Cy Ashley Webb
Cy spent the ‘80’s as a bench scientist, the tech boom doing intellectual property law, and the first decade of the millennium, aspiring to be the world’s oldest grad student at Stanford where she is interested in political martyrdom. Presently, she enjoys writing for Stark Insider and the SF Examiner, hanging out at Palo Alto Children's Theatre, and participating in various political activities. Democracy is not a spectator sport! Cy is a SFBATCC member.
Mark Kenward in ‘Nantucket’ at the Berkeley Marsh (Review)
So powerful was his hold on the audience, the only evidence that anyone was even breathing was an occasional gasp.
More Cole Porter: ‘DuBarry Was a Lady’
Director and choreographer Zack Thomas Wilde was smart enough not to let Rothrock’s cleanly defined moves dominate the production, allowing for other equally superb talents, such as Rudy Guerrero, to shine through.
Back in the USSR with ‘The Letters’
Her superior, an apparatchik known only as “Director” enters, vaguely handsome in a Donald Trump dunderhead kind of way.
A South African Journey: ‘The Suit’
Philemon is so opaque, so self-controlled, that you know as much about him at the end of the play as you did in the beginning. This opacity is a strength as much as a weakness.
Opera Parallele Revives Dystopian Worlds
If there’s another soprano capable of performing a double mastectomy while singing, please rise.
The Living Legacy of American Bach Soloists
The American Bach Soloists and Jeffrey Thomas are the bomb. Hosting voices so lithe and spirited, the First Congregational Church in Berkeley could have levitated without the audience being aware. In retrospect, it just may have.
Review: Not a Genuine Black Man at Berkeley Rep
Copeland's performance suggests that most of us are more genuinely confused than genuinely racist, and that self-hatred can be insidiously contagious.
Review: The Ram’s Head does ‘Les Mis’
Chris Apy and Tonyboy Marin's performances of Gavroche (especially “Little People”) brought down the house.
Coming home with ‘Tribes’ at Berkeley Rep (Review)
The show begins with the theatre equivalent of a palate-chaser, as the lights plunge you into a darkness so deep that the stage lights sear your eyes when they come up. Whatever you leave behind is exactly that – left behind.
Clever comedy ‘Wittenberg’ scores in Berkeley
Davalos characterizes Faustus as a Renaissance Timothy Leary.
