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

Onstage

Review: ‘Water by the Spoonful’ weaves a web of addiction and Internet

March 30, 2022

Quiara Alegría Hudes' 2011 Pulitzer winner at SF Playhouse feels technologically dated—yet alarmingly still relevant

Onstage

Review: Vivid ‘Passing Strange’ gets a timely revival from Shotgun Players

March 23, 2022

Stew's 2007 musical is an essential expansion of Black representation—stretched out, however, it loses some power

Opinion

For most artists, NFTs are a false bill of goods

March 20, 2022

In the end, they’re a game for the super-wealthy who keep starving artists starving.

Dance

Review: Two fairytales—one Scottish, one seasonal—fill SF Ballet with magic

March 17, 2022

Program Four fills sprightly forests with Bournonville’s 1836 'La Sylphide' and the West Coast Premiere of Glazunov's 'Seasons'

Onstage

Review: Navigating a matriarch’s dementia (with a sitcom air) in ‘Dot’

March 16, 2022

Colman Domingo's warm 2019 play at New Conservatory is headed for TV, but needs to work out some tonal kinks.

Onstage

Review: In ‘Otto Frank,’ an examination of tragedy that transcends historical period

March 15, 2022

Roger Guenveur Smith's solo show at Magic Theatre extends the story of Anne Frank's father into our own time.

Opinion

London Breed’s big COVID failure

March 10, 2022

She had a chance to show great leadership. Then she lifted the mandates—and increased the risk of more infections.

Onstage

Review: Curious ‘Quixote’ provides grand displays of ballet

February 28, 2022

There’s something noticeably missing from the San Francisco Ballet version of Don Quixote (music by Minkus, choreography by Petipa by way of Gorsky.) It...

Onstage

Review: In ‘Heroes of the Fourth Turning,’ a long night’s journey into Trumpism

February 17, 2022

Rightwing narratives spin out of control in a cabin in the woods at SF Playhouse.

Onstage

Review: Men are pig(food) in ‘The Kind Ones’

February 14, 2022

Miranda Rose Hall's world premiere kicks off a new era for the Magic Theatre, with plenty of voracious squeals.

Charles Lewis III

Review: ‘Water by the Spoonful’ weaves a web of addiction and Internet

Review: Vivid ‘Passing Strange’ gets a timely revival from Shotgun Players

For most artists, NFTs are a false bill of goods

Review: Two fairytales—one Scottish, one seasonal—fill SF Ballet with magic

Review: Navigating a matriarch’s dementia (with a sitcom air) in ‘Dot’

Review: In ‘Otto Frank,’ an examination of tragedy that transcends historical period

London Breed’s big COVID failure

Review: Curious ‘Quixote’ provides grand displays of ballet

Review: In ‘Heroes of the Fourth Turning,’ a long night’s journey into Trumpism

Review: Men are pig(food) in ‘The Kind Ones’

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