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"content": "\u003cp>The Netizens of the world are in the midst of an identity crisis — there is more information publicly available about each of us, and I have a sneaking suspicion that we have less to fear from the government’s Echelon agencies snooping on our reading lists than we do from Amazon.com’s patented shopper profiling technology. Heck, even the government is turning to the online giants to get its info. AOL recently ignited a firestorm by making public a detailed record of their users’ online searches. They didn’t have names attached to the searches, but the \u003ci>New York Times\u003c/i> found it almost laughably easy to identify user No. 4417749 simply by analyzing what subjects she searched on.\u003c/p>\n\u003cp>This mounting identity crisis is precisely the subject of \u003cb>Super Vision\u003c/b>, an elegantly, beautiful and disquieting multimedia production by The Builder’s Association and studio dbox, which I caught at the Yerba Buena Center forthe Arts. Mixing cutting-edge computer technology with real-time action, it’s a show that makes a powerful impact, visually and viscerally.\u003c/p>\n\u003cp>The action of this unusual and absorbing show plays out in a multi-layered space, with a line of screens and equipment set up like mission control in front of an ambiguous wide-screen space in which live actors interact with each other and with projections of objects in computer-manipulated surroundings.\u003c/p>\n\u003cp>The main plotline centers on three disparate and yet thematically linked dots in a constellation of datasphere characters, starting with a perfect family who appear to be idyllically situated in front of an Auto-CAD generated Dream House (shades of the ubiquitous TV walls in Ray Bradbury’s \u003cb>Fahrenheit 451\u003c/b>). The father logs onto his computer to enter a kind of Holodeck space — dominated by an IMAX-sized vision of his own face on awebcam — in which he creates money transfer schemes using his young son’s identity.\u003c/p>\n\u003cp>In another segment, a business traveler with an Indian name and a Ugandan passport endures grilling at the hands of suspicious passport control officials, who call up and manipulate his data in a creepily brisk manner reminiscent of Tom Cruise in the prescient \u003cb>Minority Report\u003c/b>. The third segment deals with a young New Yorker who stays in touch via webphone with her aging grandmother who lives in Sri Lanka. Grandma isn’t on The Grid, but her granddaughter, keen to archive the family’s memories, is mining her for data, even as the older woman’s mind is failing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The stories themselves are fairly straightforward, but what is fascinating about this production is the seamless integration of technology, with its pointed implications about how seamlessly and ruthlessly technology has integrated into our lives. The Builders Association, who put this show together, have been at this since 1994, and the company’s skill at fashioning a richly textured multimedia space out of pixels and sound bytes makes \u003cb>Super Vision\u003c/b> thoroughly compelling.\u003c/p>\n\u003cp>In the plugged-in age, many of us have learned to finely tune our ability to multi-task. How many of us come home, turn on the evening news, start up the computer, check email, open a browser to look at movie times, start dinner microwaving and make a quick call on the cell phone — all in the space of five minutes? I was astonished — and not a little discomfited — to realize that even as I watched Mr. Shah being quizzed by passport control, my eyes were darting about trying to absorb the screen projections of his itineraries, names of his family members, his prescriptions. Still, director Marianne Weems and her collaborators — including the masterful lighting designer Jennifer Tipton — construct \u003cb>Super Vision\u003c/b> carefully and never allow it to dwell on the feelings of information overload per se. Their focus is on how identity is shaped — whether it is consciously shaped and whether we can control that process — given the all-encompassing technology that feeds into cyberspace.\u003c/p>\n\u003cp>Virtual reality is no longer just for the cyberpunk nihilists and “console cowboys” of William Gibson. All of us now reside in the datasphere. The question is who are we when we’re there?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Super Vision\u003c/b> runs August 17 – 19, 2006 at Yerba Buena Center for the Arts. TICKETS: $23-$30, call 415-978-ARTS\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Netizens of the world are in the midst of an identity crisis — there is more information publicly available about each of us, and I have a sneaking suspicion that we have less to fear from the government’s Echelon agencies snooping on our reading lists than we do from Amazon.com’s patented shopper profiling technology. Heck, even the government is turning to the online giants to get its info. AOL recently ignited a firestorm by making public a detailed record of their users’ online searches. They didn’t have names attached to the searches, but the \u003ci>New York Times\u003c/i> found it almost laughably easy to identify user No. 4417749 simply by analyzing what subjects she searched on.\u003c/p>\n\u003cp>This mounting identity crisis is precisely the subject of \u003cb>Super Vision\u003c/b>, an elegantly, beautiful and disquieting multimedia production by The Builder’s Association and studio dbox, which I caught at the Yerba Buena Center forthe Arts. Mixing cutting-edge computer technology with real-time action, it’s a show that makes a powerful impact, visually and viscerally.\u003c/p>\n\u003cp>The action of this unusual and absorbing show plays out in a multi-layered space, with a line of screens and equipment set up like mission control in front of an ambiguous wide-screen space in which live actors interact with each other and with projections of objects in computer-manipulated surroundings.\u003c/p>\n\u003cp>The main plotline centers on three disparate and yet thematically linked dots in a constellation of datasphere characters, starting with a perfect family who appear to be idyllically situated in front of an Auto-CAD generated Dream House (shades of the ubiquitous TV walls in Ray Bradbury’s \u003cb>Fahrenheit 451\u003c/b>). The father logs onto his computer to enter a kind of Holodeck space — dominated by an IMAX-sized vision of his own face on awebcam — in which he creates money transfer schemes using his young son’s identity.\u003c/p>\n\u003cp>In another segment, a business traveler with an Indian name and a Ugandan passport endures grilling at the hands of suspicious passport control officials, who call up and manipulate his data in a creepily brisk manner reminiscent of Tom Cruise in the prescient \u003cb>Minority Report\u003c/b>. The third segment deals with a young New Yorker who stays in touch via webphone with her aging grandmother who lives in Sri Lanka. Grandma isn’t on The Grid, but her granddaughter, keen to archive the family’s memories, is mining her for data, even as the older woman’s mind is failing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I remember the first time I was ever drunk on art. Early in my college career, my Dad called. He was coming to Philadelphia by train and we were going to visit a mysterious place that a friend had told us about called the Barnes Foundation. He secured an appointment and I met him at the station in Merion, PA, about ten minutes outside of Philly on what is familiarly known as “the Mainline.”\u003c/p>\n\u003cp>To get to the Barnes, you must pass the kind of immense mansions and neatly manicured estates that inspired Agnes Nixon to create the people and places of soap operas like \u003cb>All My Children\u003c/b> and \u003cb>One Life to Live\u003c/b>.\u003c/p>\n\u003cp>“What the heck is inside this place, anyhow?” we wondered as we walked through the Doric portico decorated with tiles of clearly African motif. Inside? A treasure trove of not just African but Egyptian, Greek, and Navajo art, not to mention some 181 paintings by Renoir, 46 Picassos, 59 Matisses, and more Cezannes than I had ever seen in my entire life. It was like seeing hundreds of old friends — ones you’d known for years, but had never seen before. We had entered the playhouse of Dr. Albert C. Barnes, educator, art collector, and something of a cranky old codger.\u003c/p>\n\u003cp>That was back in the early nineties, shortly before the history of this mind-bogglingly priceless art collection took the tragic turn documented in Thomas Gibbons’ intriguing play \u003cb>Permanent Collection\u003c/b>.\u003c/p>\n\u003cp>Loosely disguising the names of key players (the foundation becomes the Morris Collection here) Gibbons traces the nasty battles that occurred as the collection transitioned from the hands of the founder’s right-hand woman and into the control of the board of trustees of a local, primarily African-American university — the real-life Lincoln University. For Gibbons, the story of the Barnes Foundation becomes a complex entrée into a discussion of the larger, volatile topic of race relations in America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Sterling North — the thinly-veiled alter ego of the Barnes’ tempestuous and embattled black director Richard Glanton, who served as executive director in the 1990s — L. Peter Callender finds a brilliant and terrifying combination of slow burn and short fuse. Driven and autocratic, North rings true as a product of his time — a man possessed by every wrong that has been done him as an African American of a certain era, and consumed by a self-righteous tyranny. Glanton himself “played the race card” vehemently and often. In 1996, he filed a federal civil rights lawsuit charging that he was a victim of prejudice and racist opposition at the hands of the Merion zoning board and the neighbors of the Barnes Foundation.