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Friday, April 18, 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
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.
Stage Review

Year on Stage 2024, part 3: Working together is the way forward

More collaborations, more streaming, more bravery, more meaning—several ways local theatre can face what's ahead.
Stage Review

Year on Stage, 2024, part 2: The highs took a bold stand

The best productions of the year faced what was happening in the world directly, offering oases of inspiration.
Stage Review

Year on Stage 2024, part 1: The lows (and some hope)

The Bay Area theatre scene lost a lot—and ignored a lot—this year, when we needed it more than ever. But we're still hanging on.
Stage Review

Drama Masks: Two different ‘Carols’ while the world gets Scrooged

SF Mime Troupe's populist 'A Red Carol' and ACT's new 'A Whynot Christmas Carol' create a curious holiday dichotomy.
Stage Review

Drama Masks: Amid topical twists, SF Ballet delivers another gorgeous ‘Nutcracker’

The annual fairy frolic enchanted an audience all-too-ready to embrace an epic battle against the evil Mouse King.
Stage Review

Drama Masks: Forget those Founding Fathers, the women save this ‘Hamilton’

The ultimate liberal comfort food musical retains its relentless hummability, even as we enter another Trump term.
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