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Monday, May 23, 2022

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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

Dancers lifted by a resonant voice in Alonzo King LINES Ballet’s ‘Deep River’

Collaboration among choreographer King, composer Jason Moran, and vocalist Lisa Fisher at YBCA captivates
Stage Review

‘Octet’ unleashes the demons of Internet obsession, in song

With a solid cast, Dave Molloy's play at Berkeley Rep takes on addiction to 24/7 digital culture—but should come with a tl;dr
Opinion

Unlike London Breed, I never took my mask off. Now COVID cases are up again

The mayor's 'back to normal' stance seems to mean reinvigorating the Financial District more than protecting her constituents
Dance

With a flash of ‘Swan Lake’ feathers, Helgi Tómasson departs SF Ballet

A cannily chosen classic brings glamour, tragedy, and hope as the company's artistic director bids farewell.
Stage Review

‘The Incrementalist’ contrasts Black activism then and now, radical or from within

Cleavon Smith's world premiere at Aurora Theatre aims for 'meet me halfway' dialog on Berkeley campus turmoil
Opinion

The ultimate troll just bought Twitter. Expect more pain for SF

Elon Musk hates BART, taxes, worker protections, marginalized folks, and the free press. Now he has a huge platform.
Stage Review

In ‘Endlings,’ a humorously profane dive into a vanishing Korean way of life

Ferocious Lotus and Oakland Theater Project collaboration highlights indelibly foul-mouthed seaside workers
Stage Review

Queer identity churns beneath religion, politics in ‘Drowning in Cairo’

Adam Ashraf Elsayigh's new time-jumping play examines the lives of three complex Muslim characters
Art Review

At MoAD, spring brings ghost-riding ‘Traumanauts,’ striking tapestries, haunting elegies

Afrofuturism meets 19th-century preservation and 21st-century sorrow in latest shows on view
Stage Review

Time-tripping back to the height of AIDS in ‘PrEP Play’

'Peggy Sue Got Married' meets pre-exposure prophylaxis in Yilong Liu's relevant tale of generational disconnect
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