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.
Two Sopranos and a Baritone: Plácido Domingo
The audience went wild, with fists pumping in the air as if it was a rock show.
Theater Review: ‘After the Revolution’ in Berkeley
All these characters are infused with something so true that you open your heart to them. These are all people you know, love, argue about and argue with.
Bring on the Champagne: Audra McDonald at SF Symphony Opening Gala
McDonald has one of the biggest, most generous stage personalities on this side of Yo-Yo Ma – and a voice so warm and lush with the most measured vibrato that even memories of her singing make me swoon.
And Miss Reardon Drinks A Little
If you enjoy theatre that is ripe with female energy, “Miss Reardon” is right up your alley, with at least five different types of female crazy.
Crossing borders: American Dream
Any writer will love this character, whose identity and hopes for the future are embedded in verb tenses and for whom the transitive is blasphemous.
One of a kind: The Goat Rodeo Sessions
I wish Goat Rodeo was around in 1999, because something this huge was needed to say goodbye to the old millennium, while looking forward to the new.
Happy Days, Happy Days: Beckett at Stanford
Walsh’s Winnie is so darn likeable that we don’t feel as if we're trapped in a bad lit class about post-modernism. Silence may be pouring into the play like water into a sinking ship, but we want to remain in the moment, stuck with Winnie, because that’s the best of all possible outcomes.
Damn Yankees
I’m hard pressed to think of any contemporary equivalent to these big, all male dance numbers; everything else seems too precious, too ironic, or too campy.
The Most Congenial Spot: ‘Camelot’ at SF Playhouse
The SF Playhouse version of 'Camelot', with its knife's edge violence at the surface, comes closer to the feel of this period – further illustrating why the Arthurian ideal was so important – and so improbable.
He’s the Man: Don Reed and East 14th
Can you dig it? Don Reed's a gem of a storyteller, spinning tales of growing up in Oakland with dance moves that best anyone on two legs.
