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Saturday, April 26, 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

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

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

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

After a long wait, we finally glimpse ‘Intimate Apparel’

Pandemic-delayed Lorraine Hansberry Theatre production features some strong turns in this Lynn Nottage play at new home

Review: Corps of clowns, bowler hats, and a touch of disco at the SF Ballet

Programs 5 and 6 include a surrealist tribute to Magritte, music by Hans Zimmer, and 'Solid Gold'-summoning costumes

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

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

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

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

For most artists, NFTs are a false bill of goods

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

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

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

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

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