One woman’s desperate need to escape threatens her family and the world in the bending, twisting landscape of Sticky Time. With 360 degree projections, surround sound and choreography, this is Crowded Fire’s most technically ambitious production yet.
Halloween in San Francisco isn’t complete until you’ve absorbed the bloody mayhem of Shocktoberfest, now in its twelfth year of gore and festive holiday shrieking. The bloodthirsty Parisian theater tradition of Grand Guinol meets film noir in Fear Over Frisco, Thrillpeddlers' latest.
Presenting three shorts by playwright Eddie Muller, this year’s Shocktoberfest does some time traveling through San Francisco’s history - modern day deja vu in The Grand Inquisitor, post-WWII hysteria in An Obvious Explanation, and back to the Prohibition for The Drug. We meet a disfigured artist, the reclusive widow of San Francisco’s most notorious serial killer, and a doctor who plays fast and loose with some un-FDA approved substances.
Skewering San Francisco’s gay porn industry of the early ‘80s, Ronnie Larsen’s hit comedy has made the rounds in New York, Boston, Miami, Chicago, and LA. Slapstick, strip teases, and directors yelling things about being meaner and dirtier make it as lurid and uninhibited as one would hope from a play called Making Porn.
When the doomed love of Pelleas and Melisande first premiered in 1893, it subverted the French realism that was all the rage in the Parisian Belle Epoque. Innovative French symbolist Maurice Materlinck - one of the most respected writers of his time - penned a lush, avante garde fairytale that blends elements of Cinderella and Romeo and Juliet.
Shakespeare’s doomed heroine Desdemona is getting a lot of theater time this month. For fresh interpretations of the misunderstood Venetian beauty who met her untimely end at the hands of her husband, Othello, you can check out the high profile Toni Morrison-Peter Sellars collaboration or the black box experimental interpretation where Desdemona really is a whore.
Cal Performances presents the United States premiere of the collaboration between Nobel Prize-winning novelist Toni Morrison, renowned director Peter Sellars, and one of Africa’s greatest vocalists Rokia Traoré. Together they create a beyond-the-grave conversation between Othello’s Desdemona and Barbary, the woman Shakespeare identifies as the African nurse who raised her.
Two rival gangs sit down for a dinner party in Arrivederci Roma, Morgan Ludlow’s furiously dreamlike world premiere for Stage Werx, stuffed wtih ultimatums and revelations and Italian-Jewish home cooking. A psychedelic blend of The Godfather and Trannyshack, it’s a bloodthirsty comedy with unexpected guests, plot twists, and breaking bread with the enemy.
Adam and Eve managed to get their kids banished from the Garden of Eden, and parenting in religion has been going downhill ever since. How To Write a New Book for the Bible is award-winning playwright Bill Cain’s flashlight into the grand religious and theatrical traditions of familial blame.
The hipsters are bringing back ancient Greece. So gather the tattered shards of your theatrical optimism, all ye who enter Exit Theater. Calling this year’s San Francisco Olympians Festival “a Pandora’s box of plays, leaving all who attend with hope for independent theatre,” No Nude Men premiere thirty-two new works this month. Written by twenty-nine local writers, nine are full-length and the rest are delightfully random shorts. Each night is something different - some folks saw as many as ten shows last year.
Oh, childhood. That magical time when people fetch you milk and carry you places. When getting dessert is the epitome of success and every road leads somewhere good. In Sorya! A Minor Miracle, Theater of Yugen distills childhood stories of Western literature through ancient Japanese performance traditions, emerging with new Kyogen comedies of dwarfs in dismay, charlatan prophets, and sake.
As sisters go, having one nicknamed Katherine the Cursed isn’t the ideal family tree situation, especially when you aren’t allowed to marry until your sister does and your cursed sister has no interest in the blessed state of matrimony.
Bianca and Katherina navigate the tricky rapids of Elizabethan dating in Shakespeare’s sharpest romance, Taming of the Shrew. Director Shana Cooper, straight from her Oregon Shakespeare Festival debut, gives Cal Shakes’ version a gorgeously physical realignment. Projected onto a high-fashion, pop-art society, Bianca’s tender romance is tinder to the flying sparks of Katherina and Petruchio’s battle of the sexes.