\u003c/p>\n\u003cp>The vituperative accusations of racism were indeed the focus in the early years of the Barnes scandal, but for anyone who followed the fight, it became quickly clear that the real core of the issue had less to do with race than with money. How could it not be so when you’re talking about a collection currently valued at $25 billion (yes, that’s billion with a “B”)?\u003c/p>\n\u003cp>Like the real life Barnes, Morris leaves strict indentures in his will about how his artwork is to be handled after his death. A student of the works of Jung and Adler, as well as of the great educational theorist John Dewey, Barnes created the foundation not as a traditional museum, but rather a school for educating the public about the universal themes of art, in which the paintings were merely reference tools. Irascible and temperamental, he never forgot a grudge and tangled with the art “establishment,” disdaining to the end of his life the critics and museum administrators who rejected his theories and his collection — in his time, they were not even permitted to set foot inside the building.\u003c/p>\n\u003cp>His Barnes Foundation eschewed gift shops and corporate logos — for many years, there was not even a parking lot. Nothing in the way that the collection was exhibited was changed, none of his estimated 5,200 art objects ever left the building, none of the artwork was ever photographed in color, and only a limited number of visitors were permitted to make the appointment to see the works each week.\u003c/p>\n\u003cp>Given the collection’s mystique as well as its richness, perhaps it was inevitable that it would eventually become the focus of greed. Over the last decade, there has been an almost audible “cha-ching,” as dollar signs popped up in the eyes of the major players with every new round — and there were many rounds. As does Sterling North in the play, Glanton quickly racked up astronomical fees as a result of his lawsuits, as well as about $225,000 in “personal expenses,” easily running through the foundation’s $10 million endowment. To pay for the continuing costs, Glanton and his supporters dreamed up a blockbuster world tour featuring 81 of the collection’s most famous Impressionist and Post-Impressionist paintings — many of which had not been seen outside of the Barnes Foundation’s walls since their acquisition. Incurring more legal fees in the effort to break the will, they succeeded in staging a tour that went to Tokyo, Fort Worth, Ontario, as well as the National Gallery of Art, the Musée d’Orsay, and the Philadelphia Museum of Art. The $17 million the tour raised for the Foundation — ostensibly to restore the endowment and make upgrades to the original building — was spent within a few years, leaving the Foundation again broke.\u003c/p>\n\u003cp>Gibbons’ refrain in \u003cb>Permanent Collection\u003c/b> is “put yourself in my place.” It’s repeated by North, by the earnest Tim Kniffin as the foundation devotee Paul Barrow, but it is also silently echoed by the art collection itself, which becomes a seventh voiceless character in the play — the poor little rich child used as a pawn in an ugly divorce battle.\u003c/p>\n\u003cp>Richard Olmsted’s set elegantly sketches out the idiosyncratic layout of the Barnes Foundation, a vitrine of African objects against a wall that scatters Van Goghs, Renoirs, and Cezannes. Hanging from the catwalks around the space are more paintings, and in the center, worn benches for the actors to sink into as they contemplate the sense of being enveloped by art. Melissa Gray is suitably perky as Gillian Crane, the opportunistic reporter who sniffs out the story. And Karen Aldridge ably forms a stable core as Kanika Weaver, the representative of a more youthful generation frustrated by the intransigency of both North’s and Barrow’s views on race as well as art.\u003c/p>\n\u003cp>Nowadays, though, discussion of the real-life collection is scarcely about the quality of human endeavor. Art is big business. Just last May a Cubist Picasso portrait of Dora Maar sold for $95 million, and just weeks later, Ronald Lauder paid $135 million for a Gustav Klimt. To put this into some sort of perspective, $135 million also happens to be the exact amount that the US Government has pledged to fight malaria in Africa for the fiscal year 2007.\u003c/p>\n\u003cp>But the real questions that plague me about the Barnes Foundation go unanswered. An art history professor of mine once asked what our responsibility is to the life of a painting? Should the Sistine Chapel ceiling really be cleaned of centuries of dirt and “corrections”? Or is doing so like freshening the face of a fading starlet with plastic surgery — a way of trying to make a glorious moment permanent, of denying that the real life of someone or something might be embedded in the scrapes and scratches?\u003c/p>\n\u003cp>The biography of the Barnes Foundation now encompasses several grisly episodes. Do we try to deny the changes that will occur to the building, to the collection and to the founder’s vision? Lured by $150 million in grants, the foundation now plans to transplant the Barnes collection to downtown Philadelphia, where it can become the kind of tourist destination that Barnes never envisioned. It’s a travesty, but in a way, it’s a testament of its own — a silent witness to the story of human greed and fallibility.\u003c/p>\n\u003cp>\u003cb>Permanent Collection\u003c/b> runs through July 23, 2006 at the Aurora Theatre, 2081 Addison Street, Berkeley, CA\u003cbr>\nTickets: 510-843-4822\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Learn more about the \u003ca href=\"http://www.barnesfoundation.org/\" target=\"offsite\" rel=\"noopener\">Barnes Foundation\u003c/a> (at barnesfoundation.org) and at \u003ca href=\"http://www.barneswatch.org/\" target=\"offsite\" rel=\"noopener\">Barnes Foundation Watch\u003c/a> (at barneswatch.org), a group oppossed to the foundation’s relocation.\u003c/p>\n\n",
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"excerpt": "I remember the first time I was ever drunk on art. Early in my college career, my Dad called. He was coming to Philadelphia by train and we were going to visit a mysterious place that a friend had told us about called the Barnes Foundation. He secured an appointment and I met him at the station in Merion, PA, about ten minutes outside of Philly on what is familiarly known as \"the Mainline.\"\u003cp>To get to the Barnes, you must pass the kind of immense mansions and neatly manicured estates that inspired Agnes Nixon to create the people and places of soap operas like \u003cb>All My Children\u003c/b> and \u003cb>One Life to Live\u003c/b>.\u003c/p> ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I remember the first time I was ever drunk on art. Early in my college career, my Dad called. He was coming to Philadelphia by train and we were going to visit a mysterious place that a friend had told us about called the Barnes Foundation. He secured an appointment and I met him at the station in Merion, PA, about ten minutes outside of Philly on what is familiarly known as “the Mainline.”\u003c/p>\n\u003cp>To get to the Barnes, you must pass the kind of immense mansions and neatly manicured estates that inspired Agnes Nixon to create the people and places of soap operas like \u003cb>All My Children\u003c/b> and \u003cb>One Life to Live\u003c/b>.\u003c/p>\n\u003cp>“What the heck is inside this place, anyhow?” we wondered as we walked through the Doric portico decorated with tiles of clearly African motif. Inside? A treasure trove of not just African but Egyptian, Greek, and Navajo art, not to mention some 181 paintings by Renoir, 46 Picassos, 59 Matisses, and more Cezannes than I had ever seen in my entire life. It was like seeing hundreds of old friends — ones you’d known for years, but had never seen before. We had entered the playhouse of Dr. Albert C. Barnes, educator, art collector, and something of a cranky old codger.\u003c/p>\n\u003cp>That was back in the early nineties, shortly before the history of this mind-bogglingly priceless art collection took the tragic turn documented in Thomas Gibbons’ intriguing play \u003cb>Permanent Collection\u003c/b>.\u003c/p>\n\u003cp>Loosely disguising the names of key players (the foundation becomes the Morris Collection here) Gibbons traces the nasty battles that occurred as the collection transitioned from the hands of the founder’s right-hand woman and into the control of the board of trustees of a local, primarily African-American university — the real-life Lincoln University. For Gibbons, the story of the Barnes Foundation becomes a complex entrée into a discussion of the larger, volatile topic of race relations in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Sterling North — the thinly-veiled alter ego of the Barnes’ tempestuous and embattled black director Richard Glanton, who served as executive director in the 1990s — L. Peter Callender finds a brilliant and terrifying combination of slow burn and short fuse. Driven and autocratic, North rings true as a product of his time — a man possessed by every wrong that has been done him as an African American of a certain era, and consumed by a self-righteous tyranny. Glanton himself “played the race card” vehemently and often. In 1996, he filed a federal civil rights lawsuit charging that he was a victim of prejudice and racist opposition at the hands of the Merion zoning board and the neighbors of the Barnes Foundation.\u003c/p>\n\u003cp>The vituperative accusations of racism were indeed the focus in the early years of the Barnes scandal, but for anyone who followed the fight, it became quickly clear that the real core of the issue had less to do with race than with money. How could it not be so when you’re talking about a collection currently valued at $25 billion (yes, that’s billion with a “B”)?