REVIEW – WE ARE LADY PARTS

Posted on June 17, 2021 by Ana Pines

By: Mohamed Sidki

It is no secret that Western media has refused to present Muslims, and Brown-skinned Peoples in general, as anything but terrorists (“Back to the Future,” “24,” “Homeland”) or your average, generic evil henchmen (the first THREE “Indiana Jones” movies). Growing up as an Arab Muslim in America in the 1980s and 1990s, there were hardly any characters who looked like me in the movies or on T.V. that anyone could’ve consider a positive role model, so I ended up looking forward to whenever Brown-centric movies like “La Bamba” or “Stand and Deliver” aired on HBO, and any scene featuring Mario Lopez was in “Saved by the Bell.” (It’s not like the Latinx communities have had an easier time navigating showbiz either, and it is a subject that will be explored many times on this site.)

There has been some progress over the last couple of years but, it’s been excruciatingly slow. And unfortunately, that progress is still beholden to “The White Gaze,” so we end up with projects by writer-performers such as Aziz Ansari and Kumail Nanjiani who center their material around mocking Muslim women for being, in their eyes, “backwards” and “unassimulated,” while they themselves lust after white women. Media gate keeping has prevented a diverse array of Brown Peoples and Muslims from presenting all forms of our true selves. The fact that, “We Are Lady Parts” even exists is a miracle from Allah.

“We are Lady Parts” is a British half-hour comedy series written and directed by Nida Monzoor (“Doctor Who”) about members of an all-female, all-Muslim punk rock (Sarah Kameela Impey, Juliette Motamed, Faith Omole) and their nakab-wearing, vape-smoking manager (Lucie Shorthouse) who search for a lead guitarist in order to enter a Battle of the Bands-style competition, which could be the jumpstart the group needs to have a sustainable music career. So, enter: Amina Hussein, our main protagonist and narrator (Anjana Vasan, in what is one of the best comedic performances ever to stream or air on television).

Amina is a killer guitarist but she suffers from a crippling stage fright that leads to vomiting and the occasional uncontrollable “pooing.” She is also a square who has put a lot of pressure on herself to live a life that she thinks is worthy of a model Muslim, from becoming a world-renowned scientist to marrying the “right” man. It is in her Jane Austen-esque quest to find a husband — a quest that neither of her British Indian parents are in a rush for her to undertake — that she ends up in Lady Parts, after falling head over heels for the brother of one of her future bandmates.

The series does not shortchange the other members of Lady Parts. We get to know the British Iraqi drummer Ayesha (Motamed) who has the personality of a soccer hooligan; Afro-British bassist Bisma (Omole) who is not only a mother who teachers her pre-teen daughter fourth-wave feminist philosophies but is also a struggling comic book writer and artist who recently self-published a tale of young women who become “homicidal maniacs on their periods;” the black nakab-clad band manager Momtaz (Shorthouse) who makes ends meet by selling “shag me hard” lingerie to middle aged Muslim women; and British Pakistani lead singer Saira (Impley) who works in a halal butcher shop and has a battle-earned chip on her shoulder. Together, these five young Brown and Black Muslim women from different backgrounds and distinctly different personalities take on anyone and everyone who strips them, other Muslim women, and Muslims in general, of their agency and humanity in the best way they can: through music.

(Some of the songs, like “Bashir with the Good Beard” are original tunes co-written by Manzoor and her musician siblings, and are catchy as hell.)

And what is truly refreshing about “We Are Lady Parts” is that it is not told through “The White Gaze.” There are no instances of these young women feeling torn between the “traditional” and “oppressive” Muslim world, and white, “freedom-loving” Britain. No Muslim man is bashed for believing in a “backwards” religion, though a couple of the male characters get occasionally called out for their misogyny but only in the context that they are your typical dumb guys saying dumb things in a sitcom. (There is a wonderful spoof of a sequence from Kumail Nanjiani’s “The Big Sick” where it is Amina, a Brown Muslim woman, who this time is the one meeting ridiculous potential mates but it occurs only AFTER she tries to move on from the young Muslim man she has a crush on. And it’s never Islam or some secret want she has to fit into white society that makes these men awful. They just suck.)

The members of Lady Parts are proud Muslims, proud women, proud of their Black and Brown heritages, and proud musicians. And that’s what makes “We are Lady Parts” one of the best shows of 2021. A must-watch!

All 6 episodes of “We are Lady Parts” Season 1 are currently streaming on Peacock.

