Becoming Grace, The Jewish Theatre San Francisco
TJT has unveiled the final show of its final season in a limited two-weekend run, founder Naomi Newman’s one-woman show about author Grace Paley. My review is up on the Marin Independent Journal web site, also for a limited time.
Becoming Grace runs through March 25 at the Jewish...
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THEATER REVIEW: SAN FRANCISCO
The Right Thing, 3 Girls Theatre.
By Sam Hurwitt
San Francisco’s fledgling 3Girls Theatre Company is jumping into the Bay Area theater community with both feet, spending all of March (Women’s History Month, that is) in residence at Thick House with two fully staged productions of plays by staff members AJ Baker and...
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THEATER REVIEW: SAN FRANCISCO
Merchants, No Nude Men.
By Sam Hurwitt
Cyndi Lauper sang that “money changes everything,” but Susan Sobeloff’s debut play Merchants seems to indicate that Lauper may have been selling money short. Money doesn’t just change everything—it is everything. It’s the only thing worth talking about.
The title Merchants sounds as if it might be...
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THEATER REVIEW: SAN FRANCISCO
Maurice, New Conservatory Theatre Center.
By Sam Hurwitt
E.M. Forster’s gay romance Maurice isn’t nearly as well known as his other novels such as A Passage to India, A Room with a View and Howard’s End. Although the book was written in 1914, Forster only allowed it to be published after his...
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THEATER REVIEW: BERKELEY
Titus Andronicus, Impact Theatre.
By Sam Hurwitt
Titus Andronicus is William Shakespeare’s bloodiest tragedy, and for centuries it was also generally considered to be his worst. Although the playwright’s contemporaries loved it, it wouldn’t regain popularity until after Word War II, when all the play’s hand-chopping, child-killing, rape, decapitation and cannibalism no longer seemed...
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Cabaret, Independent Cabaret Productions and Shakespeare at Stinson.
This production hits Larkspur this weekend after a run at Fort Mason, and my review is there to welcome it in today’s Marin Independent Journal. So click on the link to check it out before it dissolves into the deepest recesses of the web.
Cabaret runs through...
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THEATER REVIEW: SAN FRANCISCO
The Waiting Period, The Marsh.
By Sam Hurwitt
Brian Copeland has a lot going on. His last one-man show at the Marsh, Not a Genuine Black Man, ran off and on for seven years, setting a record for the longest-running solo show in San Francisco history. The longtime standup comic also hosts KGO...
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THEATER REVIEW: SAN FRANCISCO
Tontlawald, Cutting Ball Theater.
By Sam Hurwitt
Cutting Ball cut its teeth (or, I suppose, its ball) on experimental theater, so the only real surprise about the company dabbling in ensemble devised theater is that it hasn’t done it before. Codirected by associate artistic director Paige Rogers and Annie Paladino, the commissioned world...
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THEATER REVIEW: SAN FRANCISCO
Scorched, American Conservatory Theater.
By Sam Hurwitt
The primary selling point of Scorched is Oscar-nominated actor David Strathairn’s return to his native San Francisco for his second show at American Conservatory Theater, where he previously starred in artistic director Carey Perloff’s 1996 production of The Tempest. All the poster and flyer art is...
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THEATER REVIEW: SAN FRANCISCO
Tree City Legends, Intersection for the Arts.
By Sam Hurwitt
When Intersection gave up its Valencia Street home a year ago to move into the Chronicle building downtown, it also gave up its dedicated performance space. Since then it’s had to get creative about reimagining and reinventing its space. Last year’s Nobody...
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