Tag Archives: Berkeley Rep
Parking in downtown Berkeley may get harder before it gets easier as a new project ramps up to demolish and rebuild the Center Street garage to add hundreds of spaces, improve seismic security and incorporate “green building” standards.
The project is expected to strain parking demand downtown, where availability is often scarce already. City staff have been working to improve the parking situation via its goBerkeley campaign, which has been underway this year. Merchants have been keeping a close eye on the Center Street project and say they hope the city will be thoughtful as it moves ahead.
The five-story Center Street parking garage — which has entrances on both Addison and Center streets — has 420 spaces, ground floor retail and was built in the 1950s, according to the staff report prepared for last week’s Berkeley City Council meeting. Tuesday night, as part of the consent calendar, the Council approved paying up to $1 million to a consultant who will plan and manage the project. … Continue reading »
Noted concert pianist Mona Golabek’s enthralling one-woman play underscores the power of music and the significance of history. Based on her book (with Lee Cohen) of the same name, The Pianist of Willesden Lane reveals the experiences of Golabek’s mother, Lisa Jura, a Jewish piano virtuoso, who escaped from Nazi-controlled Vienna to London in 1938 when she was 14 years old.
Golabek recounts her own history, performs her mother’s role, and occasionally portrays others in the story. Lisa Jura’s survival story is poignant, yet uplifting. When combined with Golabek’s magnificent piano performance of beautiful music by some of the world’s best composers, including Debussy, Grieg, Bach, Beethoven, Chopin and Scriabin, the story takes on an intense and profound meaning. … Continue reading »
The finishing touches are being applied to the program, the speakers, all world experts in their fields, are tweeting about their imminent appearance on stage in Berkeley, and the final decisions on wine pairings, music sets and lighting for the sure-to-be celebratory party at the art museum have been made. This time next week the inaugural Uncharted: The Berkeley Festival of Ideas will be in full flow.
The program is bursting with entertaining and thought-provoking conversations. Here’s just a taste:
- Vivek Wadhwa & Scott Rosenberg: Everything you know about entrepreneurship is wrong
- Kalimah Priforce‘s: Could an app have saved Trayvon Martin?
- Carl Bass & Lance Knobel: What’s next in digital fabrication
- Brad DeLong & Joshua Bloom: I, for one, welcome our new robot overlords
- Randall Grahm & Felix Salmon: Why wine matters
- Rodolfo Mendoza-Denton & Phil Bronstein: Are we born racist?
- Nina Simon & Rodolfo Mendoza-Denton: Bridging social groups
- Kate Kendell & Lance Knobel: The new frontier of civil rights
- Chrystia Freeland & Paul Pierson: The rise of the plutocracy
- Felix Salmon: Money can buy happiness
- Nicholas Dirks & Lance Knobel: So what are the humanities, chopped liver?
ARTICHOKE BASILLE’S PIZZA New York style pizza slices are coming to Berkeley’s Telegraph Avenue neighborhood with the opening — before Halloween it is hoped — of Artichoke Basille’s Pizza at 2590 Durant Avenue, on the corner of Bowditch. Jim Trevor, who is helping open the new pizzeria, says it’s the first West Coast location for the group which has several New York branches — including three in Manhattan (one of which is pictured top), one at La Guardia airport, and another within a casino in Queens. Francis Garcia and Sal Basille, pizzaiolos, cousins and best friends, opened the first Artichoke Basille’s on 14th Street in New York City in 2008. They learned their trade at the family restaurant, Basille’s, in Staten Island. Such has been the taste for their pizzas that fans, according to the company, now include Keith Richards and Momofuku’s David Chang. Why Telegraph? “Not many places in the Bay Area have foot traffic like Telegraph Avenue,” said Trevor. And he adds: “College students can eat pizza morning, noon and night!” … Continue reading »
Vanya and Sonia and Masha and Spike — a 2013 Tony award winner for Best Play making its first regional appearance at Berkeley Rep – combines merriment and literacy with a tinge of sadness. It’s a complex balance that three-time Obie Award-winning playwright, Christopher Durang, (Sister Mary Ignatius Explains It All for You, The Marriage of Bette & Boo) pulls off with aplomb, as director Richard E.T. White (Berkeley Reps’ Otherwise Engaged, Dancing at Lughnasa), and a talented cast bring Durang’s witty and wise words to life.
