Kvetch on the Beach
"Feisty old Jew" Bernie Schein is a man who loves nothing so much as a good argument.
"Feisty old Jew" Bernie Schein is a man who loves nothing so much as a good argument.
Marin Theatre Company's Lasso of Truth seems like it was pretty much made for me.
So why exactly can no man ever set foot on Paradise Island? The answer may surprise you!
Ubu Roi can be an irritating classic, but Cutting Ball justifies its ubu-quity.
A magnificent seven local actors--all female--take on Shakespeare's ever-durable comedy Twelfth Night..
Gidion's Knot is a hard play to take.
Marin Onstage presents An Evening of Short Plays, including...Miss Julie? Um, okay.
Marin Theatre Company unveils Carson Kreitzer's Wonder Woman play, Lasso of Truth.
It sucks to be Aquaman. Like, as a rule.
The transgender angle seems like the most normal (and certainly the most palatable) thing about Hir.
I don't like to make grand pronouncements like this too often, but Mer-Man is a fucking loser.
Marcus Gardley brews a potent gumbo of Lorca, New Orleans and powerful women.
Brian Copeland and Marga Gomez are back at the Marsh, both stepping back from the autobiographical.
I should have known this play was trouble from the start.
Baryshnikov is at Berkeley Rep, and that's good. He's in an incomprehensible Chekhov adaptation, and that's bad.
Diablo Actors' Ensemble's production of Driving Miss Daisy keeps on going, even if the company doesn't.
You know how people are always wishing for world peace? Well, in this issue they get their wish.
The prolific Lauren Gunderson is back with another play about SCIENCE!
Liberty Bradford Mitchell describes growing up amid the porn industry as the daughter of one of San Francisco's Mitchell Brothers.
AlterTheater revives Sam Shepard's Fool for Love in a San Rafael storefront, directed by the play's original Old Man.
A semi-amnesiac Wonder Woman has to earn her way back into the Justice League.
Brace yourselves. The comedians are coming.
It's my first show of the year, and it's a good one: Marisela Treviño Orta's lyrical fairytale set in a Brazilian fishing village.
Having exhausted the ostensibly original content in Wonder Woman #211 last week, we turn our attention to the wealth of reprinted material that filled out that issue's 100 pages.
It seems like we just had the end of an era, but here we are at the end of another one.