\u003c/p>\n\u003cp>Like the real life Barnes, Morris leaves strict indentures in his will about how his artwork is to be handled after his death. A student of the works of Jung and Adler, as well as of the great educational theorist John Dewey, Barnes created the foundation not as a traditional museum, but rather a school for educating the public about the universal themes of art, in which the paintings were merely reference tools. Irascible and temperamental, he never forgot a grudge and tangled with the art “establishment,” disdaining to the end of his life the critics and museum administrators who rejected his theories and his collection — in his time, they were not even permitted to set foot inside the building.\u003c/p>\n\u003cp>His Barnes Foundation eschewed gift shops and corporate logos — for many years, there was not even a parking lot. Nothing in the way that the collection was exhibited was changed, none of his estimated 5,200 art objects ever left the building, none of the artwork was ever photographed in color, and only a limited number of visitors were permitted to make the appointment to see the works each week.\u003c/p>\n\u003cp>Given the collection’s mystique as well as its richness, perhaps it was inevitable that it would eventually become the focus of greed. Over the last decade, there has been an almost audible “cha-ching,” as dollar signs popped up in the eyes of the major players with every new round — and there were many rounds. As does Sterling North in the play, Glanton quickly racked up astronomical fees as a result of his lawsuits, as well as about $225,000 in “personal expenses,” easily running through the foundation’s $10 million endowment. To pay for the continuing costs, Glanton and his supporters dreamed up a blockbuster world tour featuring 81 of the collection’s most famous Impressionist and Post-Impressionist paintings — many of which had not been seen outside of the Barnes Foundation’s walls since their acquisition. Incurring more legal fees in the effort to break the will, they succeeded in staging a tour that went to Tokyo, Fort Worth, Ontario, as well as the National Gallery of Art, the Musée d’Orsay, and the Philadelphia Museum of Art. The $17 million the tour raised for the Foundation — ostensibly to restore the endowment and make upgrades to the original building — was spent within a few years, leaving the Foundation again broke.\u003c/p>\n\u003cp>Gibbons’ refrain in \u003cb>Permanent Collection\u003c/b> is “put yourself in my place.” It’s repeated by North, by the earnest Tim Kniffin as the foundation devotee Paul Barrow, but it is also silently echoed by the art collection itself, which becomes a seventh voiceless character in the play — the poor little rich child used as a pawn in an ugly divorce battle.\u003c/p>\n\u003cp>Richard Olmsted’s set elegantly sketches out the idiosyncratic layout of the Barnes Foundation, a vitrine of African objects against a wall that scatters Van Goghs, Renoirs, and Cezannes. Hanging from the catwalks around the space are more paintings, and in the center, worn benches for the actors to sink into as they contemplate the sense of being enveloped by art. Melissa Gray is suitably perky as Gillian Crane, the opportunistic reporter who sniffs out the story. And Karen Aldridge ably forms a stable core as Kanika Weaver, the representative of a more youthful generation frustrated by the intransigency of both North’s and Barrow’s views on race as well as art.\u003c/p>\n\u003cp>Nowadays, though, discussion of the real-life collection is scarcely about the quality of human endeavor. Art is big business. Just last May a Cubist Picasso portrait of Dora Maar sold for $95 million, and just weeks later, Ronald Lauder paid $135 million for a Gustav Klimt. To put this into some sort of perspective, $135 million also happens to be the exact amount that the US Government has pledged to fight malaria in Africa for the fiscal year 2007.\u003c/p>\n\u003cp>But the real questions that plague me about the Barnes Foundation go unanswered. An art history professor of mine once asked what our responsibility is to the life of a painting? Should the Sistine Chapel ceiling really be cleaned of centuries of dirt and “corrections”? Or is doing so like freshening the face of a fading starlet with plastic surgery — a way of trying to make a glorious moment permanent, of denying that the real life of someone or something might be embedded in the scrapes and scratches?\u003c/p>\n\u003cp>The biography of the Barnes Foundation now encompasses several grisly episodes. Do we try to deny the changes that will occur to the building, to the collection and to the founder’s vision? Lured by $150 million in grants, the foundation now plans to transplant the Barnes collection to downtown Philadelphia, where it can become the kind of tourist destination that Barnes never envisioned. It’s a travesty, but in a way, it’s a testament of its own — a silent witness to the story of human greed and fallibility.\u003c/p>\n\u003cp>\u003cb>Permanent Collection\u003c/b> runs through July 23, 2006 at the Aurora Theatre, 2081 Addison Street, Berkeley, CA\u003cbr>\nTickets: 510-843-4822\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Learn more about the \u003ca href=\"http://www.barnesfoundation.org/\" target=\"offsite\" rel=\"noopener\">Barnes Foundation\u003c/a> (at barnesfoundation.org) and at \u003ca href=\"http://www.barneswatch.org/\" target=\"offsite\" rel=\"noopener\">Barnes Foundation Watch\u003c/a> (at barneswatch.org), a group oppossed to the foundation’s relocation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nobody has more issues than a lapsed Catholic. “All of the guilt, with none of the calories,” is what one of my friends used to say. And lapsed Catholics lurk everywhere. I myself wanted to be a nun when I was nine years old. Maybe it was the ritual, the easily memorized litanies and the clear-cut rules that appeal to those at that first level of Piaget’s stage of moral development. No doubt my lapsed Catholic father was very much relieved when I stopped serving pretend Masses with Necco Wafers and talking about taking the veil.\u003c/p>\n\u003cp>Rick Miller’s one man show \u003cb>Bigger than Jesus\u003c/b> — which plays this weekend at Zellerbach Playhouse as part of Cal Performances’ season — reminded me of the view of religion that comes through childlike — which is not to say childish — eyes. I want to say it’s a naïve view, but not naïve in an ignorant sense, but rather in an innocent one.\u003c/p>\n\u003cp>Miller, a one man tour-de-force, gathered kudos for his “MacHomer” a Simpson’s-inspired telling of Macbeth, which Berkeley Rep presented earlier in the year. In \u003cb>Bigger Than Jesus\u003c/b> though, he delves into the story of the Messiah and the underpinnings of Christianity.\u003c/p>\n\u003cp>Loosely framed on a Catholic mass, Miller’s 75-minute play ranges across space and time, with Miller playing Jesus as, variously, a drawling professor-cum-Borscht Belt comedian, a proselytizing minister, and a hyperactive flight attendant. It’s a versatile performance that Miller reels off with deceptive ease, but like a child’s game of playing Mass, at the end it left me unmoved and oddly uninterested in asking any of the bigger questions like, Who is this God anyway?\u003c/p>\n\u003cp>Early on, we find ourselves at the start of Mass. Those with any kind of Catholic background found ourselves murmuring “Thanks be to God,” at appropriate moments, without even thinking about it. Someone speaking with priestly intonation in a darkened room and then pausing for our response — it just seemed natural.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The production itself, designed by Ben Chaisson and Beth Kates and directed by co-writer Daniel Brooks, is superb. A video screen in the back and a smooth white floor that doubles as a white board make a simple set, but Chaisson and Kates meld video and sound together to make the kind of seamless experience that is incredibly difficult to achieve. Live video cameras that feed real-time images merge with pre-recorded tape and live action with a skillfulness that eludes a lot of theater productions these days. It’s a clever production, and Miller makes a genial host — never too pushy with ideas, always inclusive.\u003c/p>\n\u003cp>Often lurking under the rational skin of a lapsed Catholic is an undercurrent of rage, or at least indignation. But there’s no rancor to Miller’s performance and his journey plays more like a didactic lecture, rather than any kind of commentary. I wished he had a little more bite. His notes on the portrayal of the historical Jesus, the development of the Christian faith and its place in the world today aren’t new, by any means, and it felt as though he were perhaps a little afraid to utilize the fullness of sarcasm that I sensed lurking behind the words.\u003c/p>\n\u003cp>Still, Miller attacks the stage performance with phenomenal vigor and he can be raucously funny at times. At one point he prowls the house, planting a kiss on the mouth of a surprised man in the front row of the audience. He turns the camera on us and exhorts us to wave our arms ridiculously in the air as if we were at a revival meeting.\u003c/p>\n\u003cp>“Quick, get your arms up before he comes over here!” my husband hisses at me. “You saw him, he’s crazy!”\u003c/p>\n\u003cp>And a re-enactment of the Last Supper using a five-inch plastic Jesus action figure (I believe I’ve seen the package and it says that he has “poseable arms and wheels in his base for smooth gliding action”) bopping along to a send-up of “Gethsemane” from Andrew Lloyd Webber’s “Jesus Christ Superstar” is utterly hilarious.