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Monday, March 24, 2025

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Charles Lewis III

Charles Lewis III
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Charles Lewis III is a San Francisco-born journalist, theatre artist, and arts critic. You can find dodgy evidence of this at thethinkingmansidiot.wordpress.com
Stage Review

Drama Masks: Fear not the fan

Coleman Domingo's 'Wild With Happy' blends Black Baptist sensibility with Disneymania, 'Nobody Loves You' finds no quarrel here.
Stage Review

Drama Masks: Drawing the line

Opera Parallèle's 'The Pigeon Keeper' took on the costs of xenophobia, while Central Works' 'Push/Pull' tackles toxic masculinity.
Performance

Drama Masks: When illness derails the performance

As flu and COVID cases rise (many of them deadly), how will the local theater scene adjust its communal experience?
Stage Review

Drama Masks: ‘Uncle Vanya’ breathes new life; ‘Cuckoo Edible Magic’ gets stoned

Chekhov gets a fresh and electrifying update at Berkeley Rep, while SFBATCO delivers an anime-inspired sentient rice cooker battle.
Stage Review

Drama Masks: Time can work against us all

This is Drama Masks, a Bay Area performing arts column from a born San Franciscan and longtime theatre artist in an N95 mask. I...
Performance

Drama Masks: When public transit woes make you miss the show

BART and Muni cuts—not to mention the threat the new regime poses to local arts—will most certainly sever theatre lifelines.
Art

Drama Masks: Voices of incarcerated women take center stage at YBCA

Art exhibit 'The Only Door I Can Open' and Flyaway Productions' 'I Give You My Sorrows' speak out for prisoners' rights.
Stage Review

Drama Masks: Two nights at the Ballet, one hot and one cold

Weathering scoffs and tiffs at SF Ballet's Opening Night extravaganza, soaking in the provocative joys of 'Manon'
Onstage

Drama Masks: Getting ready for the backwards slide

As the government and major corporations ax DEI initiatives with abandon, will local theatre soon follow suit?
Stage Review

Drama Masks: 2025 kicks off with trans visibility center-stage

Glamorous 'Some Like It Hot' dances up historical inclusion; 'Dragcula' foregrounds the ultimate weapon: joy.
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