Brilliant Mind – Marin Theatre Company

Posted on June 2, 2021 by Ana Pines

WE’RE BACK AFTER A PANDEMIC HIATUS! WE LOOK FORWARD TO BEING YOUR GO TO FOR ENTERTAINMENT NEWS AND REVIEWS AGAIN!

If you’re looking for an entertaining live and interactive experience, look no further than Brilliant Mind, created and written by Egyptian American playwright Denmo Ibrahim. Co-produced and presented by the Marin Theatre Company from now until June 13, 2021. There is a live segment, pre-recorded footage, live text messaging, and a choose the next story path option at certain points in the play.

The play tells the story of Dina (Denmo Ibrahim) and Yusef (Ramiz Monsef) after they learn of their estranged father’s death. The audience gets to meet their dad in the afterlife, Samir (Kal Naga), he is the only live performer, streamed via Youtube. The scene is integrated onto another platform that mixes the streamed live performance with pre-recorded footage of his children dealing with funeral arrangements. Samir is often making comments on his children’s conversations about him, their past, and family secrets finally revealed. The heart of the story is that of the siblings making sense of their past, present, and where they are headed.

The siblings were not treated equally due to their birth genders and Arab traditions. In many ways, it’s your typical immigrant story of battling dual identities when you’re a first generation American. Do you assimilate just to please your neighbors and protect yourself from violence and judgement? When you can’t shed your skin, it sometimes doesn’t matter. And when you have an opportunity to break traditions that limit you, do you keep them to please your family? When the answer is no, the distance you must sometimes create or are forced into, leads to a lonely place. Deep down, you do all you can to be successful, to be a good person, with the hope that you’ll come home one day and be accepted as you are.

Denmo Ibrahim as Dina and Ramiz Monsef as Yusef in Marin Theatre Company and Storykrapht’s live and interactive premiere of *Brilliant Mind* by Denmo Ibrahim.

Dina is a super busy and successful lawyer. She’s often texting and writing work emails while Yusef is trying to connect with her in kid ways. When they finally have a moment of laughter together, frustrations start to come out. Dina recalls how she didn’t have the same freedoms as her brother Yusef, and he constantly dismisses her experiences. Besides not being allowed to go out, she was also policed on the clothing she wore and given less useful gifts than her brother. For example, for his sixteenth birthday he got a car and she got jewelry. She also finds out that in her mother’s will, she went with tradition, having her son inherit two times more than her because female children get less than males. The will is a lingering storyline because her mother and brother keep avoiding the topic knowing she will be upset but, don’t necessarily think it’s wrong.

Yusef, although the spoiled one, is also a bit older than Dina. He remembers how his family tried to hide their true selves to protect themselves. He also knew about his dad’s other family. Despite Dina being a lawyer, he’s also entrusted with knowing the legal aspects of his family’s affairs. Yusef, also goes through bouts of depression. Mental health is oftened dismissed in immigrant families and in this Arab American family, the response from mom is no different. She tells him to appreciate what he has, family, a good wife, a job, a house, a car. Old school parents rarely had time to stop their routine even if they themselves were going through depression. This is also a good example in which gender norms are harmful to men, they’re not supposed to express their feelings let alone be depressed, often seen as a weakness.

Playbill photo for Storykrapht’s live and interactive premiere of
*Brilliant Mind* by Denmo Ibrahim.

Ibrahim and Monsef had good chemistry as siblings. However, Ibrahim’s portrayal was felt more. Her frustration really comes through in her mannerisms and facial expressions. Naga also showed a good range of emotions for his character. He had a serious demeanor and came off as someone who didn’t have many regrets. If he did I missed it, as I was more enthralled in the siblings emotional turmoil.

The only downside of this multifaceted presentation is that you wonder about the other choices you didn’t make during the “what do you want to happen” next opportunities. Another lingering thought when it comes to the immigrant experience. What if I didn’t take the path I did take?

May 22–Jun 13
by Denmo Ibrahim
Co-produced by
Marin Theatre Company & Storykrapht

AN ORIGINATING PREMIERE
Tickets: $30 For more information, go to: https://www.brilliantmindshow.com

The Victorian Ladies’ Detective Collective – Is Jack the Ripper Back?

