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“The Allure of Thug Life” shows great promise in its kaleidoscopic vision of both Blackness and rap.
The biggest change in this year’s incarnation, at the Victoria Theatre, is that Coco Peru is playing the role originated by spoof co-creator Heklina, who died in April.
The Broadway star proved the best place to hear musical theater numbers might be the San Francisco Symphony.
The solo cabaret musical at Marin Theatre Company makes a family’s origin story in a Manila nightclub feel as mighty as myth.
“Harry Clarke,” David Cale’s one-man play, is about the intoxicating fantasy of becoming someone else.
Theatre Rhinoceros is producing gay theater in the Castro for the first time in its 46-year history.
At Aurora Theatre, Michael Gene Sullivan’s harrowing stage adaption of George Orwell’s novel prickles the skin, pinches nerves and lodges in the viscera.
Indie offerings from Bow & Arrow Circus Theatre Collective, Misfit Cabaret, the Imaginists and more sparkle and chime this holiday season.
Plays by Tony Kushner, Martyna Majok and Michael Wayne Turner III continue the 12-year-old company’s proud tradition of staggering ambition.
Playwright and Berkeley native Eisa Davis devises an idiom so resplendent, so discerning, it induces chills and shudders.
Alex Edelman’s “Just for Us” at the Curran is a triumph of contemporary Jewish humor.
Church of Clown in Visitacion Valley crowns a local clowning scene that has long rendered the profession’s stereotypes irrelevant.
An abrupt change in the council’s funding process and its non-communication to applicants led to confusion and dismay.
Greg Sarris’ story, set among Santa Rosa day laborers and staged at Z Below, testifies to the power of keen observation.
Cutting Ball Theater’s remarkable production of “Rossum’s Universal Robots” reads as a cri de coeur in the age of Alexa, Siri and Waymo.
“Tiny Fires,” a world premiere by Aimee Suzara, will be Custom Made Theatre Company’s last show for the foreseeable future.
“Our audience is not going to be a monolith,” Lance Gardner told the Chronicle of his plans for the Mill Valley company.
Crowded Fire Theater’s revealing West Coast premiere about the complexities of a parasocial relationship delivers Bay Area theater’s biggest surprise of the fall.
The San Francisco comedian’s 14th solo show is inspired by her time as a cruise ship entertainer.
Heidi Armbruster’s champagne flute of a play, now in a TheatreWorks Silicon Valley West Coast premiere, is about Agatha Christie’s 1926 disappearance.
In Annie Danger’s piece at CounterPulse, part of the Tenderloin company’s namesake festival, audience members compete for real cash prizes.
I know my writing — or choice not to write — about a company can affect its bottom line.
Jocelyn Bioh’s West Coast premiere following Nigerian film in the 1990s is about romantic melodrama — both onscreen and off the set.
The West Coast premiere of Heidi Armbruster’s play digs into the mystery author’s real-life 11-day disappearance that was never explained.
All four slots in the San Francisco theater’s 2024 lineup are world premieres. “It’s the only way to do it,” lead director Sean San José told the Chronicle.
The sixth haunted attraction by Into the Dark, which comprises Peaches Christ, David Flower Productions and Non Plus Ultra, has just the gory frights and cultish imagery to make your stomach…
New Executive Director Clive Worsley said he’s faced strong opposition to his vision, but assures audiences, “We’re not taking the Shakespeare away.”
Berkeley Rep’s production of Selina Fillinger’s play slyly posits farce as the path toward feminist revolution.
Gov. Gavin Newsom reallocated $11.5 million to the Equitable Payroll Fund to help small arts nonprofits recover from the pandemic and comply with AB5.
Dreams on the Rocks Productions’ Eclectic Box is slated to be a home for companies affected by PianoFight’s closure.
Taylor Mac’s sequel to Shakespeare’s “Titus Andronicus” creates a canvas for artists to lead our revolts.