\u003c/p>\n\u003cp>But Miller can also be touchingly honest and open about his own confusion. Perhaps his best moments are the revealing ones, where we find out little snippets of what he himself believes. But so much of the show is him not being Rick Miller that I began to wonder if he were afraid to directly address his own religious confusion.\u003c/p>\n\u003cp>In the end, the bigger questions were still there, waiting to be asked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cast:\u003c/b> Rick Miller\u003cbr>\n\u003cb>Director:\u003c/b> Daniel Brooks\u003cbr>\n\u003cb>Bigger Than Jesus\u003c/b> runs June 20-24, 2006 at the Zellerbach Playhouse, UC Berkeley, Berkeley, CA\u003cbr>\n\u003cb>Tickets:\u003c/b> $30, call 510-642-9988\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobody has more issues than a lapsed Catholic. “All of the guilt, with none of the calories,” is what one of my friends used to say. And lapsed Catholics lurk everywhere. I myself wanted to be a nun when I was nine years old. Maybe it was the ritual, the easily memorized litanies and the clear-cut rules that appeal to those at that first level of Piaget’s stage of moral development. No doubt my lapsed Catholic father was very much relieved when I stopped serving pretend Masses with Necco Wafers and talking about taking the veil.\u003c/p>\n\u003cp>Rick Miller’s one man show \u003cb>Bigger than Jesus\u003c/b> — which plays this weekend at Zellerbach Playhouse as part of Cal Performances’ season — reminded me of the view of religion that comes through childlike — which is not to say childish — eyes. I want to say it’s a naïve view, but not naïve in an ignorant sense, but rather in an innocent one.\u003c/p>\n\u003cp>Miller, a one man tour-de-force, gathered kudos for his “MacHomer” a Simpson’s-inspired telling of Macbeth, which Berkeley Rep presented earlier in the year. In \u003cb>Bigger Than Jesus\u003c/b> though, he delves into the story of the Messiah and the underpinnings of Christianity.\u003c/p>\n\u003cp>Loosely framed on a Catholic mass, Miller’s 75-minute play ranges across space and time, with Miller playing Jesus as, variously, a drawling professor-cum-Borscht Belt comedian, a proselytizing minister, and a hyperactive flight attendant. It’s a versatile performance that Miller reels off with deceptive ease, but like a child’s game of playing Mass, at the end it left me unmoved and oddly uninterested in asking any of the bigger questions like, Who is this God anyway?\u003c/p>\n\u003cp>Early on, we find ourselves at the start of Mass. Those with any kind of Catholic background found ourselves murmuring “Thanks be to God,” at appropriate moments, without even thinking about it. Someone speaking with priestly intonation in a darkened room and then pausing for our response — it just seemed natural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The production itself, designed by Ben Chaisson and Beth Kates and directed by co-writer Daniel Brooks, is superb. A video screen in the back and a smooth white floor that doubles as a white board make a simple set, but Chaisson and Kates meld video and sound together to make the kind of seamless experience that is incredibly difficult to achieve. Live video cameras that feed real-time images merge with pre-recorded tape and live action with a skillfulness that eludes a lot of theater productions these days. It’s a clever production, and Miller makes a genial host — never too pushy with ideas, always inclusive.\u003c/p>\n\u003cp>Often lurking under the rational skin of a lapsed Catholic is an undercurrent of rage, or at least indignation. But there’s no rancor to Miller’s performance and his journey plays more like a didactic lecture, rather than any kind of commentary. I wished he had a little more bite. His notes on the portrayal of the historical Jesus, the development of the Christian faith and its place in the world today aren’t new, by any means, and it felt as though he were perhaps a little afraid to utilize the fullness of sarcasm that I sensed lurking behind the words.\u003c/p>\n\u003cp>Still, Miller attacks the stage performance with phenomenal vigor and he can be raucously funny at times. At one point he prowls the house, planting a kiss on the mouth of a surprised man in the front row of the audience. He turns the camera on us and exhorts us to wave our arms ridiculously in the air as if we were at a revival meeting.\u003c/p>\n\u003cp>“Quick, get your arms up before he comes over here!” my husband hisses at me. “You saw him, he’s crazy!”\u003c/p>\n\u003cp>And a re-enactment of the Last Supper using a five-inch plastic Jesus action figure (I believe I’ve seen the package and it says that he has “poseable arms and wheels in his base for smooth gliding action”) bopping along to a send-up of “Gethsemane” from Andrew Lloyd Webber’s “Jesus Christ Superstar” is utterly hilarious.\u003c/p>\n\u003cp>But Miller can also be touchingly honest and open about his own confusion. Perhaps his best moments are the revealing ones, where we find out little snippets of what he himself believes. But so much of the show is him not being Rick Miller that I began to wonder if he were afraid to directly address his own religious confusion.\u003c/p>\n\u003cp>In the end, the bigger questions were still there, waiting to be asked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cast:\u003c/b> Rick Miller\u003cbr>\n\u003cb>Director:\u003c/b> Daniel Brooks\u003cbr>\n\u003cb>Bigger Than Jesus\u003c/b> runs June 20-24, 2006 at the Zellerbach Playhouse, UC Berkeley, Berkeley, CA\u003cbr>\n\u003cb>Tickets:\u003c/b> $30, call 510-642-9988\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You know what’s so incredible about live theater? It’s the eerie effect of seeing a story unfold in real time and real space. I mean, it’s one thing to watch a story depicted on the screen; actors these days rarely appear to have wrinkles or pores or anything physically human about them. But when a story’s enacted a few yards in front of us by people who sweat, spit, and bleed — when we take into account that a few yards of space are all that separate us from the action — we’re reminded that we, too, are alive.\u003c/p>\n\u003cp>Killing My Lobster’s presentation of Peter Nachtrieb’s \u003cb>Hunter Gatherers\u003c/b> not only reminds us that we’re alive, but that modern men and women are in absolute thrall to our most primal urges. \u003cb>Hunter Gatherers\u003c/b>, set in the living room of a sleek San Francisco loft, plays with the notion that though we live in a structured society full of straight lines and sharp corners, what drives us is neither straight nor structured but formlessly permeates our experience, like the fragrance of fresh-cooked meat permeates a city street.\u003c/p>\n\u003cp>In the play a married couple, Richard and Pam, slaughter and roast a lamb in celebration of their wedding anniversary. Killing the lamb is something, Richard says, that he and Pam can “do together” for their friends. “My entire life,” he explains, “has led up to this day.” Pam, true to her character, gives in to Richard’s basest instincts because her concept of “niceness” means that she must stifle her own desires in service to others.\u003c/p>\n\u003cp>But when Wendy and Tom arrive it becomes clear that Wendy is more in touch with her basic desires than Pam. Indeed, Wendy has much more in common with the artistic and impulsive Richard than she does with her own rigid and passive husband, Tom. Given this dynamic and how well each of the four characters is rounded, the events of the evening rapidly turn, and then turn, and then turn again.\u003c/p>\n\u003cp>Expect to witness debauchery in a dizzying array of forms: sex, violence, wild and lustful eating, survival, S&M — the play covers the gamut of basic animal urges. The characters in \u003cb>Hunter Gatherers\u003c/b> continually push one another to their absolute limits, striving to realize their true purposes: Wendy, to give birth; Richard, to “spread his seed”; and Tom, to be physically dominated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In current cinema there’s something awfully pious about the idea of finding one’s purpose; while the Titanic sinks, the quartet plays on and even hypothermia is beautiful. But the characters in \u003cb>Hunter Gatherers\u003c/b> are guided by something much more limbic. If they were passengers on the Titanic, we get the feeling they’d be having a last-minute orgy in the captain’s quarters after having killed and eaten him. The world of the play admits a hedonistic human core that maybe we, like the most stifled character, Pam, liken to anarchy. Maybe we fear intemperance.\u003c/p>\n\u003cp>In the end the play belongs entirely to Pam, who declares that she “want[s] to come of age in a brutal ritual.” And oh, does she! Her final exit lent significance to the moment I stepped out of the theater into the wild urban San Francisco night. I headed back to my car with my — okay — my hunky date, and the smells wafting from the restaurants; the throb of crickets, I guess (or did I imagine this?); the strange warm breeze licking my shoulders — well, it all seemed so poignant. Needless to say, the night was more compelling than the car and we took a detour. Hours later, full of beer, we realized that I’d locked my keys in the ignition. This, my friends, was a happy discovery, and no, I didn’t do it on purpose! In San Francisco there are many ways to pass the time while waiting for Triple A…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cast:\u003c/b> Melanie Case (Pam), John Kovacevich (Tom), Alexis Lezin (Wendy), Jon Wolanske (Richard)\u003cbr>\n\u003cb>Director:\u003c/b> Tracy Ward\u003cbr>\n\u003cb>Hunter Gatherers\u003c/b> runs through July 9, 2006 (Wednesdays through Sundays) at the Thick House Theater, 1695 18th Street, San Francisco (Potrero Hill)\u003cbr>\n\u003cb>Ticket line:\u003c/b> 415.558.7721\u003c/p>\n\n",
