Breaking up is hard to do, and Jeffrey Lo’s A Kind of Sad Love Story makes that achingly clear in a melancholy romantic comedy with two rotating casts. KQED Arts has my full report.
You’d think it might be tough to be an African-American lesbian couple in the 1890s American South, but A Lady and a Woman at Theatre Rhinoceros doesn’t give that impression. My review‘s up on KQED Arts.
The New Settlers would like to show you their compound before a cosmic rift splits reality asunder and they cross over to build a New America on the other side. Welcome to Mugwumpin’s latest collaboratively developed theater piece puts you right in the thick of…something. I give you the full report at KQED Arts.
Impact Theatre gets gender-bent with an As You Like It where Celia’s a dude, them Dukes are double dutchesses, the melancholy Jaques is a female hipster, and the forest of Arden is a Northern California bar. I give you
I’ve always loved going to see the Flying Karamazov Brothers ever since I was a kid, so imagine my surprise when their 40th anniversary show at San Jose Rep turned out to be a long lecture on the history of the group, punctuated by all-too-occasional bursts of juggling. My full report is on KQED Arts.
Tanya Shaffer’s self-produced musical with songwriter Vienna Teng, The Fourth Messenger, is a fascinating and thoroughly entertaining exploration of the life of the Buddha as a 21st century woman, and the investigative reporter who’s out to expose her. You can read all about it over on KQED Arts.
African-American Shakespeare Company proves that an all-black version of Cat on a Hot Tin Roof works remarkably well. I wrote it up for KQED Arts, so don’t wait for that click in your head when you can just click on the link to read all about it. Spoiler warning: There’s a whole lot of mendacity in it.
The San Francisco Playhouse gives Stephen Adly Guirgis’s The Motherfucker with the Hat its West Coast premiere, and it’s a motherfucker of a show. I reviewed it over at KQED Arts, where I had to be a bit coyer about the name. I did, however, get to say “there’s a veritable fluffload of profanity in the show.”
Hey, who am I? Who are you? What are we doing here? Where is here, anyway? What’s this needle doing in my arm? And shouldn’t there be a baby in that crib, instead of just a chicken leg? Playwright Octavio Solis explores life’s eternal questions in the world premiere of Se Llama Cristina, and I give you the full report on the KQED Arts blog.
I hit the first couple nights of SF Sketchfest–with RiffTrax, Kristen Schaal, Paul F. Tompkins, Kevin McDonald, Adam Savage, Mary Lynn Rajskub, Eugene Mirman and a whole lot of other acts–and hooboy am I exhausted. Head over to the KQED Arts Blog for the full report.