954 stories from San Francisco Chronicle
Jen Silverman's play, now in a Theatre Lunatico production, is so strong as to inspire a feeling of hope in a Bay Area theater scene recently devastated by news of closures.
Lloyd Suh's two-hander, which plays at Capital Stage, Aurora Theatre and TheatreWorks, is gentle, shattering and healing.
By mounting a play that blends a murder mystery with the Slavic folklore figure of Baba Yaga, new artistic director Lance Gardner leads with a work of swirling complications.
Rajiv Joseph's play about two friends and their bond through LeBron James' career captures the pleasures and pain of sports fandom.
Berkeley Repertory Theatre presents a small-scale version of Mozart's opera " small for opera, that is.
Oakland Theater Project's second part of Tony Kushner's epic is every bit as strong as the first.
In an era of emergency fundraising campaigns and sudden closures, it's noteworthy to remain a pillar of the theater community, as Shotgun Players has.
In Cirque Flip Fabrique and Ex Machina's circus-theater hybrid, deep understanding and love of wrestling norms yield delightful scenarios.
The Marsh's production benefits from sources who are so good that you want to see a whole separate play about how Hoyle found these people.
"Witching Hour" moves a maximum of 20 spectators from the Hotel Majestic's bar to a conference room to guest suite 407, which according to lore an especially noisy specter visits.Â
The overwhelming feeling watching Oakland Theater Project's "Angels in America" is that this play is about us, right now.Â
At San Francisco Playhouse's "The Play That Goes Wrong," I got to remember that backstage is a charmed, sacred space.
"Interrogations: Pre-Election Coverage," a trio of plays from theater company Performers Under Stress, has parallels to the presidential election " and journalism.
This season's Tony Awards will take place on June 8 at its familiar home of Radio City Music Hall, producers of the show announced the date and location Monday.Â
The obscure history of the Underground Railroad's pathway to Mexico is magically told through live-looping and fierce hip-hop beats in the show's West Coast premiere.
Underneath the surface gloss of Noël Coward's comedy of manners is a serious truth: Marriage isn't lovey-dovey.Â
Ray of Light Theatre's production slyly interrogates who's allowed to take up the mantle of traditional femininity.Â
As any high school theater teacher will tell you, you're still acting when you don't have any lines.
Berkeley Repertory Theatre's West Coast premiere, about the branch of the Underground Railroad that went south to Mexico, layers in a full orchestra from just two men onstage.Â
Tere MartÃnez's world premiere about the mainland United States' exploitation of Puerto Rico constantly switches among English, Spanish and Spanglish, frequently pivoting mid-sentence.
TheatreWorks Silicon Valley, Church of Clown and La Lengua Teatro en Español are just some of the bounty in fall's theatrical cornucopia.
Naomi Iizuka's translation, part of the Play On Shakespeare project, begins with a life-and-death fight scene and somehow never lets that rush abate throughout its lean 100 minutes.
In Shakespeare's comedy of mistaken identities and two sets of twins, now in a Marin Shakes production, tepidity prevails.
Market Street Arts, the Living Earth Show and San Francisco Shakespeare Festival are partnering with the city to attract residents and workers back to downtown neighborhoods.
Crowded Fire Theater's world premiere makes us endure such prodigious and portentous throat-clearing as to dull its insights.