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"excerpt": "You know what's so incredible about live theater? It's the eerie effect of seeing a story unfold in real time and real space. I mean, it's one thing to watch a story depicted on the screen; actors these days rarely appear to have wrinkles or pores or anything physically human about them. But when a story's enacted a few yards in front of us by people who sweat, spit, and bleed -- when we take into account that a few yards of space are all that separate us from the action -- we're reminded that we, too, are alive.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know what’s so incredible about live theater? It’s the eerie effect of seeing a story unfold in real time and real space. I mean, it’s one thing to watch a story depicted on the screen; actors these days rarely appear to have wrinkles or pores or anything physically human about them. But when a story’s enacted a few yards in front of us by people who sweat, spit, and bleed — when we take into account that a few yards of space are all that separate us from the action — we’re reminded that we, too, are alive.\u003c/p>\n\u003cp>Killing My Lobster’s presentation of Peter Nachtrieb’s \u003cb>Hunter Gatherers\u003c/b> not only reminds us that we’re alive, but that modern men and women are in absolute thrall to our most primal urges. \u003cb>Hunter Gatherers\u003c/b>, set in the living room of a sleek San Francisco loft, plays with the notion that though we live in a structured society full of straight lines and sharp corners, what drives us is neither straight nor structured but formlessly permeates our experience, like the fragrance of fresh-cooked meat permeates a city street.\u003c/p>\n\u003cp>In the play a married couple, Richard and Pam, slaughter and roast a lamb in celebration of their wedding anniversary. Killing the lamb is something, Richard says, that he and Pam can “do together” for their friends. “My entire life,” he explains, “has led up to this day.” Pam, true to her character, gives in to Richard’s basest instincts because her concept of “niceness” means that she must stifle her own desires in service to others.\u003c/p>\n\u003cp>But when Wendy and Tom arrive it becomes clear that Wendy is more in touch with her basic desires than Pam. Indeed, Wendy has much more in common with the artistic and impulsive Richard than she does with her own rigid and passive husband, Tom. Given this dynamic and how well each of the four characters is rounded, the events of the evening rapidly turn, and then turn, and then turn again.\u003c/p>\n\u003cp>Expect to witness debauchery in a dizzying array of forms: sex, violence, wild and lustful eating, survival, S&M — the play covers the gamut of basic animal urges. The characters in \u003cb>Hunter Gatherers\u003c/b> continually push one another to their absolute limits, striving to realize their true purposes: Wendy, to give birth; Richard, to “spread his seed”; and Tom, to be physically dominated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In current cinema there’s something awfully pious about the idea of finding one’s purpose; while the Titanic sinks, the quartet plays on and even hypothermia is beautiful. But the characters in \u003cb>Hunter Gatherers\u003c/b> are guided by something much more limbic. If they were passengers on the Titanic, we get the feeling they’d be having a last-minute orgy in the captain’s quarters after having killed and eaten him. The world of the play admits a hedonistic human core that maybe we, like the most stifled character, Pam, liken to anarchy. Maybe we fear intemperance.\u003c/p>\n\u003cp>In the end the play belongs entirely to Pam, who declares that she “want[s] to come of age in a brutal ritual.” And oh, does she! Her final exit lent significance to the moment I stepped out of the theater into the wild urban San Francisco night. I headed back to my car with my — okay — my hunky date, and the smells wafting from the restaurants; the throb of crickets, I guess (or did I imagine this?); the strange warm breeze licking my shoulders — well, it all seemed so poignant. Needless to say, the night was more compelling than the car and we took a detour. Hours later, full of beer, we realized that I’d locked my keys in the ignition. This, my friends, was a happy discovery, and no, I didn’t do it on purpose! In San Francisco there are many ways to pass the time while waiting for Triple A…\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Cast:\u003c/b> Melanie Case (Pam), John Kovacevich (Tom), Alexis Lezin (Wendy), Jon Wolanske (Richard)\u003cbr>\n\u003cb>Director:\u003c/b> Tracy Ward\u003cbr>\n\u003cb>Hunter Gatherers\u003c/b> runs through July 9, 2006 (Wednesdays through Sundays) at the Thick House Theater, 1695 18th Street, San Francisco (Potrero Hill)\u003cbr>\n\u003cb>Ticket line:\u003c/b> 415.558.7721\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the interest of full disclosure, let me say two things right off the bat: 1) \u003cb>Bent\u003c/b> is one of my all-time favorite plays; and 2) one of the actors in the current Theatre Rhino production is a friend of mine.\u003c/p>\n\u003cp>OK, so here goes: Please please please go see this play. Even if you’ve seen it before. Even if you’re not queer. Especially if you have seen the movie, which is a lousy facsimile of the real thing. This production, directed by John Fisher, is impressively conceived, cleverly designed, and full of nuanced, gut-wrenching performances. The holidays are an odd time to pick for an evening of savagery and survival in a Nazi concentration camp, but the play’s solemnity and ultimate testament to the redemptive power of love seem to me to be quite germane (ha, no pun intended).\u003c/p>\n\u003cp>The play opens in decadent 1930’s Berlin. We meet Max (Clayton B. Hodges), an apolitical hedonist who is always “working a deal,” and his effeminate dancer-lover Rudy (Enrique Vallejo). It’s the morning after Max has made a debauched spectacle of himself at a local nightclub. Ensuing events leave the couple on the run from the Nazis who have just launched their purge of suspected homosexuals. We meet a trick named Wolf (the yummy Michael Vega), and other friends and lovers who either aid or betray the couple as they fall further into exile, finally living as human scavengers in the woods. To be honest, the production takes a while to hit its stride — the opening scenes are a bit shrill with too much huffy, banging-around stage business — and Hodges and Vallejo are a little clumsy at defining the relationship between the two lovers (they get better as the play proceeds). But stick with it. Act One ends with the couple’s capture and detainment by the Nazis. On the train, a couple of vicious soldiers sadistically force Max into participating in his lover’s brutal murder. Then we land in Dachau.\u003c/p>\n\u003cp>Ironically, Dachau is where the play becomes beautiful. The second act concentrates on the developing friendship between Max and another prisoner, Horst (Kevin Clarke), as they spend their days moving a pointless pile of rocks from one side of the camp to the other. In a standout performance, Kevin Clarke delivers a pitch-perfect portrait of Horst, an older, openly gay man who, despite his most appalling and inhumane treatment, hangs onto his shredded pride, diginity and sense of humor. Clarke’s slow, silent shuffle through a food line reveals more about Horst’s history in the camp than any words put to paper. Horst resents Max for wearing the yellow star of a Jew instead of the pink triangle of a homosexual (which relegates its wearer to the lowest rung on the prisoner ladder). How the dealmaker Max was able to “upgrade” his status to the yellow star is one of the more harrowing truths in the play, and Hodges delivers this story with such savage self-hatred, one can barely breathe when he is finished with his monologue. Clayton B. Hodges is a force to behold.\u003c/p>\n\u003cp>As the rocks mount and the men’s friendship strengthens, there are moments of bleak humor, unspeakable cruelty, and extraordinary tenderness. In a remarkable scene, the playwright has the two men — constantly watched by guards and unable to touch — stand side by side and talk each other to sexual climax. It is a scene of such powerful intimacy, it moves beyond sex and into the realm of human survival and hope. This staging was the most painful and exhausting and gorgeous sexual encounter I have ever witnessed in the theatre or in the movies, hands down. Hodges and Clarke were so emotionally raw, so connected, so believably turned-on, I almost had to avert my eyes. And get this: THEY WEREN’T EVEN LOOKING AT EACH OTHER.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the stagecraft: Erik Flatmo’s set and David Robertson’s lighting are great examples of compelling, intelligent theatrical design. They didn’t try to create a “realistic” concentration camp; instead they made clever use of their minimal resources, organizing a bare, exposed stage with an arrangement of wires, sheets, and pools of light. Fisher’s fluid direction, which incorporates video projection and live cabaret acts, makes maximum use of this Brechtian environment. And the play’s climactic ending is such an effective intersection of design, direction, and performance, it’s hard to top for sheer theatricality.