Posted on May 14, 2019 by Ana Pines

Another day, another body, could Jack the Ripper be back? In The Victorian Ladies’ Detective Collective sisters Loveday (Stacy Ross) and Valeria (Jan Zvaifler) run a boarding house in which many of the neighborhoods theater actresses live. One by one they turn up dead. The fear results in less patrons, and inevitably a cut in pay for the actors which leads Katie (Chelsea Bearce), an American actress and lodger, to ask Valeria for a break from her rent.

Loveday who was once an actress herself, is alone when Katie arrives. She notices Katie’s curiosity over the research she’s been doing to find the murderer. Loveday tries to reach out to police to no avail. as the Constable (Alan Coyne), spends more time pointing out the supposed inadequacies of the female gender than solving anything. Loveday and Katie have no choice but to take matters into their own hands with some financial help from Valeria.

As the show progresses the audience is taken on a whodunnit roller coaster. Was it Jasper, the butcher, the police themselves (all played by Alan Coyne)? Jasper is exceptionally triggering as he’s not only sexist, but also a rapist. Ladies being able to take care of themselves and having their own thoughts is too much for the men to handle. They constantly belittle women physically and mentally. This only strengthens the women and their goal of finding the murderer, to protect themselves and future victims.

All the actors are wonderful and Chelsea Bearce as Katie often steals the show. She has multiple types of martial arts training including Tessen, based on the use of the solid iron fan or the folding iron fan. There is a serious tone to many parts of the show given the storyline, but not without some humor at the outrageousness of the men and their small egos. The show is written by the local award-winning playwright Patricia Milton and directed by Gary Graves. This is their fifth writer/director comic collaboration.

Update on May 16th: The show has been extended for 4 more performances!

May 4–Jun 9
World Premiere #63: from the Central Works Writers Workshop

Advance tickets are $22-$38 online or $38–$15 sliding scale at the door. For information, extended dates and tickets, visit http://centralworks.org.

Weightless at A.C.T.’s Strand Theater

Posted on May 4, 2019 by Ana Pines

Weightless, a rock opera by local Bay Area band, The Kilbanes (Kate Kilbane and Dan Moses), and directed by Becca Wolff, returns home following sold-out shows at The Public Theater’s Under the Radar Festival at BRIC in Brooklyn. Produced by Z Space and piece by piece productions – the show will play a limited engagement at A.C.T.’s Strand Theater (1127 Market St., San Francisco) April 30—May 12, 2019.

The story is a retelling of the love that exists between sisters Procne (Kate Kilbane) and Philomela (Lila Blue) from Ovid’s Metamorphoses. It is described as “part concert, part play, and part dream”. Procne’s father is about to marry her off , the sisters are not having it and run away. The darkness they encounter causes some hesitation to continue, but God (Julia Brothers) takes an interest in the sisters, and brightens up the moon to help them find their way. They end up at a cabin on the ocean where they live freely until a hunter named Tereus (Josh Pollock) shows up. Procne’s curiosity is peaked and she leaves with him to an isolated island. She promises Philomela she will return but never does.

Philomela gets an urgent feeling to get to her sister when she senses new life growing inside Procne. She must see her sister and creates wings to take her to her. She successfully flies to the island, unbeknownst to Procne as Tereus finds her first and locks her up in a shed.

The Kilbanes did a great job at weaving in this mythical story with their music. The joy of being able to bring this rendition of Metamorphosis to the stage is evident when they thank the audience at the end. However, it still feels like more can be done.

The introduction to the sisters is a laid back musical performance, similar to what you would experience in a small coffee shop venue. They are dressed plainly, one in a blue jumper (different from production photos) and the other in a dress. At one point, lights beam down on the stage, and it makes you think, this is it, time to rock and then, it goes back to the previous tone. This story of sisterhood, love, betrayal and rebirth has moments that make you laugh and moments that make you gasp but the in between makes the show feel a little stuck in comfort.

It’s enjoyable and a great addition to the Bay Area stage as it was born and nurtured here. However, it can use a little more creative direction when it comes to the costumes and lighting. God in her tailored suite and boa at the end is the only character that had a part rock, part dream feel to her.

Playing at The Strand Theater the tickets range from $15–$70 and are available at the A.C.T. Box Office at 415.749.2228 or online at act-sf.org. Prices are subject to change without notice. Running time: 70 minutes, no intermission

Come Celebrate at this year’s Beer Mitzvah!

Posted on April 20, 2019 by Ana Pines

Did you know that most beer can be considered “kosher-style” when it does not contain lactose, gelatin, spices, fruit or fruit syrups! Come celebrate this new knowledge (unless you knew already, then come celebrate this old knowledge) and Temple Israel on April 28 at 1pm, at their first Beer Mitzvah celebration.

