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

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.

Dance

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

March 17, 2022

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

Onstage

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

March 16, 2022

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

Onstage

Review: In ‘Otto Frank,’ an examination of tragedy that transcends historical period

March 15, 2022

Roger Guenveur Smith's solo show at Magic Theatre extends the story of Anne Frank's father into our own time.

Charles Lewis III

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

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

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

Review: In ‘Otto Frank,’ an examination of tragedy that transcends historical period

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