\u003c/p>\n\u003cp>I would say that the production’s one small flaw is the uneven performances of some of the minor players, though how one can portray a convincing Nazi in a post-Ralph Fiennes/\u003cb>Schindler’s List\u003c/b> world is hard to say. There was also a lot of reliance on the banging of doors, a contrivance that seemed over the top to me — the play’s circumstances are certainly menacing enough. But Fisher directs with a sure hand, and he gets some lovely, bittersweet performances out of the supporting cast, most notably Matt Weimer as Greta, a cross-dressing chanteuse, and Greg Lucey as Freddie, a wealthy, closeted uncle who tries to help Max. But it is Hodges and Clarke as Max and Horst who carry the show to a transcendent plane, and they carry us right along with them. Most people say \u003cb>Romeo & Juliet\u003c/b> is the greatest tragic love story ever told, but I would offer that \u003cb>Bent\u003c/b> may just be its equal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bent\u003c/b> runs through January 7, 2006.\u003cbr>\nVisit \u003ca href=\"http://www.therhino.org/\" target=\"offsite\" rel=\"noopener\">Theater Rhinoceros\u003c/a> (at therhino.org) for tickets and information.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interest of full disclosure, let me say two things right off the bat: 1) \u003cb>Bent\u003c/b> is one of my all-time favorite plays; and 2) one of the actors in the current Theatre Rhino production is a friend of mine.\u003c/p>\n\u003cp>OK, so here goes: Please please please go see this play. Even if you’ve seen it before. Even if you’re not queer. Especially if you have seen the movie, which is a lousy facsimile of the real thing. This production, directed by John Fisher, is impressively conceived, cleverly designed, and full of nuanced, gut-wrenching performances. The holidays are an odd time to pick for an evening of savagery and survival in a Nazi concentration camp, but the play’s solemnity and ultimate testament to the redemptive power of love seem to me to be quite germane (ha, no pun intended).\u003c/p>\n\u003cp>The play opens in decadent 1930’s Berlin. We meet Max (Clayton B. Hodges), an apolitical hedonist who is always “working a deal,” and his effeminate dancer-lover Rudy (Enrique Vallejo). It’s the morning after Max has made a debauched spectacle of himself at a local nightclub. Ensuing events leave the couple on the run from the Nazis who have just launched their purge of suspected homosexuals. We meet a trick named Wolf (the yummy Michael Vega), and other friends and lovers who either aid or betray the couple as they fall further into exile, finally living as human scavengers in the woods. To be honest, the production takes a while to hit its stride — the opening scenes are a bit shrill with too much huffy, banging-around stage business — and Hodges and Vallejo are a little clumsy at defining the relationship between the two lovers (they get better as the play proceeds). But stick with it. Act One ends with the couple’s capture and detainment by the Nazis. On the train, a couple of vicious soldiers sadistically force Max into participating in his lover’s brutal murder. Then we land in Dachau.\u003c/p>\n\u003cp>Ironically, Dachau is where the play becomes beautiful. The second act concentrates on the developing friendship between Max and another prisoner, Horst (Kevin Clarke), as they spend their days moving a pointless pile of rocks from one side of the camp to the other. In a standout performance, Kevin Clarke delivers a pitch-perfect portrait of Horst, an older, openly gay man who, despite his most appalling and inhumane treatment, hangs onto his shredded pride, diginity and sense of humor. Clarke’s slow, silent shuffle through a food line reveals more about Horst’s history in the camp than any words put to paper. Horst resents Max for wearing the yellow star of a Jew instead of the pink triangle of a homosexual (which relegates its wearer to the lowest rung on the prisoner ladder). How the dealmaker Max was able to “upgrade” his status to the yellow star is one of the more harrowing truths in the play, and Hodges delivers this story with such savage self-hatred, one can barely breathe when he is finished with his monologue. Clayton B. Hodges is a force to behold.\u003c/p>\n\u003cp>As the rocks mount and the men’s friendship strengthens, there are moments of bleak humor, unspeakable cruelty, and extraordinary tenderness. In a remarkable scene, the playwright has the two men — constantly watched by guards and unable to touch — stand side by side and talk each other to sexual climax. It is a scene of such powerful intimacy, it moves beyond sex and into the realm of human survival and hope. This staging was the most painful and exhausting and gorgeous sexual encounter I have ever witnessed in the theatre or in the movies, hands down. Hodges and Clarke were so emotionally raw, so connected, so believably turned-on, I almost had to avert my eyes. And get this: THEY WEREN’T EVEN LOOKING AT EACH OTHER.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the stagecraft: Erik Flatmo’s set and David Robertson’s lighting are great examples of compelling, intelligent theatrical design. They didn’t try to create a “realistic” concentration camp; instead they made clever use of their minimal resources, organizing a bare, exposed stage with an arrangement of wires, sheets, and pools of light. Fisher’s fluid direction, which incorporates video projection and live cabaret acts, makes maximum use of this Brechtian environment. And the play’s climactic ending is such an effective intersection of design, direction, and performance, it’s hard to top for sheer theatricality.\u003c/p>\n\u003cp>I would say that the production’s one small flaw is the uneven performances of some of the minor players, though how one can portray a convincing Nazi in a post-Ralph Fiennes/\u003cb>Schindler’s List\u003c/b> world is hard to say. There was also a lot of reliance on the banging of doors, a contrivance that seemed over the top to me — the play’s circumstances are certainly menacing enough. But Fisher directs with a sure hand, and he gets some lovely, bittersweet performances out of the supporting cast, most notably Matt Weimer as Greta, a cross-dressing chanteuse, and Greg Lucey as Freddie, a wealthy, closeted uncle who tries to help Max. But it is Hodges and Clarke as Max and Horst who carry the show to a transcendent plane, and they carry us right along with them. Most people say \u003cb>Romeo & Juliet\u003c/b> is the greatest tragic love story ever told, but I would offer that \u003cb>Bent\u003c/b> may just be its equal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Bent\u003c/b> runs through January 7, 2006.\u003cbr>\nVisit \u003ca href=\"http://www.therhino.org/\" target=\"offsite\" rel=\"noopener\">Theater Rhinoceros\u003c/a> (at therhino.org) for tickets and information.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a series of escalating personal setbacks, ranging from the receipt of film festival and grant panel rejection letters to coordinating the appointment with an exterminator to rid my house of bedbugs, I was at the end of my rope. I needed an escape, a guided tour of someone else’s imaginary realm, one that would help me completely disconnect from the harsh reality of having to throw out half the furniture and practically burn our clothes in order to rid my household of the city’s newest and most diabolical pest.\u003c/p>\n\u003cp>When my friend Dennis called with free tickets to the Cirque Du Soleil, I could not pass up the opportunity to spend the afternoon in a dream world, rather than my own dreary reality. Even though it seems cliché at this point, I was always one of those kids who imagined running away with the circus and fell in love with the lure of carnivals, sideshows and films that depicted this sub-culture, like Tod Browning’s seminal film \u003cb>Freaks\u003c/b>. I had attended the Cirque Du Soleil a couple of times in the late nineties and always enjoyed the spectacle, daredevil feats of the performers, and creepy edge that characterized the shows themes and costumes.\u003c/p>\n\u003cp>As I made my way downtown, the dark clouds and long walk along the stormy bay seemed like an appropriate prologue to attending the Cirque Du Soleil. In the distance, the stunning yellow and blue striped tent clashed against the grey storm clouds that rolled across the sky and I felt a surge of excitement mingled with anticipation. Once inside the main performance tent, the cold and rainy day disappeared. The tent was warm and cozy, and gilt chandeliers imbued the space with a shimmering golden light. Staged in a round, the space was divided by a beautifully painted scrim draped across the middle of the set, which transformed the cavernous space into an intimate environment. Everything in the room sparkled in a fairytale sort of way. The combination of lighting, set design and props created a truly dreamlike environment and set the stage for the performance of \u003cb>Corteo\u003c/b>.\u003c/p>\n\u003cp>The show begins with a wild funeral procession as dreamt by a clown lost somewhere between death and dreaming. All the performers and characters are introduced and the enchanting fantasy world of the show is nicely established in this opening sequence. From there, a plethora of talented and engaging performers lit up the stage and delivered a show with non-stop action. From the four women performing aerial acrobatics hanging from giant chandeliers, to the tightrope artist walking on point shoes above our heads and the flying trapeze artists soaring through the air, the strength of \u003cb>Corteo\u003c/b> lies in the talent of the individual performers. But also in the ability of Cirque Du Soleil to cultivate the aesthetic of the show, combining the lineage of stock circus characters and the influence of performance art, with the high energy and daring feats of the street performers who started the Cirque Du Soleil over twenty five years ago.