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Thursday, January 9, 2025

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Charles Lewis III

265 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

‘The Lifespan of a Fact’ finds journalism at a perilous juncture

A fascinating play about fact-checking? Believe it.
Stage Review

Load up the truck with family drama, it’s time to hit ‘Mother Road’

Octavio Solis’ latest at Berkeley Rep puts a racial spin on father-son dynamics and the burden of inheritance.
Stage Review

Circus in the Sun: Bella’s outdoors show is a ‘WOW!’

At local parks, the troupe's summer show brings welcome laughs, along with rola bola, lyra, and the Big Juggle.
Stage Review

SF Opera’s ‘Partenope’ offers Old Hollywood glamour, little subtext

With a full century behind them to choose from, SF Opera’s 2023-24 season has had a feeling of “throw things at the wall and...
Stage Review

‘Ghost of King’ channels radical speech by Civil Right leader to a T

Michael Wayne Turner III’s solo show at OTP masterfully evokes the Rev. Dr., but could go much further.
Stage Review

A time-jumping tale of environmental degradation in ‘Garuda’s Wing’

Gripping tale and great ensemble work from Magic Theatre drive home heavy subject without bumper sticker platitudes.
Stage Review

SF Opera tackles mass shootings and class privilege in ‘Innocence’

>>We need you! Become a 48hills member today so we can continue our incredible local news + culture coverage. Just $20 a month helps sustain...
Stage Review

‘Best Available’: For theater lovers, uncomfortable in all the right ways

Shotgun Players' production wends through the tangle of absurdities of being artistic in a capitalist world.
Stage Review

When is a flute not a flute? SF Opera’s ‘Magic Flute’ pipes a wild tune

A blizzard of visual distractions—welcome, overwhelming—marks Suzanne Andrade's cinematic production.
Stage Review

Life ends at 30? It’s complicated (and very Gen X) in ‘tick, tick… BOOM!’

Jonathan Larson's musical, which itself is turning 30, documents an artist's frustrations at a transitional age.
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