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Sunday, July 13, 2025

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Charles Lewis III

Charles Lewis III
292 POSTS1 COMMENTS
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
Performance

Review: Gay love story ‘Gently Down the Stream’ stirs few ripples

At New Conservatory, a technically well-done play by the author of 'Bent' seems too familiar even for rom-com territory.
Art

Review: ‘The Art of Banksy’ is pure bourgeois comfort food

Come for the promise of political provocation—stay for a 'Kissing Coppers' cocktail?
Dance

Review: SF ballet delivers comforting ‘Nutcracker’ in less-than-plum circumstances

Clara battles giant pests and reaches wonderland—a hopeful contemporary parallel, if only the audience could keep up.
Onstage

Review: Shotgun Players’ ‘Cassandra Sessions’ reminds us we’re not out of the woods yet

Poetically nailing the COVID era in all its claustrophobia, futility, and mansplaining... with Malvina Reynolds' folk songs.
Onstage

Review: Bright ‘Twelfth Night’ can’t quite wash away outside concerns

At SF Playhouse, Shakespeare's other shipwreck play has great elements—but not enough protocols.
Onstage

‘Plot Point in Our Sexual Development’ dissects a history of trans love

Definitions of "comfort" are contested as a couple rolls through their sexual triumphs and trials.
Onstage

Review: ‘Father/Daughter’ challenges audiences with surprising double roles

The first Aurora Theatre Company show for live audiences since February of 2020 explores serious daddy issues.
Onstage

Review: Berkeley Rep reopens with fluffy ‘Wintertime’

The company's welcome return is a farce full of slamming doors and convoluted coupling that never quite snowballs.
Onstage

Review: SF Playhouse gallops toward big themes in ‘The Great Khan’

Some spot-on dialogue, dedicated performances, and a solid premise—but Michael Gene Sullivan's play is trying to do too much.
Onstage

Review: ‘The Claim’ captures the hurricane of immigration red tape

Shotgun Players return with a rapid-fire examination of the limits of bureaucratic and romantic language.
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