954 stories from San Francisco Chronicle
Daniel Fish's production, running through Sept. 11 at San Francisco's Golden Gate Theatre, is far more than legacy musical theater.
"They can't see a person. They only hear an accent," said Virginia Blanco, founder of La Lengua Teatro en Español.
"We don't nor should we have the power to determine someone else's interpretation of the show," Fish says of his Tony Award winner, making a stop at BroadwaySF.
The writers and creatives behind "Goddess" spent 16 years perfecting their adaptation of a Kenyan myth that is originally only four sentences long.
Rebecca Ennals said, "If I'm tired, maybe it's not my fault. Maybe something's wrong with the system."
"Harry Poofter" at Oasis asserts that J.K. Rowling doesn't have a monopoly on artistic creation or meaning making.
The Mill Valley company's six-play subscription season has been reduced to four, but with a new festival added.
The performers have brought their talents from overseas for Disney's latest North American tour of "The Lion King," which comes to the Bay Area in August.
In a sparkly Champagne-colored gown, Broadway royalty Bernadette Peters enlisted everything around her as part of her instrument.
Eliana Pipes' play builds to one of the most dangerous, genuinely original scenes recently on display on any Bay Area stage.
Previously, the Curran was home to an array of high-budget but daring theater that few other venues could or would pull off.
"The Empire Strips Back" parody at the Great Star Theater in San Francisco doesn't so much mock as pay tribute to George Lucas' imagination
Papermoon Opera Productions is experimenting with alternative materials to create environmentally friendly sets.
As Shotgun Players unveil their land acknowledgment mural, local Natives emphasize that the work can't stop here.
Just how racist and ignorant would you have to be to act as Claire acts, Danielle Evans' "Boys Go to Jupiter" asks.
This San Francisco production of a 50-year-old Stephen Sondheim musical speaks pointedly to 2022, writes theater critic Lily Janiak.
More than two years after the pandemic postponed her show, Bernadette Peters is set to perform a program of Broadway classics with the San Francisco Symphony.
Eric Ting's exit from Cal Shakes ends a dynamic, artistically vibrant seven-year tenure that's given the Bay Area some of its finest theater in recent memory.
With the overturning of Roe v. Wade, the university's database suggests many unclaimed opportunities for screenwriters and TV showrunners.
If you've seen pretty much any other American family play, you can predict what Vickie Ramirez's characters will say and do.
Jessica Dickey's play says the invention of the pap smear is not just a textbook entry; it's about jumbly, wriggly human lives.
Lily Janiak says the audience is one of the best parts of "The Queen's Ball," the "Bridgerton"-inspired immersive experience at San Francisco's SVN West.
The appointment comes at a pivotal era as the hit-making company Berkeley Rep, and theater nationwide, strive to recover from the pandemic.
Lily Janiak reviews Martyna Majok's "Sanctuary City" at Berkeley Rep, an immigrant love story where feelings can be selfish and unselfish all at once.
The object of disruption at the dating show, presented at PianoFight in San Francisco, is the much-used, much-maligned app Tinder.
