There’s an undeniable charm to Theatre Rhinoceros artistic director John Fisher’s latest work, “Slugs and Kicks.” Set in the 1980s, it’s a sweet coming-of-age comedy, rather than specifically a coming-out-of-the-closet play, as one might expect from our oldest LGBT theater.
Narrator Rory (Ben Calabrese), a virginal college student at the mythical Purgatoria State University in “a long, Western state,” is studying acting.
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The characters in Kate Fodor’s 2007 play “100 Saints You Should Know” — onstage in a Theatre Rhinoceros production in The City — are desperately seeking ... something elusive.Former hippie and Deadhead Theresa, now a cleaning woman, is spiritually lost; a single mother and high school dropout, she wonders if religion might offer hope.Her caustic, cynical teenage daughter, Abby, suspects she herself might be inherently bad.
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Baseball Commissioner Bud Selig’s comments last week about the A’s and their future contained nothing new, but that didn’t stop local media from exploding over it, on TV and radio and in newspapers. Everyone had an opinion.
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When comically gifted director John Fisher, the exquisite Word for Word ensemble and a well-balanced pair of literary short stories converge on the Z Space stage, the result is theatrical magic. You ought to run, not walk, for tickets.
Word for Word, which presents literature verbatim in the most delightful and inventive ways, chose the sublime sensuality of food — and its various ramifications and resonances — as the common thread in “Food Stories.”
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Watching Tennessee Williams’ poetically nonrealistic “The Two-Character Play,” which he wrote and rewrote for 10 years up to its 1973 New York opening, brings several other plays to mind: Sartre’s “No Exit,” for one, and Genet’s “The Maids.”
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Who is the worst owner in modern Bay Area sports history? The A’s Lew Wolff.
Others might nominate John York, who took the 49ers from Super Bowls to also-rans, but York was at least trying, and he’s turned the team over to his son, Jed, who has made a coaching hire with Jim Harbaugh that should turn the team around.
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The 1981 revue “Marry Me A Little” is a trousseau of trunk songs, tunes written and shelved by Stephen Sondheim from various early career projects. As presented by Theatre Rhinoceros, it is now also a bit of a locally relevant social commentary.
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If the Broadway headturner “Rent,” marvelously developed by composer and playwright Jonathan Larson, had a younger sibling that demanded attention, it must be “Tick, Tick … Boom!”
The emotionally charged rock musical, which Larson crafted in the early 1990s, is his inventive, perhaps little-known, “autographical” predecessor to the award-winning spectacle.
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