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Saturday, October 25, 2025

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Charles Lewis III

Charles Lewis III
313 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
Stage Review

Drama Masks: Aurora Theatre suspends season—after putting on a hell of a show

'Crumbs from the Table of Joy' delivers, as does Berkeley Rep's 'the aves' and 'Compton's Cafeteria Riot.'
Stage Review

Drama Masks: All ABBA the myths of stage critics

'Mamma Mia!' does its crowd-pleasing thing, while 'Ironbound' goes deep with carefully textured take on houselessness.
Stage Review

Drama Masks: The fight is just beginning

SF Mime Troupe needs our help. Plus: 'Simple Mexican Pleasures,' 'The Last of the Love Letters,' 'Shameless Hussy' reviewed.
Stage Review

Drama Masks: ‘Two Trains Running’ is an electrifying triumph

August Wilson's dialog drives an epic critique of Black capitalism at ACT. Plus: Hilarious heathens of Killing My Lobster go all in for sin.
Stage Review

Drama Masks: Walking in circles

Shocking banality of evil in 'Here There Are Blueberries' and an Armenian cry against injustice, with puppets, in 'Azad.'
Stage Review

Drama Masks: Performative politics

SF Ballet's 'Van Manen' renders the art form accessible and Izzard crunches 'Hamlet,' while 'the boiling' offers a magnetic pandemic tale.
Stage Review

Drama Masks: Hypnotic maritime flamenco, messages in a bottle

Dance tells a yarn in 'Songs from a Sinking Ship.' Plus: How did the city's stages acknowledge Trans Visibility Day?
Stage Review

Drama Masks: Dreamlike delivery of prim-and-proper trans history in ‘I Am My Own Wife’

Plus: SF Ballet's 'Frankenstein' was a Gothic, if not great, delight and Killing My Lobster's new 'fun run' rips and roars.
Stage Review

Drama Masks: Fear not the fan

Coleman Domingo's 'Wild With Happy' blends Black Baptist sensibility with Disneymania, 'Nobody Loves You' finds no quarrel here.
Stage Review

Drama Masks: Drawing the line

Opera Parallèle's 'The Pigeon Keeper' took on the costs of xenophobia, while Central Works' 'Push/Pull' tackles toxic masculinity.
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