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Wednesday, December 10, 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
Stage Review

Eclectic ‘Evolution’ from Ferocious Lotus runs gamut of Asian American expression

Supernatural historical epic, time-traveling sci-fi comedy, romantic parody add up to a theatrical sizzle reel
Stage Review

Truth, as viewed through a tangle of perceptions, in ‘This Much I Know’

Two things came to mind as I sat down to write this review. The first was a line from Indiana Jones and the Last...
Stage Review

When familiar feels fresh: World premiere of ‘Goddess’ transcends

Now when can we get that original cast recording?
Stage Review

Bolivian independence fighter gets her due in La Lengua Teatro’s ‘Las Azurduy’

One woman's voice expands into triptych, while the actresses' talents echo.
Stage Review

‘My Parents Came to America’ mines first-generation frustrations for welcome laughs

Killing My Lobster's new show navigates the people who know how to pronounce 'Schwarzenegger'—but not their friend's name.
Stage Review

Finally, ‘Follies’—a loving tribute to a theater era long gone by

SF Playhouse stages the Sondheim favorite after years of delays, with showgirls and old hoofers in spades
Stage Review

Going medieval on queer fantasy in ‘Deal with the Dragon’

Fire-breathing co-dependency and a fetching drag Maleficent in Kevin Rolston's solo show at the Magic
Stage Review

The buck stops and/or starts with gentrification in ‘Dream Hou$e’

Two sisters must decide to preserve a family legacy or jump at a possible payday in Shotgun Players' latest
Stage Review

In ‘Sanctuary City,’ the teetering fates of two star-crossed DREAMers

Martyna Majok’s play at Berkeley Rep offers a damning, impressionistic view of immigration policy post-9/11
Stage Review

‘Boys Go to Jupiter’ asks, Can social media backlash really make someone more racist?

Word for Word's provocative staging of Danielle Evans’ short story delves into one of the era's obsessive questions
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