The event comes from the partnership of Oscar Delgado, Jr., who owns CA Draft Tech and is the founder of the CA Beer Society and Kimberlee MacVicar. We wanted to find out more about this unique event and got a chance to speak with Kimberlee.

Oh, and just in case someone is wondering, no, you do not need to be Jewish to attend!

Is this the first time you’re doing a beer fundraiser?

This will be the third time Oscar and I are partnering up to throw a beer fest, but it will be the first time at Temple Israel. We’re excited about this unique angle and to expand these breweries’ fan bases even more.

How long has the temple been in Alameda?

Since 1920. It was founded by a dozen couples, including my great-grandparents, David & Diana Garfinkle. 2020 marks our 100th anniversary.

Who came up with the idea and why beer?

I was the Fundraising Chair or Co-Chair for 10 years at the temple before “retiring” and returned to the role for this fiscal year. Knowing how much fun beer fests are and how great it is to work with Oscar, I wanted to bring one to the temple. Oscar came up with the awesome name. Beer creates a casual, fun setting to hang out with friends. It’s a positive vibe and culture that I wanted to bring to the temple and open the way for more people to visit and know/remember we’re here and a part of the East Bay Community.

I hear most beer is kosher. What makes a beer kosher?

I stumbled onto an article one day that beer is technically kosher, but only the large corporations can afford certification. There isn’t really a demand for kosher beer, so it’s not an expense many start-up or micro breweries can afford to add to their budgets. It’s a shame kosher certification is financially unattainable or not sustainable for many businesses, particularly restaurants, as those kosher certifying agencies are just limiting their own choices, but don’t get me started!

The four main ingredients in beer – water, hops, wheat and yeast – are kosher, so beer not certified is “kosher-style.” They are not kosher or kosher-style when ingredients like gelatin, lactose, fruit and fruit syrups are added. For example, no stouts, bummer. For this event, we’ve asked the breweries to bring beer that would fit this kosher-style list of ingredients. While Maui Brewing Company is participating and will be pouring beer of those ingredients, we can encourage folks to hit the stores later to buy their Pineapple Mana one, which is super yummy.

What’s included in the ticket?

Ticket is $36 and comes with unlimited pours. No need to get in line to buy more beer tickets or possibly be left with unused ones. A chance to interact directly with these breweries and just have fun hanging out. Food is separate as we have two pop-ups coming to help them promote their businesses.

Where do the proceeds go to? What kind of programs will it support?

The event will benefit Temple Israel. Programs supported will include primarily, our religious and Hebrew School, called Beit Bina, holiday celebrations, and gearing up for our 100th celebration next year. Lots to do to prepare for such a big milestone.

Will there be activities for non-beer drinkers who want to support? Are kids allowed?

Kids are absolutely allowed and can come for free. Beer festivals are very family friendly despite the name. Admiral Malting will have a demo about malts used in many beers, cornhole boards will be out and the band, The Vinyl 4, will be performing twice.

A big piece will be for people to vote their favorite beer as “The Chosen One.” We look to grow this inaugural event into an annual one making it larger and larger, with a larger footprint for more activities.

[button link=”https://www.eventbrite.com/e/beer-mitzvah-fest-celebrating-craft-beer-coming-of-age-tickets-59209619566″ color=”lightblue” newwindow=”yes”] Get Your Tickets! [/button]

#BeerMitzvah

*** Free parking
*** No refunds
*** Must be 21 and over to receive a wristband.
*** Children can attend for free as festivals are family friendly.
*** Food and soft drinks available for purchase.

Marvel Studios’ AVENGERS: ENDGAME fan event

Posted on April 18, 2019 by pinkeggmedia

Are you ready for AVENGERS: ENDGAME? Check out these photos of stars, Chris Evans, Chris Hemsworth, Paul Rudd and Jeremy Renner, along with producer Kevin Feige and directors Anthony and Joe Russo, greeted excited fans at a special Marvel Studios’ AVENGERS: ENDGAME fan event held in Shanghai.

Marvel Studios’ AVENGERS: ENDGAME opens in U.S. theaters on April 26.

The grave course of events set in motion by Thanos that wiped out half the universe and fractured the Avengers ranks compels the remaining Avengers to take one final stand in Marvel Studios’ grand conclusion to twenty-two films, “Avengers: Endgame.”

