7 Bay Area arts and entertainment events to check out this week, July 19-25

“Spring Latitude” – or “A Tiny Tale” – one of the films presented at the Children’s Film Festival. Photo: Children

The guide to chronicling notable arts and entertainment events in the Bay Area.

The Bay Area International Children’s Film Festival returns with a virtual program

The Bay Area International Children’s Film Festival is kicking off a four-day festival on Thursday, July 22, which will take place entirely virtually.

Now in its thirteenth year, the festival’s program features 40 films from around the world – including films from Australia, Canada, France, Finland, Russia, Iran, Mexico and the United States. It was founded in 2009 by Jim Capobianco and Shelley Trott and is dedicated to presenting children with culturally diverse international films, which broaden perception and foster a sense of global brotherhood.

The festival calls itself a “playdate for the imagination” and presents, as this year’s theme, the phrase “back to community, back to nature”. Individual programs cost $ 5, but it is possible to purchase a three program package for $ 12 and a festival pass for $ 30. For more information, visit baicff.com.

– Mick LaSalle

“The Hand the Rocks the Crawford”, a new play by Michael Phillis, stars Matthew Martin as Joan Crawford. Photo: Michael Phillis

“Crawford” camped in the 90s at the Oasis in SF

Have you ever watched a ’90s thriller like’ Basic Instinct ‘,’ Sliver ‘or’ The Hand That Cradles the Cradle ‘and thought,’ Well that’s good … but that would be better with Joan Crawford instead of Sharon Stone / Rebecca? De Mornay in the lead.

If you’ve had this weirdly specific cinematic fantasy, you’re in luck! Writer-performer Michael Phillis (“Patty From HR”, the recent movie “Baloney”) has created a new play with exactly that premise. In “The Hand That Rocks the Crawford”, the legendary actress (played by Golden Age Hollywood drag specialist Matthew Martin) is transposed into the decade that gave us exaggerated femme fatales like Catherine Trammel of Sharon Stone, and goes mad as only the “Mildred Pierce” and “What Happened to Baby Jane?” star could – bring his ferocity to the shoulders in the era of the dial-up Internet.

The production also stars Phillis, Steven LeMay, Sara Toby Moore and Katya Smirnoff Skyy. Oasis advises from BYOWH (Bring your own hangers.) With this cast, it promises to be a night of campy hijinks for everyone.

“The Hand That Rocks the Crawford”: 7 pm Thursday to Saturday from July 22. Until August 7. $ 25 to $ 50. Oasis, 298 11th St. SF www.sfoasis.com

-Tony Bravo

Ron Chapman as Pericles (left) and David Everett Moore as Helicanus in “Pericles, Prince of Tire” at the San Francisco Shakespeare Festival. Photo: San Francisco Shakespeare Festival

SF Shakes Rekindles Technological Magic With “Pericles, Prince of Tyr”

Last summer, the logistics brains of the San Francisco Shakespeare Festival engineered the startling illusion that “King Lear” the actors were performing live and online in the same space, even though they were actually in their separate homes. Using Zoom and Open Broadcaster Software, CTO Neal Ormond superimposed multiple video streams on the same virtual background. Director Elizabeth Carter had to stage the show down to the centimeter, to give the impression that the actors were looking into each other’s eyes.

This year, the company is relaunching the process, mounting Ellen McLaughlin’s modern verse translation of “Pericles, Prince of Tire,” whose authorship is generally attributed to Shakespeare and George Wilkins. The company presents the show in four episodes – an appropriate structure, considering the number of sea voyages made by its main character and family.

The first three episodes are shown online, with the fourth in person at various parks, marking a return to SF Shakes’ pre-pandemic modus operandi.

Episode 2: “In you rests all my hope” from “Pericles, Prince of Tire”: streaming at 7 pm from Friday to Saturday July 23 and 24; 4 p.m. Sunday, July 25. Episode 3: “The storm outside, the storm inside” broadcast live from July 30 to August 30. 8. Episode 4: “This great miracle” occurs in person in parks advertised from August 28 to Oct. 10. Free. 415-558-0888. For more information, visit www.sfshakes.org.

– Lily Janiak

Conductor Michael Morgan Photo: Pat Johnson

Michael Morgan Brings Little-Known Songwriter Into SF Symphony

Nineteenth-century French composer Louise Farrenc is still virtually unknown to modern audiences, despite a career rich in creative and institutional achievements. (Can you guess why?) Fortunately, Michael Morgan has done his part to correct the situation.

In 2019 he conducted the Oakland Symphony in Farrenc’s Third Symphony (1847), a vast and magnificent work that should be performed regularly. Now Morgan has put it at the center of his appearance with the San Francisco Symphony, featuring music by Rossini and stride pianist James P. Johnson.

San Francisco Symphony: 7:00 p.m., Friday, July 23. $ 25 to $ 95. Davies Symphony Hall, 401 Van Ness Avenue, SF 415-864-6000. www.sfsymphony.org. 7:30 p.m. on Saturday July 24. Frost Amphitheater, Stanford. live.stanford.edu.