\u003c/p>\n\u003cp>Only after I walked out of the circus tent, did I have a moment to reflect on the numerous elements that resulted in the shows creation. Each act is devised, choreographed, costumes designed, props built, music written and timed, performers staged, sets built and rigged and then there are the safety concerns that need to be dealt with at all times. It is an amazing achievement to put together a show of this magnitude and still maintain the dream-like reverie of a fantasy world. The only weakness of \u003cb>Corteo\u003c/b> lies in its attempt at humor, which fails often and miserably. The comedy set pieces simply fall flat and are unnecessary in a two hour plus show. But this is a small misstep when considering all the other elements of the show that are pure magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Living in a modern city seems to disconnect us from the possibility of magic, since we are expected to be tuned into reality at all times. So more than a diversion, the circus provides a place of imagination and endless possibility that modern life has dissolved from our daily interactions and existence.\u003cb>Corteo\u003c/b> is a romantic creation, but sometimes a little magic and fantasy is necessary to make it through the day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Corteo\u003c/b>‘s San Francisco run ends January 8,2006.\u003cbr>\nVisit \u003ca href=\"http://www.cirquedusoleil.com\" target=\"offsite\" rel=\"noopener\">Cirque du Soleil\u003c/a> (at cirquedusoleil.com).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a series of escalating personal setbacks, ranging from the receipt of film festival and grant panel rejection letters to coordinating the appointment with an exterminator to rid my house of bedbugs, I was at the end of my rope. I needed an escape, a guided tour of someone else’s imaginary realm, one that would help me completely disconnect from the harsh reality of having to throw out half the furniture and practically burn our clothes in order to rid my household of the city’s newest and most diabolical pest.\u003c/p>\n\u003cp>When my friend Dennis called with free tickets to the Cirque Du Soleil, I could not pass up the opportunity to spend the afternoon in a dream world, rather than my own dreary reality. Even though it seems cliché at this point, I was always one of those kids who imagined running away with the circus and fell in love with the lure of carnivals, sideshows and films that depicted this sub-culture, like Tod Browning’s seminal film \u003cb>Freaks\u003c/b>. I had attended the Cirque Du Soleil a couple of times in the late nineties and always enjoyed the spectacle, daredevil feats of the performers, and creepy edge that characterized the shows themes and costumes.\u003c/p>\n\u003cp>As I made my way downtown, the dark clouds and long walk along the stormy bay seemed like an appropriate prologue to attending the Cirque Du Soleil. In the distance, the stunning yellow and blue striped tent clashed against the grey storm clouds that rolled across the sky and I felt a surge of excitement mingled with anticipation. Once inside the main performance tent, the cold and rainy day disappeared. The tent was warm and cozy, and gilt chandeliers imbued the space with a shimmering golden light. Staged in a round, the space was divided by a beautifully painted scrim draped across the middle of the set, which transformed the cavernous space into an intimate environment. Everything in the room sparkled in a fairytale sort of way. The combination of lighting, set design and props created a truly dreamlike environment and set the stage for the performance of \u003cb>Corteo\u003c/b>.\u003c/p>\n\u003cp>The show begins with a wild funeral procession as dreamt by a clown lost somewhere between death and dreaming. All the performers and characters are introduced and the enchanting fantasy world of the show is nicely established in this opening sequence. From there, a plethora of talented and engaging performers lit up the stage and delivered a show with non-stop action. From the four women performing aerial acrobatics hanging from giant chandeliers, to the tightrope artist walking on point shoes above our heads and the flying trapeze artists soaring through the air, the strength of \u003cb>Corteo\u003c/b> lies in the talent of the individual performers. But also in the ability of Cirque Du Soleil to cultivate the aesthetic of the show, combining the lineage of stock circus characters and the influence of performance art, with the high energy and daring feats of the street performers who started the Cirque Du Soleil over twenty five years ago.\u003c/p>\n\u003cp>Only after I walked out of the circus tent, did I have a moment to reflect on the numerous elements that resulted in the shows creation. Each act is devised, choreographed, costumes designed, props built, music written and timed, performers staged, sets built and rigged and then there are the safety concerns that need to be dealt with at all times. It is an amazing achievement to put together a show of this magnitude and still maintain the dream-like reverie of a fantasy world. The only weakness of \u003cb>Corteo\u003c/b> lies in its attempt at humor, which fails often and miserably. The comedy set pieces simply fall flat and are unnecessary in a two hour plus show. But this is a small misstep when considering all the other elements of the show that are pure magic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Living in a modern city seems to disconnect us from the possibility of magic, since we are expected to be tuned into reality at all times. So more than a diversion, the circus provides a place of imagination and endless possibility that modern life has dissolved from our daily interactions and existence.\u003cb>Corteo\u003c/b> is a romantic creation, but sometimes a little magic and fantasy is necessary to make it through the day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Corteo\u003c/b>‘s San Francisco run ends January 8,2006.\u003cbr>\nVisit \u003ca href=\"http://www.cirquedusoleil.com\" target=\"offsite\" rel=\"noopener\">Cirque du Soleil\u003c/a> (at cirquedusoleil.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not Interactive Theatre as in “some unfortunate schmuck gets picked out of the audience and is forced onstage to do the Can-Can only to be sent home with a humiliating Polaroid snapshot and the laughter of a thousand strangers ringing in his ears.” No, I mean the kind of interactive theatre where the actual mechanics of the art form are challenged. Where the Brechtian notion of alienation gets stepped up a notch and the performance is created by both the audience and the actors in full collaboration.\u003c/p>\n\u003cp>I produced this kind of stuff for years for Sausalito-based Antenna Theater. They’re known for putting their audience into headphones and then sending them through intricately constructed theatrical environments — sometimes prefabrications, sometimes pre-existing sites like the County Dump or Alcatraz. The “play” is created individually and uniquely every time a person goes through the environment guided by their headsets. Their actions become the performance itself (“Reach into the box…Take the necklace…Go on, do it before anyone sees you. That’s right, now put it in your pocket…”). It’s public spectacle, but also has an unnerving psychological element — no one will know if you’re giving it your all, but the more you “let go,” the better the “show” becomes for you. You’re the performer and the audience all at once, so the success of the piece lies as much in your own hands as in the hands of the “director.” Quite provocative.\u003c/p>\n\u003cp>I bring this up because last weekend I attended the first-ever \u003cb>SoWat Now! Festival of Contemporary Performance\u003c/b> in Santa Cruz. It was a three-day showcase of local and international talents, offering a multitude of performances, workshops and panel discussions, much of it interactive. I took in as much as I could.\u003c/p>\n\u003cp>First, a few highlights: Anne Randolph’s solo performance \u003cb>Squeeze Box\u003c/b> was a poignant & hilarious living-memoir based on Randolph’s experience working the graveyard shift at a homeless shelter for mentally ill women in Los Angeles. Randolph narrated and played all of the characters a la Anna Deveare Smith, and the kaleidoscopic journey she wove for us was both personal and political, funny and desperate, and remarkably genuine. I heard it was a hit in New York and has since been optioned for a film. I hope it gets made — but only if she plays every character on screen.\u003c/p>\n\u003cp>Another unforgettable performance was by San Francisco dance troupe Scott Wells and Company. \u003cb>Collateral Damage\u003c/b> was a violent, comic, full-body contact chessgame of a dance that involved two men, one table, a bowl of pretzels and numerous flying, slamming movements sure to induce bruising on the parts of the performers. It left me gasping for air.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From there, I walked into \u003cb>Shiver Thy Timbers\u003c/b> by Malaika Sarco, a Brussels-based performance artist. She was not in attendance, but sent a PowerPoint presentation to direct the audience on how to perform the piece in her absence. Ha. Right up my alley. There were 10 other people there, a small but committed group of theatrical adventurers.\u003c/p>\n\u003cp>Suspicions arose quickly that we were not actually going to be in a theater piece but some sort of PERFORMANCE ART when the PowerPoint presentation began with a didactic manifesto about how the artist refused to be personally responsible for consuming the 2,246 gallons of oil required to fly a plane from Brussels to California. She berated our government and its policies on the Iraq War, the Middle East, our over-consumption of natural resources, and on and on and on. We all stood silent and somewhat puzzled reading this rather long “preface,” since this was \u003ci>Santa Cruz\u003c/i> after all. Talk about preaching to the wrong audience.