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Industry changes create an opportunity for the smaller circus companies in the Bay Area to redefine the art form.
Isaac Gomez's horror revenge comedy complicates stereotyped images of gentrification and privilege.
Co-Artistic Director JoAnne Winter plans to continue at the organization's helm.
Michelle Carter’s ‘How to Pray’ rejects abortion storytelling cliches.
Eric Ting's production leans into Shakespeare's weirdness with uncommon commitment and imagination.
To see this season's shows, you can explore in the woods, return to a beloved playhouse or stream from home.
To see "Come From Away" onscreen now is to see a path to mercy and compassion off in the distance.
Open Access came after a year of what many describe as the union's slow or insufficient adaptation to the pandemic.
The Dream Keeper Initiative models a potentially radical way to support arts companies such as SFBATCO.
The Old Mint has been a frequent home to immersive theater, but 13th Floor makes the site seem custom-built.
Berber, a North African restaurant in Russian Hill, hosts a weekend circus dinner show. Two Chronicle critics wrote a play about it.
Many patrons told The Chronicle they felt safe attending the Orpheum's "Hamilton" show on Tuesday, Aug. 10, marking the San Francisco theater's reopening.
The news pushes the theater's reopening until November, with "Wintertime" by Charles L. Mee.
"I wondered if I needed to drop the show because it would put my public health career in jeopardy," Boothman said.
Community theaters are a vital part of the art form. But they may not be equipped to deal with a crisis as complex and ever-evolving as the COVID pandemic.
The long journey to your seat is the highlight of the production, in which a floating structure serves as stage and set.
Would you help us return to in-person indoor performances in two to 36 months by telling us how you feel right now?
We've been pitting the struggles of Black men against the struggles of white women for a long, long time, according to "The Agitators."
After more than a year without indoor, in-person theater, actors performing right in front of you packs a surprise wallop.
John Wilkins and his reviews remain the same; it's my understanding that changed.
Though playwright John Wilkins identifies as African American, he is light-skinned enough not to get followed at the grocery store.
For too long now, the 62-year-old company has been coasting on nostalgia.
The $616 million allocation could herald a new era in how the state supports the arts.
First strangers met by phone. This time, audiences meet in person, separated by a pane of glass.
The company's in-person season starts in October. There are no plans to offer an online option.
Melusina Gomez, who both writes and directs, invites audience participation, but only of the gentlest sort.
What's best for the industry and the art form and what's best for individual careers and pocketbooks aren't always the same.
Applicants for grants administered by the Small Business Administration express frustration over delays and bureaucracy.
Performances for 'Dear San Francisco,' which succeeds Beach Blanket Babylon, begin Sept. 22, new producer Club Fugazi Experiences announced Tuesday, June 29.
The new version allows audiences to take in the entire "Cursed Child" story in one sitting.
In spring of last year, he got the idea to produce Naomi Wallace's "One Flea Spare" — and a new company, Remote Theater was born.