Durang weaves theatrical themes, most notably from Anton Chekov’s The Cherry Orchard, The Seagull and Uncle Vanya, to create this modern-day version of a dysfunctional family facing the sale of their beloved home and the evaporation of their once bright futures.
As the play begins, Vanya (well acted by Anthony Fusco) and Sonia (excellent Sharon Lockwood) are dressed in their pajamas, likely their attire for the last 15 years. The live in Bucks County, Pennsylvania, in the large country house they have spent their entire lives. Even as adults, they remained at home and cared for their parents until they died. Vanya and Sonia wallow in their boredom, depression, and hopelessness. … Continue reading »
The original 1975 production of Harold Pinter’s No Man’s Land starred John Gielgud and Ralph Richardson in the two central roles. That sets a pretty high bar for revivals. But it’s hard to believe those two greats would surpass Ian McKellen and Patrick Stewart in Sean Mathias’ production that opened at Berkeley Rep on Sunday night and runs until the end of the month.
If you want to see acting at its very peak, do whatever you need to do to get tickets. McKellen, in particular, as the down-at-heel, shambolic Spooner, is mesmerizing. He’s a master of the classic Pinter dialogue, with its pauses, hesitations, misdirections and misunderstandings. But it’s McKellen’s physical presence that is most memorable: just watch him walk across the stage, somehow simultaneously lithe, drunk and worn out. Stewart, in the less showy role of literary grandee Hirst, is also strong, although the role is more a foil to Spooner. … Continue reading »
George Gershwin Alone is a bright and breezy one-man show written and performed by Hershey Felder using the glorious music and lyrics of George Gershwin (1898–1937), and his brother, Ira (1896–1983). Felder, playing George Gershwin, fascinates the audience as he describes Gershwin’s short life and plays some of his greatest pieces.
Felder is no slouch himself. A talented concert pianist, composer and actor, he spent five years researching and reading Gershwin’s original manuscripts and correspondence. He interviewed biographers and family members, and had unfettered access to the Gershwin archives.
George Gershwin wrote over 1,000 popular songs for Broadway and the movies, many of which you have probably heard. I checked my iTunes library and found 30 of them performed by artists from Cannonball Adderley to Janis Joplin, including “The Man I Love,” “I Got Rhythm,” “Oh, Lady Be Good,” “’S Wonderful,” “Fascinating Rhythm,” “Someone to Watch Over Me,” and “They Can’t Take That Away from Me.”
Gershwin also wrote the more sophisticated “Rhapsody in Blue” (1924), the symphonic tone poem “An American in Paris” (1928), and what Gershwin called a folk opera, “Porgy and Bess” (1935). … Continue reading »
Playwright Sarah Ruhl and director Les Waters, much-admired collaborators who created Eurydice, In the Next Room (or the vibrator play) and Three Sisters, return to Berkeley Rep with Dear Elizabeth, a play based on the intimate 30-year correspondence between Pulitzer Prize-winning poets Elizabeth Bishop (1911-1979), played by Mary Beth Fisher, and Robert Lowell (1917-1977), acted by Tom Nelis.