\u003c/p>\n\u003cp>We were then separated into three groups: Movers, Watchers, and Poets. The Poets were to read the text aloud as it appeared onscreen while the Movers (my group) responded to their words using our bodies, faces, \u003ci>essences\u003c/i> — while the Watchers would be, you know, watching us. And thus we began:\u003c/p>\n\u003cp>“The intellectual may feel enslaved in matter. If only she could escape from the body. But the mind will not fly unless we embrace the body as a path to freedom.”\u003c/p>\n\u003cp>Huh?\u003c/p>\n\u003cp>For the next 35 minutes, my fellow Movers and I did our best to express things through our bodies other than “What the hell is going on?” and “OH MY GOD, how long can this possibly LAST?” My lowest moment found me intently scrutinizing a plastic clump of dusty white carnations attempting to absorb their “secret hidden emotions,” which I was then commanded to enact physically for my fellow participants. (For those of you who care about such things, it was a Pinnochio-esque yearning to be real. Try dancing that in front of your mirror sometime.) Later, we were directed to merge into a “flock” while being lectured about the precarious state of some rare mushroom found only in the jungles Bolivia. It was everything everyone fears performance art will be: bewildering, self-important, embarrassing and pointless. At the climax, I was actually instructed to “shiver my timbers” — at which point, I began shrieking internally “WHAT AM I EVEN STILL DOING HERE?”\u003c/p>\n\u003cp>Ah, but there was the rub. Even though it was excruciating, I couldn’t abandon my fellow participants. We were all equally drowning in absurdity, gamely acting as “the wind, the mite, the music of the flute.” When it was finally over, I felt an intense hatred for the artist and a huge swell of love for those 10 people in the room. I appreciated how willingly they gave of themselves, and treasured them for not abandoning me in the middle of it all. Stunned, I felt that my earlier question — What the fuck does this have to do with anything? — was answered in that feeling. It was in the \u003ci>not-abandoning\u003c/i> of each other that this experience transcended its own arty pretentiousness. We each put the group’s interest above our own; as a collective, we spontaneously created something both ephemeral and lasting (for us anyway), and only as a collective did we manage to survive the ordeal with some grace. It was impossible to tell from all of her muddled enviro-prose, but I wonder if this could have been the artist’s intention all along?\u003c/p>\n\u003cp>In any case, I guess that’s what you risk when you attend a festival full throttle, whether it be film, theater, music, or performance. There will always be the good, the bad, and the ugly. That’s what exploring an art form is all about.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Learn more about Santa Cruz’s \u003ca href=\"http://www.scica.org/\" target=\"offsite\" rel=\"noopener\">\u003cb>SoWat Now! Festival of Contemporary Performance\u003c/b>\u003c/a> (at scica.org).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not Interactive Theatre as in “some unfortunate schmuck gets picked out of the audience and is forced onstage to do the Can-Can only to be sent home with a humiliating Polaroid snapshot and the laughter of a thousand strangers ringing in his ears.” No, I mean the kind of interactive theatre where the actual mechanics of the art form are challenged. Where the Brechtian notion of alienation gets stepped up a notch and the performance is created by both the audience and the actors in full collaboration.\u003c/p>\n\u003cp>I produced this kind of stuff for years for Sausalito-based Antenna Theater. They’re known for putting their audience into headphones and then sending them through intricately constructed theatrical environments — sometimes prefabrications, sometimes pre-existing sites like the County Dump or Alcatraz. The “play” is created individually and uniquely every time a person goes through the environment guided by their headsets. Their actions become the performance itself (“Reach into the box…Take the necklace…Go on, do it before anyone sees you. That’s right, now put it in your pocket…”). It’s public spectacle, but also has an unnerving psychological element — no one will know if you’re giving it your all, but the more you “let go,” the better the “show” becomes for you. You’re the performer and the audience all at once, so the success of the piece lies as much in your own hands as in the hands of the “director.” Quite provocative.\u003c/p>\n\u003cp>I bring this up because last weekend I attended the first-ever \u003cb>SoWat Now! Festival of Contemporary Performance\u003c/b> in Santa Cruz. It was a three-day showcase of local and international talents, offering a multitude of performances, workshops and panel discussions, much of it interactive. I took in as much as I could.\u003c/p>\n\u003cp>First, a few highlights: Anne Randolph’s solo performance \u003cb>Squeeze Box\u003c/b> was a poignant & hilarious living-memoir based on Randolph’s experience working the graveyard shift at a homeless shelter for mentally ill women in Los Angeles. Randolph narrated and played all of the characters a la Anna Deveare Smith, and the kaleidoscopic journey she wove for us was both personal and political, funny and desperate, and remarkably genuine. I heard it was a hit in New York and has since been optioned for a film. I hope it gets made — but only if she plays every character on screen.\u003c/p>\n\u003cp>Another unforgettable performance was by San Francisco dance troupe Scott Wells and Company. \u003cb>Collateral Damage\u003c/b> was a violent, comic, full-body contact chessgame of a dance that involved two men, one table, a bowl of pretzels and numerous flying, slamming movements sure to induce bruising on the parts of the performers. It left me gasping for air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From there, I walked into \u003cb>Shiver Thy Timbers\u003c/b> by Malaika Sarco, a Brussels-based performance artist. She was not in attendance, but sent a PowerPoint presentation to direct the audience on how to perform the piece in her absence. Ha. Right up my alley. There were 10 other people there, a small but committed group of theatrical adventurers.\u003c/p>\n\u003cp>Suspicions arose quickly that we were not actually going to be in a theater piece but some sort of PERFORMANCE ART when the PowerPoint presentation began with a didactic manifesto about how the artist refused to be personally responsible for consuming the 2,246 gallons of oil required to fly a plane from Brussels to California. She berated our government and its policies on the Iraq War, the Middle East, our over-consumption of natural resources, and on and on and on. We all stood silent and somewhat puzzled reading this rather long “preface,” since this was \u003ci>Santa Cruz\u003c/i> after all. Talk about preaching to the wrong audience.\u003c/p>\n\u003cp>We were then separated into three groups: Movers, Watchers, and Poets. The Poets were to read the text aloud as it appeared onscreen while the Movers (my group) responded to their words using our bodies, faces, \u003ci>essences\u003c/i> — while the Watchers would be, you know, watching us. And thus we began:\u003c/p>\n\u003cp>“The intellectual may feel enslaved in matter. If only she could escape from the body. But the mind will not fly unless we embrace the body as a path to freedom.”\u003c/p>\n\u003cp>Huh?\u003c/p>\n\u003cp>For the next 35 minutes, my fellow Movers and I did our best to express things through our bodies other than “What the hell is going on?” and “OH MY GOD, how long can this possibly LAST?” My lowest moment found me intently scrutinizing a plastic clump of dusty white carnations attempting to absorb their “secret hidden emotions,” which I was then commanded to enact physically for my fellow participants. (For those of you who care about such things, it was a Pinnochio-esque yearning to be real. Try dancing that in front of your mirror sometime.) Later, we were directed to merge into a “flock” while being lectured about the precarious state of some rare mushroom found only in the jungles Bolivia. It was everything everyone fears performance art will be: bewildering, self-important, embarrassing and pointless. At the climax, I was actually instructed to “shiver my timbers” — at which point, I began shrieking internally “WHAT AM I EVEN STILL DOING HERE?”\u003c/p>\n\u003cp>Ah, but there was the rub. Even though it was excruciating, I couldn’t abandon my fellow participants. We were all equally drowning in absurdity, gamely acting as “the wind, the mite, the music of the flute.” When it was finally over, I felt an intense hatred for the artist and a huge swell of love for those 10 people in the room. I appreciated how willingly they gave of themselves, and treasured them for not abandoning me in the middle of it all. Stunned, I felt that my earlier question — What the fuck does this have to do with anything? — was answered in that feeling. It was in the \u003ci>not-abandoning\u003c/i> of each other that this experience transcended its own arty pretentiousness. We each put the group’s interest above our own; as a collective, we spontaneously created something both ephemeral and lasting (for us anyway), and only as a collective did we manage to survive the ordeal with some grace. It was impossible to tell from all of her muddled enviro-prose, but I wonder if this could have been the artist’s intention all along?\u003c/p>\n\u003cp>In any case, I guess that’s what you risk when you attend a festival full throttle, whether it be film, theater, music, or performance. There will always be the good, the bad, and the ugly. That’s what exploring an art form is all about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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