– Joshua Kosman

A photo from “A Kaddish for Bernie Madoff”, adapted and directed by Alicia J. Rose from the Alicia Jo Rabins one-woman show. The feature film is presented by the San Francisco Jewish Film Festival. Photo: San Francisco Jewish Film Festival

‘A Kaddish for Bernie Madoff’ makes solo chamber rock opera film

In 2008, poet, musician, composer and performer Alicia Jo Rabins found herself at the forefront of the global financial crisis, thanks to an artist residency in an abandoned building on Wall Street.

She became especially fascinated with the story of Bernie Madoff – what about her grades, and the rest of us, that makes us want to believe something we should know is impossible. As Rabins does with much of her work, she looked at the narrative through a Jewish lens, wondering what ancient religious texts might have to say to her and to her contemporaries, Jews and non-Jews, about the great Madoff scam.

This impetus led to “A Kaddish for Bernie Madoff”, which she called “a one-woman chamber rock opera”. After its premiere at Joe’s Pub in New York in 2012, it has since been adapted into a film, directed by Alicia J. Rose, which is part of the San Francisco Jewish Film Festival, now showing both in person and online. .

“A Kaddish for Bernie Madoff”: screens at 5 pm Saturday July 24 at the Castro Theater, 429 Castro St., SF Available to stream July 22 through August. 1.15 $. jfi.org/sfjff-2021

– Lily Janiak

Carrie Hennessey in the title role of Janácek’s “Káta Kabanová” at the West Edge Opera Photo: Cory Weaver

West Edge Opera resumes performances with exterior staging by Janácek

West Edge Opera has lived a nomadic existence for half a dozen seasons. Although it produces list after list of innovative and unusual programs, the company moves from place to place every summer in search of a permanent home.

Now, the COVID-19 pandemic may have inadvertently provided a solution to this problem by directing the company to the great outdoors. The Bruns Amphitheater – long the open-air home of the California Shakespeare Festival – has also opened its arms to other performing arts organizations, and West Edge appears to be well-suited for the move.

The company’s summer season of three operas, initially slated for 2020, opens with Janácek’s gritty family drama “Kát’a Kabanová”, with soprano Carrie Hennessey in the title role alongside soprano Kristin Clayton and by tenor Christopher Oglesby. Music director Jonathan Khuner is directing the production directed by director Indre Viskontas.

“Kát’a Kabanová”: West Edge Opera House. 8 p.m. on Saturday July 24. Until August 5. $ 19 to $ 140. Bruns Amphitheater, 100 California Shakespeare Festival Way, Orinda. 510-841-1903. www.westedgeopera.org

– Joshua Kosman

“Fragments of Constantine”, 2014, Catherine Wagner. To see at the Jessica Silverman gallery. Photo: Courtesy of the artist and Jessica Silverman, San Francisco.

“Clues to Civilization” by Catherine Wagner, a captivating investigative exhibition at the Jessica Silverman Gallery

Catherine Wagner’s first solo exhibition with the Jessica Silverman Gallery is a vibrant, at times disorienting, deeply sociological exploration of the work of the San Francisco conceptual photographer. The poll shows, which covers the years 1982 to 2014, highlights four series from Wagner’s career: “American Classroom “,” Realism and Illusion “,” Repairs “and” Rome Works “.

In the new Silverman Chinatown space the works are presented mixed instead of being separated by series: the effect allows the viewer to become a sort of detective, looking for signs of life in the photos, which are all without anyone.

It’s easy to get lost in the black and white scenes of “American Classroom,” with its views of lesson-filled blackboards (“Everlasting Love”, “Optic Nerve (7th Grade Science Room)”) and a stunning take aerial view of a graffiti-carved desk (“DH Lawrence Kicks Ass (University Humanities Classroom)” begging to be examined and read in depth.

The epic classical sculpture and galleries photographed in “Rome Works” show the conservation process at the Musei Capitolini and Palazzo Altemps in the Italian capital: images such as “Fragments of Constantine”, showing a statue of the Byzantine emperor crated into pieces, and “Artemis / Diana”, showing a torso of the goddess lifted by a construction harness, bringing the monuments to a more human scale.

At the opposite end of the creative spectrum, the photos in “Realism and Illusion,” showing the artificially constructed worlds of Disney theme parks, throw concepts of scale and portions into the wind. The images of miniature fairy-tale villages have their illusion shattered by Wagner’s placement of a life-size tree in the plan (“Southern California Landscape”) and views from inside the Cartoon Land house of Minnie Mouse (“Dream Kitchen” and “Stylish Interior”) are both disturbing in their artificiality but fascinating and strangely beautiful in their abundance.

“Clues to Civilization” is a must-see show that should thrill fans of Wagner’s work until the artist unveils the public art she created for the Yerba Buena / Moscone Muni underground station in 2022.

“Catherine Wagner: indices of civilization”: from noon to 4:30 pm, Tuesday to Saturday. Until August 14. Free. 621 Grant Avenue, SF 415-255-9508. jessicasilvermangallery.com

-Tony Bravo

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Jennifer R. Strohm