When all the dancers from Lines Ballet aggregate together on the stage, they exude a sort of diamond-like wattage. Standing there in their skimpy and shiny costumes—often unafraid to include eye-catching mesh—one is aware of how much sex and sexiness there is to be found in the modern and contemporary ballet of Alonzo King.
If a hunky black baritone—shirtless and stalking the stage in a shiny green bell-bottomed suit with big lapels and sparkly platform shoes is not your idea of a night at the opera—we get it. It wasn’t ours either. But that’s exactly what happens at the beginning of the second act of Champion, now playing at SFJAZZ.
This weekend, actress Jane Lynch is coming to town. Best known to tweens as Sue Sylvester in Glee—and to everyone else as part of the comedic genius of such gems as A Mighty Wind, Best in Show, and The 40-Year-Old Virgin—she’s showing fans another side of herself with her new musical comedy show “See Jane Sing,” a combination of cabaret, comedy, and show tunes, on Saturday, May 9 at the Palace of Fine Arts. We caught up with Lynch about her Broadway run in “Annie,” her trademark humor, and food worthy of the f-bomb.
While the music-loving world waits and wonders about the health of the legendary Joni Mitchell, SFJAZZ kicks off its #ThankYouJoni campaign this Saturday, with a photo montage installation in Hayes Valley, in the run up to its gala tribute on May 8.
There is something ruthless about Alonzo King. King—who exudes the ease and innate savoir faire one associates with Duke Ellington—is the founder, choreographer, and force behind Lines Ballet, currently in the midst of its 2015 spring season at Yerba Buena Center for the Arts. The world premiere of Biophony, his collaboration with natural soundscape artist Bernie Krause and composer Richard Blackford is a stunning, moving, and, at times, frightening testimony to navigating the pitfalls inherent in one of the scariest things an artist ever has to face: a really great idea.
British author Nick Hornby’s obsessions with music and sports have been well reflected in About a Boy, High Fidelity, and a slew of other writings, but recently, the auteur has delved into different themes: He wrote the screenplay for Wild, the film starring Reese Witherspoon based on Cheryl Strayed’s bestseller; and his new novel, Funny Girl, centers on a woman who unexpectedly achieves fame in 1960s London when she becomes the star of a wildly popular BBC comedy series.
For some, Mexico City comes with a warning label. When I posted on Facebook that I was going, my sister emailed me an article about beheadings. A tennis pal cautioned me to take only radio-controlled taxis, to avoid the risk of being taken for a metaphorical (and literal) ride.
Essential SF knowledge in your inbox
Sign up for our email newsletters to keep up on events, restaurants and SF haps.