537 stories by "Lily Janiak"
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.
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.
"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.
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.
Minna Lee's play asks: In a simulation where all your existential crises are gone and everything's hunky-dory, why even bother doing anything?
Any play or musical must compete with all the "para-theater" in rows of audience seats, or at least the possibility that some might happen.
At the opening night of Deneen Reynolds-Knott's world premiere about Black college students, the crowd layered on their own soundtrack, to glorious effect.
The ACT regular stars in TheatreWorks' "How I Learned What I Learned," his fourth airing in August Wilson's one-man show since 2019.
"His visions often seem impossible to me," said Michael Torres of new Marin Shakespeare Company Artistic Director Jon Tracy.
The one-woman play by Tony Award winner Rupert Holmes delves into the justice's brilliant legal strategy on sex discrimination.
The novel, about an ambitious mid-30s theater critic, made me reflect on the joy, terror and harsh reality of writing about theater.
Titles at Shotgun Players, San Francisco Bay Area Theatre Company and Cutting Ball Theater point to a new era in the new year.
From cleverly reimagined classics to entirely original performance art, these companies produced some of the best theater in the Bay Area.
One Christmas ghost will haunt the rafters of American Conservatory Theater's Toni Rembe Theater no more.
Circus Bella's show at the Crossing at East Cut might make you wonder why S.F. doesn't use more performing arts to enliven neighborhoods.
With "Nightlight," about light pollution, the plucky and whimsical Imaginists dance on theater's boundaries.
Though not without its hiccups, indie show "A Nightmare on Elm St Holiday Special" is sure to titillate horror fans and indie theater aficionados.
