Twenty years ago, Z Space burst onto the scene and offered The City a place for artists to revel in their process. Audiences did not mind, either. Since then, Z Space has produced an array of compelling works, from music and visual art to dance and theater.
To commemorate the milestone, Josh Kornbluth, one of the Bay Area’s most prolific monologists, brings back his hit “Love & Taxes” in a two-night engagement benefiting Z Space beginning May 22.
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Oakland-based Ensemble Mik Nawooj is known for breaking traditional musical boundaries and taking audiences beyond labels such as jazz, classical and even hip-hop.
The concept comes to the fore in “Death, Love & Life: A Chamber Hip-Hop Orchestra,” which debuts Saturday at Brick & Mortar in The City.
Unraveling along a lush musical landscape of a seven-piece chamber orchestra, two rappers and an opera singer, the work delves into emotional and psychological waters as it chronicles joy, suffering — and the possibility of transcending beyond the mundane.
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The term “boxed in” takes on new meaning in the world premiere of American Conservatory Theater’s “Stuck Elevator,” based on the true story of a Chinese deliveryman trapped in a Bronx, N.Y., elevator for 81 hours.
“The story really intrigued me,” says Julius Ahn, who plays the lead character, Guang. “Here is somebody that seems to be integrated into mainstream America. You see the surface, but what’s beneath is much more complex.
It’s such a compelling story of one man, his background and coming to America — to live that dream.”
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If Baz Luhrmann and Busby Berkeley had raised a rambunctious love child back in the 1970s, it might resemble something like “Tinsel Tarts in a Hot Coma.”
The full-length, revamped version of The Cockettes’ wildly unconventional 1971 musical gets a robust reboot in Thrillpeddlers’ sixth annual Theatre of The Ridiculous, which opens in previews at The Hypnodrome this week.
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Writer-performer David Kleinberg, who takes audiences on a journey through sex addiction in his new one-man show, is candid about what sparked him to take action to present the piece.
“I am not exactly sure that I wanted to create this,” he says, but he adds, “Down to my bone, I felt I was called to do it.”
Currently running at Stage Werx Theatre in The City and directed by Mark Kenward, “The Voice: One Man’s Journey Into Sex Addiction and Recovery” is deeply revealing and, at times, downright humorous.
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The premiere of "Feed the Beast" on Wednesday on the Travel Channel finds host Mikey Roe beginning a series-long mission to explore eclectic late-night dining in America. His first stop: The City.
"We chose San Francisco because it's just a great city to be in and it had a lot of terrific late-night food options," Roe says, admitting that he is one “those guys” about which people say, “You have the best job in the world.”
He adds, “I get to go out when people are out at night and taste food all night long. There's nothing better."
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Crowning Miss Glamouresse 2013 is the major thrust of “Pageant — The Musical,” which opens at the Victoria Theatre today. But there’s more to the production, including clever twists, says director-producer Robb Huddleston.
“The show takes shots at beauty pageants, but it’s not mocking them,” he adds.
Written by Bill Russell and Frank Kelly with music by Albert Evans, the show originally debuted off-Broadway 22 years ago. It boasts everything from swimsuit and evening gown competitions to production numbers and other eye-openers along the catwalk — mainly men in drag.
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Be forewarned: Mike Tyson wants to show off his sensitive side.
“Mike Tyson: Undisputed Truth” hits the Orpheum Theatre for three nights beginning Feb. 28. The one-man show chronicles the 46-year-old former undisputed heavyweight-boxing champion’s headline-filled life, from his rise to fame in and out of the boxing ring since the 1980s to his lesser-known personal transformations.
Director Spike Lee has called the outing a tale of “redemption.”
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Two years after its 75th anniversary, the Bay Bridge is about to experience a birthday celebration of unprecedented proportions, called The Bay Lights.
The massive light-as-art installation is by Leo Villareal, known as the “Maestro of Light.” He was approached by Ben Davis, founder of the San Francisco creative-marketing agency Words Pictures Ideas, to create the piece.
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Weaving 700 pages of transcribed interviews of undocumented teens into a compelling story is a daunting task for a writer, but something in the words sparked Gary Soto’s interest — hope.
That hope is paramount in the playwright's latest work, “In and Out of Shadows,” opening Saturday in a production presented by the Marsh Youth Theater.
In the ambitious undertaking, some two dozen young actors of varied ethnic backgrounds shed light on what it’s like to be an undocumented youth in Richmond or Pinole.
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Thirty-five years ago, Harvey Milk sent a powerful ripple effect into political waters, ushering in a new era for civil rights. Today, more than three decades after his assassination, a new play illuminates the man and his impact on society — and gay rights — in a new way.
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Food gets a savage yet playful skewering in writer-director Morris Bobrow’s revue “Foodies! The Musical,” now playing at the Shelton Theater.
Yet locals expect nothing less from Bobrow. The longtime playwright is the genius behind simliarly formatted hit shows in The City: “Shopping: The Musical” and “Party of 1” (and “2”) among them.
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Forget reindeer. It looks as if dragons may fly higher during this holiday season.
That’s the thinking behind “DreamWorks’ How To Train Your Dragon Live Spectacular,” which comes to fiery life at HP Pavilion in San Jose on Wednesday.
The huge show, based on the hit 2010 DreamWorks film of the same name, adds nuances — many in the dragons themselves.
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Jeff Garrett has a lot on his mind this holiday season. Make that a lot of people.
The local actor mentally juggles beloved Charles Dickens characters — Bob Cratchit, Jacob Marley, Tiny Tim and Scrooge — in an ambitious one-man show, “Scrooge: The Haunting of Ebenezer.”
The “Christmas Carol” reboot, at the Boxcar Theatre, finds Garrett showcasing every character in ways audiences may not have seen before.
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There’s no shortage of theatrical color in San Francisco during the holidays, and if The Crackpot Crones have their way, their “Crones for the Holidays” just might leave an indelible imprint.
The troupe, which blends improv and sketch comedy, opens its new show, a robust, feminism-tinged estrogen parade, on Saturday at Stage Werx.
One question immediately comes to mind: What exactly is a crackpot crone?
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