard work, a darkly comical jazz noir, by capable newcomers Do It Live, under direction of Will Hand. Suicide in B Flat (which features live musical underscoring by Grayson Converse) offers parallel stories overlapping on one stage, as two inept homicide detectives (Anthony Agresti and Hand) investigate the death of jazzman Niles, who may have been murdered or may have offed himself — or may be alive and well, since we soon meet Niles (a suitably charismatic and tentative Michael Saarela) heading out of town in a fitful, indecisive attempt at reinventing himself anew. As Niles’s band mates begin showing up for a jam session, the detectives progressively lose their own sense of identity. There’s a grim streak running through this existential who-dunnit, which sometimes comes across more like an existential what-the-fuck? But that too is a legit question in this in-between realm. (Avila)

*True West Boxcar Studios, 125A Hyde, SF; (415) 967-2227, www.boxcartheatre.org. $25. Thurs-Sat, 8pm. Through April 7. The first installment of Boxcar Theatre’s four-play Sam Shepard repertory project, True West ushers in the ambitious run with a bang. This tale of two brothers who gradually assume the role of the other is one of Shepard’s most enduring plays, rich with humorous interludes, veering sharply into dangerous terrain at the drop of a toaster. In time-honored, True West tradition, the lead roles of Austin, the unassuming younger brother, and Lee, his violent older sibling, are being alternated between Nick A. Olivero and Brian Trybom, and in a new twist, the role of the mother is being played by two different actresses as well (Adrienne Krug and Katya Rivera). The evening I saw it, Olivero was playing Austin, a writer banging away at his first screenplay, and Trybom was Lee, a troubled, alcoholic drifter who usurps his brother’s Hollywood shot, and trashes their mother’s home while trying to honor his as yet unwritten “contract”. The chemistry between the two actors was a perfect blend of menace and fraternity, and the extreme wreckage they make of both the set (designed by both actors), and their ever-tenuous relationship, was truly inspired. (Gluckstern)

Waiting for Godot New venue: SF Playhouse Stage Two, 533 Sutter, SF; (415) 336-3522, www.tidestheatre.org. $20-32. Thurs, 7pm; Fri-Sat, 8pm. Extended through April 14. The fuchsia papier-mâché tree and swirling grey-on-white floor pattern (courtesy of scenic designer Richard Colman) lend a psychedelic accent to the famously barren landscape inhabited by Vladimir (Keith Burkland) and Estragon (Jack Halton) in this production of the Samuel Beckett play by newcomers Tides Theatre. The best moments here broadcast the brooding beauty of the avant-garde classic, with its purposely vague but readily familiar world of viciousness, servility, trauma, want, fear, grudging compassion, and the daring, fragile humor that can look it all squarely in the eye. (Avila)

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

BAY AREA

Cabaret Larkspur Café Theater (American Legion Hall Post 313), 500 Magnolia, Larkspur; www.brownpapertickets.com. $25-45. Fri-Sat, 8pm; Sun, 7pm (no show April 8). Through April 15. Independent Cabaret Productions and Shakespeare at Stinson move their production of the Kander and Ebb classic from Fort Mason to the North Bay.

The Coast of Utopia: Voyage Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-30. Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through April 29. Shotgun Players present Tom Stoppard’s riff on pre-revolutionary Russia.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through May 6. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Now Circa Then Lucie Stern Theatre, 1305 Middlefield, Palo Alto; (650) 463-1960, www.theatreworks.org. $19-69. Wed/28, 7:30pm; Thurs/29-Sat/31, 8pm (also Sat/31, 2pm); Sun/1, 2 and 7pm. TheatreWorks performs Carly Mensch’s comedy about a romance that blooms between two historical re-enactors.

The Pirates of Penzance Julia Morgan Center for the Arts, 2640 College, Berk; (510) 845-8542, www.juliamorgan.org. $17-35. Fri/30-Sat/31, 7pm (also Sat/31, 2pm); Sun/1, noon and 5pm. Berkeley Playhouse performs the Gilbert and Sullivan classic, with the setting shifted to a futuristic city.

Red Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-83. Tues and Thurs-Fri, 8pm (also Thurs/29 and April 26, 2pm; no show April 27); Wed, 7pm; Sat-Sun, 2pm (also Sat, 8pm; Sun, 7pm; no matinee Sat/31). Through April 29. Berkeley Rep performs John Logan’s Tony Award-winning play about artist Mark Rothko.

