SF Playhouse explores Art on stage on film
The Bay Area theater scene has been short on excitement, understandably, these last seven months. So it's beyond thrilling news when a theater company, in this case San Francisco Playhouse announces a new play on an actual stage with actors acting together on a set that has been designed and lit, with nary a Zoom square to be seen.
Josh Kornbluth saves the world with Citizen Brain
Josh Kornbluth is really working the Empathy Circuit these days. Unlike, say, the Borscht Belt or the nearly vanished cabaret clubs, the Empathy Circuit isn't any sort of entertainment network. It's the complex wiring that winds through various parts of our brains and allows us to feel empathy – that is, the ability to care about, imagine or even try to feel the feelings of another being.
ACT Zooms into a new era with Warcraft
Credit creative directors and designers who are working to turn Zoom into a dynamic theater space. American Conservatory Theater kicks off the fall theater, such as it is, with a production that amply demonstrates how effective Zoom can be as a play space. In Love and Warcraft by Madhuri Shekar is a co-production with Alaska's Perseverance Theatre, and it's a remount of a production made last spring, at the start of quarantine, with members of ACT's MFA Class of 2022 under the direction of Peter J. Kuo.
G-L-O-R-I-A! Gloria fascinates, frightens at ACT
Branden Jacobs-Jenkins' Gloria is a fascinating play. It's a lively workplace comedy until it's an unsettling workplace drama. There's a sheen of satire to it but also reality and heart. There's a bracing boldness to it that makes its two hours fly by, and its path is never exactly what you think it will be.
Life, death and more fill Will Eno's Wakey, Wakey at ACT
Will Eno is one of the most interesting playwrights in the theaterverse. He's weird and brilliant, funny and deeply humane. Because there can be an oblique and highly theatrical quality to his work, he has often been compared to Beckett, but for me, I feel more Thornton Wilder (somewhere between The Skin of Our Teeth and Our Town). He wrestles in creative and insightful and surprising ways with what it is to be alive and how we're all connected by the knowledge that none of us is getting out of here alive and that we could all probably be doing better when it comes to being aware of our lives as we're living them.
Cricket tests history in ACT's feisty Testmatch
You could say that Kate Attwell's Testmatch, the world premiere play at American Conservatory Theater's Strand Theater, is about cricket. You could also say it's about untangling the gnarly knots of history. But the impact, especially in the savvy way Attwell has constructed the play, comes from its emphasis on the deep interconnection of everything to everything.
White Noise shocks, ultimately disappoints at Berkeley Rep
Suzan-Lori Parks' White Noise is an intensely interesting play. Just not a very good one.
And that's surprising given that Parks, a Pulitzer Prize-winner, has bent, molded and shaped contemporary theater to her will through sheer force of intelligence, powerful writing and the courage to configure theater as she needs it to be configured.
Churchill is tops in ACT's Top Girls
The mind of Caryl Churchill is an extraordinary place to spend an evening. Happily, this theater season, the Bay Area will see an abundance of Churchill, beginning with American Conservatory Theater's season-opening Top Girls from 1982.
Berkeley Rep's Great Wave crashes
Director Mark Wing-Davey layers an intricate sound design (by Bray Poor and even more intricate projection design (by Tara Knight) onto the play in a way that makes it seem he doesn't fully trust Turnly or the actors enough to convey the emotional weight of the show. And he may be right.
Come to the Cabaret at SF Playhouse
San Francisco Playhouse's Cabaret is, to put it simply, a wow. A big, debauched, delightful wow. Everything in director Susi Damilano's production just clicks. The look, the feel, the sound of this John Kander and Fred Ebb classic are all securely in place, so this well-constructed musical (Damilano is using the 1998 Broadway revival as her base) can connect directly with its audience.
Berkeley Rep's Good Book is a revelation
Let's just admit it. The Bible is a clusterf**k. How in the world did such a literary hodgepodge, political football, myth collection become one of the most influential – if not the most influential book – ever created? That is the mammoth question asked by playwrights Lisa Peterson and Denis O'Hare ask in their fascinating play The Good Book now at Berkeley Repertory Theatre.
Glorious Weightless soars back to SF
Last year I fell in love with Weightless, the rock musical by The Kilbanes, when it had a triumphant world premiere at Z Space. The show had muscle and heart and passion and staggering beauty. The experience of watching the show was so thrilling it felt like something important was beginning – a new hit musical on its way along the lines of Hadestown or Once but on a slightly different scale, one that finds an intriguing balance between rock concert and rock musical.