Kevin Feige produces “Avengers: Endgame,” and Anthony and Joe Russo are the directors. Louis D’Esposito, Victoria Alonso, Michael Grillo, Trinh Tran, Jon Favreau, James Gunn and Stan Lee are the executive producers, and Christopher Markus & Stephen McFeely wrote the screenplay.

The Jungle at the Curran

Posted on April 9, 2019 by Ana Pines

The Curran has brought “The Jungle” to the Bay Area after having sold out shows in New York and London. The play is based on a self made refugee camp that was located on the outskirts of the French city, Calais, from January 2015 to October 2016. Calais’s proximity to the UK, the desired final destination, is why many refugees continue to arrive there today.

The show was written by British playwrights Joe Murphy and Joe Robertson whom lived at “The Jungle” for seven months, by choice. They created Good Chance theater in the middle of the camp. At the time of their arrival, there were already thousands of people from 25 different countries who had built restaurants, churches, and small living spaces on top of an old landfill. These great feats existing in terrible conditions made them want to get people to tell their stories.

The show is set in an Afghan restaurant located in “The Jungle”. It took over three weeks for the Curran to transform itself into the final intimate space. Seats have been pulled out and the floor has been leveled with dirt. There are wood beams set up, small tables and benches. Due to the limited space to create the atmosphere, the audience is limited to 600 per show. Those with tickets near the stage area, will find themselves in the middle of the action, as actors go up and down aisles during intense meetings, protests, celebrations, and the final destruction of the location.

The powerful performances bring to light the humanity behind the faces of many of the refugees, often just seen as pictures in the media, statistics, or charitable cases. It touches on the background of a few personal stories but, mostly revolves around the story behind the arrival and building of “The Jungle”. As everyone is desperately trying to hold on to hope, tensions arise. The countries each person represents also have political conflicts that fuel some incidents, but circumstances force them to acknowledge that they now have more in common. They need to get along to survive, and they do. It’s that unity, drive, hope and creativity that attracts the authorities, ultimately leading them to destroy the camp. Their public reasoning, it was getting too established and would attract more refugees. A falsehood similar to the situation here in the United States at the Mexican border. People do and will continue to arrive despite harsh conditions as they’re often not as bad as the situation the refugees are fleeing from. Also, They. Have. No. Where. Else. To. Go.

The play also gave voice to some of the uninvited volunteers that started to arrive after “The Jungle” started getting media attention. There is a discussion about wether they should be allowed. Most welcomed the potential help and exposure, while others hesitated. They stayed one night, two nights, and then they didn’t leave.

In a poignant moment in the play, these two entities confront each other. Okot (John Pfumojena) a 17-year old refugee, gives a speech to 18-year old volunteer, Beth (Rachel Redford). He takes off his shirt exposing a multitude of scars. She is asked why is she there. She speaks through tears and confusion. He tells her some of the reasons he had to flee his home, his family, and how each tragedy takes a toll on a person, on your identity. How parts of you die with each trauma. This is one of the most revealing parts of the play. Giving someone a few clothing items is not going to bring humanity back to a person. What’s legal is not always moral. Sometimes, the only choice, is to survive.

The show is very emotional and honest. Those who consider themselves an “Ally” in these situations, should definitely see this play. A volunteer’s “help” can remind someone that there is good in the world. It can provide a temporary comfort. However, good intentions don’t often lead to progress. Understanding what leads people into these circumstances, not thinking you know a person’s situation better than they do, and speaking up before it happens does, as the countries often being fled too, are often part of the cause that created these unfortunate circumstances.

Playing until May 19th

Tickets and Location: https://sfcurran.com/shows/the-jungle/

Runtime: 2.5 Hours, 1 15 minute intermission

SPECIAL PERFORMANCES:

Open Caption: Sunday, April 28, 1pm

ASL: Saturday, May 11, 2pm

Audio Described: Saturday, May 18, 2pm

Watch the stage transformation

SDLFF – Frontera Filmmakers

Posted on March 22, 2019 by Melissa Sanchez

The San Diego Latino Film Festival shows a variety of themed short film blocks. Every year I make sure to check out one of their showcases. This year I attended Frontera Filmmakers, featuring movies made by directors near our border town of San Diego and Tijuana. There has been a resurgence in filmmakers like no other time in history. The mix of films ranged from documentaries to horror to suspense, all unique in their storytelling approach.