Titus Andronicus La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs/29-Sat/31, 8pm. Impact Theatre takes on the Bard’s bloodiest tragedy.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: Sun/1, 11am. Also May 5-27 (Sat-Sun, 11am); June 3-July 15 (Sun, 11am). Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“April Fools With Miss Coco Peru: There Comes a Time” Victoria Theater, 2961 16th St, SF; www.ticketfly.com. Sun/1, 7 and 9:30pm. $29.95. (Screening of Girls Will Be Girls, Sun/1, noon, $10). Acclaimed storyteller-monologist Clinton Leupp, a.k.a. Miss Coco Peru, performs his latest solo show, which he describes as “a night of pure fun with Coco.”

“Club Chuckles” Hemlock Tavern, 1131 Polk, SF; www.hemlocktavern.com. Sun/1, 7:30pm. $6. April Fool’s Day comedy with Alex Koll, the exotic magic of Stallion!, and the Ultra Mega Virgins comedy tour.

“The Collection” Exit Stage Left, 156 Eddy, SF; www.brownpapertickets.com. Sun/1 and April 8, 7pm; April 2-7 and 9-13, 8pm. $20-50. Theatrical magician Christian Cagigal debuts his brand-new, top-secret show.

“Computer Face” Garage, 975 Howard, SF; www.brownpapertickets.com. Fri/30-Sat/31, 8pm. $10-20. Kirk Read (How I Learned to Snap) performs his latest solo show.

“Dance Anywhere” Various locations; www.danceanywhere.org. Fri/30, noon. Free. Join the global movement of folks who participate in this annual, public performance piece.

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

Jess Curtis/Gravity CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Thurs/29-Sun/1, 8pm. $15-20. Gravity’s performance series, Intercontinental Collaborations, presents Jess Meets Angus, a co-production with Silke Z./resistance created and performed by Jess Curtis and Angus Balbernie.

“Octopus’s Garden” Alcove Theater, 414 Mason, Fifth Flr, SF; www.thealcovetheater.com. Sat, 8pm. Through April 7. $25-35. PianoFight performs Scott Herman’s modern-family drama.

“Pilot 60” ODC Dance Commons, Studio B, 351 Shotwell, SF; www.brownpapertickets.com. Sat/31, 8pm; Sun/1, 7pm. $12. ODC’s 60th (!) Pilot production showcases innovative contemporary work by emerging dance artists.

“The Return of the MF David Deery Show” Jon Good Annex, 401 Alabama, SF; artschoolvets.com/motherfuckindaviddeery. Sat/31, 9pm. $5. David Deery performs music and stand-up.

“The Romaine Event Comedy Show” Make-Out Room, 3225 22nd St, SF; www.pacoromane.com. Wed/28, 7:30pm. $10. Paco Romane’s seventh-anniversary show features headliner Joe Klocek plus other Bay Area comedians, including Joe Tobin, Kaseem Bentley, and more.

“The Secret History of Love” Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Thurs/29-Sun/1, 8pm (also Sat/31-Sun/1, 4pm). $10-25. Sean Dorsey Dance performs a world premiere performance based on Dorsey’s archival research and interviews with LGBT elders.

“Talks of the Vagina” Women’s Building, 3543 18th St, SF; www.brownpapertickets.com. Fri/30, 7. $20. Proceeds from Yoni Ki Baat’s Vagina Monologues-inspired performance benefit the Women’s Building mural restoration project.

CLIFT Sessions 2012: Matthew Dear

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CLIFT San Francisco is pleased to invite all music fiends to CLIFT Sessions, a series of special musical performances in a unique intimate setting. Originally from Brooklyn, Matthew Dear is an experimental pop artist and music producer with remixes commissioned by The XX, Spoon, Hot Chip Charlotte Gainsbourg and The Postal Service. Matthew Dear’s well-known single “Dog Days” was voted among Pitchfork’s Top 100 Songs of the Decade and Rolling Stone gave the artist four-stars. Currently on tour with upcoming shows in Los Angeles and Miami, Matthew Dear will showcase his distinct experimental sound at CLIFT. The exclusive Redwood Room and recently revamped Velvet Room at CLIFT will continue to play host to some of the most talked about new names on the music circuit, while hotel guests and locals alike can enjoy cocktails in an invitingly warm ambiance. Hear Matthew Dear at CLIFT on Thursday, March 29th. Upcoming acts include Daedelus on April 7th. 

 

To RSVP, visit this link.  

Thursday, March 29 at 9pm @ Clift Hotel, 495 Geary, SF | Free with RSVP