Sarah Ruhl has chosen a concise selection of letters from the poets’ 900-plus pages of correspondence, which was published in 2008 as, Words in Air: The Complete Correspondence between Elizabeth Bishop and Robert Lowell. Ruhl and Waters staged a two-character recitation of the selected correspondence. Because of constraints imposed by the poets’ estates, only the letters themselves could be used in the play, aside from the recitation of few wonderful poems and the placement of subtitles above the stage identifying the year and place in which the letters were written. … Continue reading »
FINAL COUNTDOWN Classical music concerts often have some programmatic idea: works that influenced each other, or pieces that provide an interesting tonal contrast. But The Opus Project has a particularly audacious notion: its Saturday night concert features 21 Opus 5 pieces by composers ranging from Stravinsky to Cage to Britten (it’s the centennial of Stravinsky’s Rite of Spring — an Opus 5!). The multi-media Opus 5 follows on, unsurprisingly, from Opera 1 through 4 (pedantic, moi?). The earliest work on Saturday will be a movement from Schoenberg’s Peleas und Melisande; the most recent Rabbits Frolicking Through the Meadow by 20-year old Anthony Ragus, composed this year. Opus 5 is at 8 p.m. on Saturday, May 25, at Berkeley Arts Festival, 2133 University Avenue. Tickets are from $10. … Continue reading »
Urban Adamah, the community farm that has been operating out of rented quarters on Parker Street for two and a half years, is in contract to purchase a 2.2-acre lot next to a restored section of Codornices Creek in West Berkeley.
The organization, which integrates Jewish traditions, environmental education, mindfulness and social action, purchased the land at Sixth and Harrison streets from the U.S. Post Office for $2.1 million and has until Aug. 4 to come up with the funds, according to Adam Berman, the founder of Urban Adamah. The land, at 1151 Sixth, is undeveloped and sits next door to the post office’s main processing facility. … Continue reading »
It takes courage to put on a production of Pericles, Prince of Tyre. It’s not one of Shakespeare’s better plays, if in fact Shakespeare wrote the play at all. Yet, Obie Award – winning director Mark Wing-Davey turns the play into what he calls an “extravagant theatricality” and what I call a two-hour street party.
Using a shortened version of the play, first-rate acting, creative staging, inventive effects, original joyful music and sound effects, ingenious costumes and sight gags, Pericles becomes a 21st century tumult — amusing and entertaining at times, but with all that talent and imagination, why didn’t they choose a better play?
Pericles, Prince of Tyre describes Pericles’s episodic journeys over many years, His first stop is Antioch, where hopes to marry a princess, but flees to avoid her incestuous relationship with her father. He then sails to Tarsus, where he saves the city from famine. The governor, Dionyza, is deeply indebted to him. … Continue reading »
Two of the word’s most highly regarded actors are landing in Berkeley this summer.
The distinguished stage actor Sir Ian McKellen, perhaps best known for his role as Gandalf in The Hobbit movies, and Sir Patrick Stewart — British like McKellan — who plays Professor Charles Xavier in the X-Men franchise, will star in Harold Pinter’s play No Man’s Land at the Berkeley Rep.
The play, to be directed by Sean Mathias, is set in north London and tells the story of two writers. Blending reality and fantasy, it has been hailed as one of Pinter’s “indisputable modern classics.” No Man’s Land is scheduled to run for a limited four-week run at the Roda Theatre (Aug. 3-31), before heading to Broadway. … Continue reading »
The worldwide premiere of Fallaci, although distinctive and thought provoking, is almost as problematic as was Oriana Fallaci herself. Yet, it’s about time that her life was dramatized. A charismatic, powerful and controversial journalist and writer, Fallaci (1929-2006) took on, and bested, the most influential political interviewees of her day: the Ayatollah Khomeini, Yasser Arafat, Indira Gandhi, Henry Kissinger and Golda Meir.
Rather than being the objective observer, she was a starring player in her interviews. Much to the consternation of others, Fallaci was known for telling different versions of her background. Nevertheless, her father, an Italian resistance fighter during World War II, seems to have skilled Oriana with bravery and courage.
Lawrence Wright’s two-person play begins in 2000 with a young Iranian-American woman, Maryam, (ably performed by Narjan Neshat) attempting to interview an aging Oriana Fallaci (skillfully acted by Concetta Tomei) for Fallaci’s New York Times obituary (to be used when needed). Oriana has receded from public view because of cancer.