954 stories from San Francisco Chronicle
Mike Lew's comedy at TheatreWorks Silicon Valley is balm for any thwarted adult who's ever fantasized, "I'm gonna yell at my mom like a white girl."Â
Pieces such as S.F. Ballet's 'Mere Mortals' help us understand our place in the ChatGPT era.
San Jose Stage Company's West Coast premiere about an English hangman forced into early retirement trades moralizing for high style.
The S.F. native's solo show at American Conservatory Theater tells the true story of how a strawberry red Hello Kitty sewing machine started a mutual aid society.
The actor and theater creator was part of the pioneering drag group, the subject of a documentary and preserved LGBTQ archives.Â
San Francisco native Kristina Wong's play "Sweatshop Overlord," which was a Pulitzer finalist, is set to make its Bay Area debut at ACT.
The many lives of Soskin's 102 years is the premise of San Francisco Bay Area Theatre Company's world premiere musical at Z Space in San Francisco.
The production at Berkeley's Ashby Stage struggles to find nimble footing, but still manages to entertain.
Two world premieres and the return of rotating rep are among the goodies in the 59-year-old San Francisco company's lineup.Â
Martyna Majok's Pulitzer Prize-winning play writes characters with disabilities who aren't defined by their physical limitations.
Though some moments shine, San Francisco Playhouse's production is mostly a joyless sprawl of unmade choices.
Lloyd Suh's Pulitzer Prize finalist insists on the dignity of those who came to San Francisco during the Chinese Exclusion Act.
In San Jose playwright Madhuri Shekar's eco-play, two women dream of breaking academia's glass ceiling and rescuing honeybees.
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Bond shocked the British theater world with his explosive 1965 drama "Saved," a scandal that led to the abolition of theater censorship in Britain.Â
Chris Hardman, who had a 40-year run of presenting experimental and immersive theater, died Feb. 1. He was 73.
This season's highlights include Klanghaus, African-American Shakespeare Company and Killing My Lobster, among many others.Â
Ashley Smiley's Magic Theatre world premiere is SOS alert and valentine, high-tech heist and keenly observed family portrait.
Elevator Repair Service's "Baldwin and Buckley at Cambridge" at Cal Performances permits no self-congratulation about racial progress.
Ashley Smiley's world premiere play explores the current challenges of Bayview-Hunters Point, San Francisco's most prominent Black neighborhood.
"Our goal this evening is to make you queer," or queerer still, Taylor Mac said near the top of the sweeping, 55-song show at Cal Performances.
Kate Attwell's frame-splitting, acute yet expansive script is about how complicit we are in tech's takeover of both our interactions and consciousnesses.
Marin Theatre Company's actors have a muffled quality, as if they're hoping to believe, rather than actually believing, what they're saying.
Though Mary Kathryn Nagle's play lays out carefully engineered juxtapositions, the Aurora Theatre production gets in its own way more often than not.
ACT's "Big Data" by Kate Attwell says that when we give up our digital privacy, our homes, family, love and sex lives feel the cost.
"Kimberly Akimbo" and "& Juliet" are among the highlights of next year's offerings from the owner of the Orpheum, Golden Gate and Curran theaters.
