Wednesday 3/1: Journalist L.A. Kauffman, (The Nation, Mother Jones, The Baffler, etc.) reads from Direct Action: Protest and the Reinvention of American Radicalism. Free, 7 p.m., City Lights.
Nomadic Press hosts the Bay area launch of Charif Shanahan’s first full-length poetry collection, Into Each Room We Enter Without Knowing, from Southern Illinois University Press. Guest readers: Ellen Bass, Grady Chambers, Matthew Siegel, and Arisa White. $5–$25 (nobody turned away for lack of funds). 7 p.m., Nomadic Press, Fruitvale.
Tuesday 3/7: The Contemporary Writers Series at Mills College presents Russian poet, translator, and activist, Kirill Medvedev (It’s No Good). Not woke to Medvedev? Check out this profile in the New Yorker (you know, that other place for good writing). Free, 5:30 p.m., Mills Hall Living Room, Mills College.
This week’s theatre recommendation is the world premiere of Years in the Hundreds at Central Works in Berkeley. For over fifty years, identical twin sisters Jessie and Inez have maintained an elaborate ruse to convince the world that they are only one person, never leaving their apartment at the same time. But why? And is Inez, the kinky cougar, really running off to Mendocino with twenty-something Marcus, the hunky and willing librarian? And what will happen if and when the secret of the twins’ racy past is fully revealed? This production of Jesse Potterveld’s bizarrely entertaining play is funny, strange, and nicely performed and directed. Years in the Hundreds is the 54th world premiere developed and presented by Central Works over the course of their twenty five year history—a remarkable accomplishment, by any measure. For further information, click here.
For coverage of the Bay Area theatre scene, visit TheatreStorm.
And here’s video of one of last week’s SF Notables, Daphne Merkin.
If you have a Bay Area event listing you’d like us to consider for Notable SF, please contact [email protected] as far in advance as possible, and include the date of the event in the subject line.
Logo art by Max Winter.