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’

May 18, 2022

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

May 9, 2022

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

May 5, 2022

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

May 3, 2022

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

May 2, 2022

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

April 25, 2022

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

April 23, 2022

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’

April 19, 2022

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

April 14, 2022

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’

April 13, 2022

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

Charles Lewis III

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

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

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

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

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

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

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

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

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

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

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Politics

Arts

Culture