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

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

Stage Review

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

April 11, 2022

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

Dance

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

April 8, 2022

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

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.

Charles Lewis III

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’

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

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

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

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