954 stories from San Francisco Chronicle
Custom Made Theatre Company, FaultLine Theater and African-American Shakespeare Company are among 2022's seasonal standouts.
Performing at NCTC is especially meaningful for Marken, since Artistic Director Ed Decker first recommended him for an audition.
Shotgun Players' "Natasha, Pierre & the Great Comet of 1812" isn't just another transitory set on the same-old stage.
On one downtown Berkeley block, phở is both dinner and theater for two Chronicle critics.
"Ain't Too Proud " The Life and Times of the Temptations" epitomizes one essential function of the jukebox musical.
"Everybody always thinks 'Wuthering Heights' is romantic, and it so isn't," director Emma Rice told The Chronicle.
The Berkeley theater company's season selection committee operates by consensus; each member has veto power.
Accusations include bullying, micromanagement, gaslighting and unsafe working conditions, including inadequate COVID policies.
The singer-composer said no to a production that was a "jukebox musical." Now she's awed by what she sees onstage.
Post-postmodern N.Y. diva set to kick off the Bay Area Cabaret season at the storied Venetian Room.
Adrienne Price's world-premiere musical writes an origin story for queer and trans San Francisco audiences.
The one-woman show in a dairy barn is grounded in Vivien Straus' self-awareness that both she and all the cows in her life are a bit ridiculous.
"Pony" is part of an exciting new wave of trans theater that's no longer limited to narratives of transitions and reveals.
Naghmeh Samini's U.S. premiere is partly about how we can be sick to death of someone yet feast hungrily on them.
B Noel Thomas spoke with The Chronicle about finding her true self, and building up her artistic voice before starring in Z Space's latest production in S.F.
Baloney queers Kubrick, and a theater critic learns about flogging.
The musical flattens Alanis Morissette's songs into ambient lobby music, distends them into dirges or simply blasts through.
"The Hummingbird" is "about two people who fell through the cracks, and one made it out alive, and one didn't," Kathryn Keats said.
"If we can name it better, then we can try and do it better," said Lead Director Sean San José.
SFBATCO's "The Day the Sky Turned Orange" in the New Roots Theatre Festival invites us to process unresolved collective trauma.
Sentiment works because it's predictable, because it reassures rather than probes or challenges, which can make it at odds with art.
SB1116, which Gov. Gavin Newsom signed Sept. 29, could mean more of your favorite artists are able to stay in the Bay Area.
Cal Shakes hired Clive Worsley as executive director and plans to refocus on co-producing and presenting others' work at the Bruns Amphitheater in Orinda.
One of the myriad gifts of "Indecent" is that it endows Asch with the full, flawed humanity that Broadway denies his characters.
"There was no reason to think that I wouldn't get paid," Sharron Drake of Inverness Theatre Project said.
