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Saturday, July 25, 2026

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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: Drag haven Oasis reopens with a bang—and some questions

Plus: 'Beauty and the Beast' is a tale as old as time, and 'The Prince, Part 1' sets wily classic in motion.
Stage Review

Drama Masks: Who ya gonna call? ‘Scabmuggers’

As job-stealing AI creeps onto the local theater scene, Yvonne Martinez's new play dives into labor politics.
Stage Review

Drama Masks: SF Mime Troupe marches forth through country’s ‘Wreckage’

Religious prurience meets the surveillance state in company's latest free show. Happy Birthday, America!
Stage Review

Drama Masks: Send in the clowns, they’re already here

Circus Bella sticks to thrilling formula while adding new tricks, making a statement without flipping into politics.
Stage Review

Drama Masks: A Golden Thread wending from war to Bard

Very queer 'As You Like It,' taut and intimate 'Arab Spring,' and protest-minded 'I C U (I See You)' all had one thing in common.
Stage Review

Drama Masks: Love will literally tear us apart

Greek classics 'Bacchae' from Bard Theatre and 'Elektra' at SF Opera prove bloody and loud. Plus: Gay Men's Chorus did Dolly.
Stage Review

Drama Masks: Aurora Theatre tiptoes back onstage after closure

... but another East Bay institution bids adieu. Plus: SF Opera's 'The Barber of Seville' lands the slapstick, needs more 'Figaro.'
Stage Review

Drama Masks: Berkeley Rep’s ‘The Lunchbox’ is a delicious charmer

Plus: 'Phantom of the Opera' descends on a new haunt, and 'Becoming a Man' faces transition head on.
Onstage

Drama Masks: Living beyond the shadow of a ‘Doubt’

Anticipating Opera Parallèle’s latest—as the Pope rails against AI. Plus: SF Opera's upcoming streams, and a new SF Symphony leader.
Stage Review

Drama Masks: Taking an inch… and finishing the hat

'Hedwig and the Angry Inch' at NCTC cranks things up and down. Plus: The colorful drama of SFMOMA's 'Woman in a hat'
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