Kularts’ “Tubong to Living Ancestors” pays tribute to 17 Pan-Asian legacy artists — some of whom had notes for their younger counterparts in the rehearsal room.

Local director and choreographer Erika Chong Shuch created Shotgun Players’ production with renowned collagist playwright Charles Mee.

For the latest haunt at the San Francisco Mint, creators Peaches Christ and David Flower drew inspiration from 1980s slasher films.

Susi Damilano’s direction is dazzling, but Henry Lewis, Henry Shields and Jonathan Sayer’s script has one big problem.

Oakland Theater Project and New Performance Traditions’ production has plenty of creative directorial flourishes, some more illuminating than others.

James Ijames and Arthur Miller are among the playwrights in the Berkeley company’s 35th season.

In “Peter Pan Goes Wrong” at San Francisco Playhouse, actors must be safe while looking plausibly unsafe. Our theater critic tried out their flying routine.

Emma Rice’s stage adaptation of the 1959 film ends with a bunch of garbage-fire choices.

Miriam Pawel’s “California Dreams: The Making and Remaking of the University of California” makes a history of the state’s crown jewel into an epic.

Adam Maggio and Liam Vincent have taken leadership posts at the recently renovated, 612-seat venue abutting the Main Post Parade Ground Lawn.

New Conservatory Theatre Center’s “Little Shop of Horrors” and Center Repertory Company’s “The Glass Menagerie” offer new interpretative riches, thanks to trans stars.

The city loses $4.9 million a year subsidizing six sprawling golf courses used by a shrinking number of players. In a housing-starved city, that’s a tough sell.

The West Coast premiere about a grieving father and his sons is among the gentlest works of Bay Area theater in recent memory.

Center Rep’s production of Tennessee Williams’ “The Glass Menagerie” is in love with its own lugubriousness, theater critic Lily Janiak writes.

The San Francisco Chronicle is seeking to create a pipeline for the next generation of arts journalists. The position will be based with Datebook, our guide to arts, entertainment and culture in the B...

As American Conservatory Theater’s company manager, Dianne Prichard took care of stars including Olympia Dukakis, Bill Irwin and David Strathairn.

These standout actors should be considered essential viewing — no matter what show they’re in.

In Eduardo Machado’s 2003 play, director David Mendizábal excels at ratcheting exchanges toward emotional climaxes.

Berkeley Repertory Theatre, Epic Party Theatre and Oakland Theater Project are must-visit destinations this fall.

Director Katja Rivera has assembled one of the finest San Francisco Shakespeare Festival casts in recent memory.

San Francisco is creating a formal process to determine who qualifies as an artist, a new certification required for city residents hoping to live in this affordable housing development.

The three-year-old church Legendary Movement entered escrow on the El Campanil Theatre in Antioch on Aug. 12.

In the hands of Red Barn Productions, Pier 35 looks like a San Francisco prospector’s version of the Mall of America.

Written and directed by D’Arcy Drollinger, this spoof of disaster movies — featuring a tsunami, a plane crash, a meteor and more — excels in little in-between moments.

“It’s Up for Debate,” moderated by Charlie Rose, brings a markedly different political voice to the Golden Gate stage.

The 1999 teen rom-com is a millennial mainstay, featuring whip-smart dialogue studded with SAT vocabulary.

The best part of Marin Shakespeare Company’s production of Shakespeare’s tragedy is its wildly inventive take on the Roman leader himself.

In Oakland Theater Project’s production of Tennessee Williams’ play, two actors are terrifying precisely because of how recognizable they are.

At San Francisco Playhouse, Aaron Loeb’s script about VCs and a start-up founder is wicked-smart, gutting and LOL-inducing.

The latest drama with the Kennedy Center exterior put the Chronicle in mind of another famous wall: the one in “A Midsummer Night’s Dream.”

San Francisco Historium Spotlight brings an immersive Gold Rush district with 100 performers and the Matthew Turner to Pier 35 for only two days.

A San Francisco poet’s fake AI billboard went viral by routing users to a very human chatbot and sparking real conversations.

In San Francisco Playhouse’s “R.O.I. (Return on Investment),” playwright Aaron Loeb explores the power dynamic between start-up founders and investors.

Successor casting to sustain non-musicals can be an opportunity, if producers are willing to take the risk

The indignities Claire Stapleton recounts in “Don’t Be Evil” go beyond run-of-the-mill corporate dehumanization.

In Gary Owen’s one-woman play, a riff on Euripides’ tragedy, Iphigenia initially seems like a crass, trash-talking victimizer.

Miranda’s Rescue received international attention after officials uncovered a mass dog grave at the “no-kill” sanctuary. New revelations show that ominous signs were ignored for decades.

Ray of Light Theatre’s cast, under the direction of Isaiah Tyrelle Boyd, nails Greg Kotis and Mark Hollman’s faux-melodramatic tone.

Thanks to “Drag Me to Hell: The Devil’s Coming” at 200 Channels, a theater critic attended her first satanic ritual.

“RuPaul’s Drag Race” alum Alaska Thunderf—  and J. Harrison Ghee will play Mary Todd Lincoln and her husband, respectively.

Apply to Sr. Editor, The Bay at KQED in San Francisco, CA.

Santa Cruz Shakespeare’s “Macbeth” offers sharp political insight, even as its lead performance is monotonous.