One of the films that I enjoyed was the documentary Chicano Legacy: Students Empowering Students, directed by Horacio Jones, told about the struggles that occurred and are still occurring at UCSD, in terms of race relations and education. Many minority students at the school felt that they were not being represented or that there were even many people like themselves on campus. After some racial comments went up on social media by a fraternity house, students protested for change and argued that behavior like so, would not be tolerated on their campus. From there, they fought to have a Chicano mural be put up on campus. Through much blood, sweat, and tears, the students brought it to fruition with the help of Mario Torero, a local Peruvian artist. The documentary gives us the details of how it all happened and how the mural itself was created out of stone tiles made in China. It was an intricate process and the final reveal showcased a beautiful mural featuring Cesar Chavez, Barrio Logan, and the students who rallied for change. This was an eye-opening film for me, as I live in San Diego and had no idea that those events took place at UCSD. As a former student of UCSB, I myself have felt the same way as those students, as my race was hardly represented on campus. I thoroughly enjoyed the film and recommend it to everyone, students and non-students alike.

Another film that really caught my eye was El Amor No Existe (Love Does Not Exist), a short film directed by Fernando Fisher, about a treacherous love triangle involving a husband, wife, and the husband’s brother. The wife is mean and unhappy with her lot in life and seeks out the comfort of her husband’s brother while he is away at work as a police detective. The husband has no idea what is going on behind his back, but it is all revealed to him on the fateful day where he forgets his gun at home. To top it off, his teenage son, on the same day tells his father that he is gay. He goes to school on that same day and professes his love to another boy, who then proceeds to beat him up for his revelation. When the husband encounters his wife and brother having sex, what happens from there is suspenseful and dramatic and shocking to boot. When the son witnesses everything that happened with his family it becomes a heartbreaking tale. By the end we realize through the film’s story that love truly does not exist in our world. If you get a chance to see this, I would check it out because it was mind-blowing and interesting to watch unravel.

Only a few days to catch this and more at the San Diego Latino Film Festival: https://2019.sdlatinofilm.com/

Film Review: Nos Llaman Guerreras

Posted on March 20, 2019 by Melissa Sanchez

The documentary film Nos Llaman Guerreras (They Call Us Warriors) directed by Jennifer Socorro, Edwin Corona and the late David Alonso, centers on the Venezuelan women’s soccer team and their fight to win the first World Cup for their country. What makes these women different from all other female soccer players, they had to fight against their country’s political and economic strife to get there. Their coach explains that when he first started with these women, some were so poor that they could not afford toothpaste or deodorant, let alone have the funds to travel and compete with a soccer team. Against all odds, these women battle poverty and their livelihoods just to join the team. The film showcases the personal lives of many of these women, taking us deep into their rural communities and their homes. Yerliane Moreno’s town was so badly flooded that she thought she would never be able to leave her family to play soccer, but regardless she sacrificed everything to be on the team and play with all her heart.

In this film, we also get to see how playing soccer enables them to be lifted out of poverty into having a better life. The star and key player of the team, Deyna Castellanos, got recruited to play at Florida State University and was given a full scholarship. We see Deyna leave Florida and come back to play at the World Cup with her team. Despite being gone for so long, she picks up the rhythm and plays to her best with her team as if no time has lapsed between them. When the women make it to the World Cup in Saudi Arabia, Jordan, they are faced with the best teams in the world. We see them fight and push through every adversity and in doing so, they become national heroes for their country. Their story was so inspirational that female soccer players in Venezuela increased by 97% after the World Cup, only further establishing them as role models to future generations of players. This film’s story was beautifully crafted and told, and by the end of the film, you cannot help, but become a fan of these women.

Check out this and more at the San Diego Latino Film Festival until March 24.

SF – SEAN DORSEY DANCE Launches 15th Anniversary Season

Posted on March 9, 2019 by Ana Pines

SEAN DORSEY DANCE celebrates 15 years of award-winning dance performances, cultural activism and history-making achievements with a return engagement of, “Boys in Trouble” at Z Space (March 14-16) – along with a 20-city U.S. tour, a full-length documentary, the 18th annual “Fresh Meat Festival” of transgender and queer performance (June 20-22, San Francisco), and other celebratory achievements.

“Fifteen years ago, I never could have imagined that I would become the first U.S. transgender artist to be presented by The Joyce Theater, or that Sean Dorsey Dance would tour with such warm reception to 30 other leading venues across the country” said Sean Dorsey. “Our home season in San Francisco launches not only a celebration of our artistic legacy, but it is a look forward to the radical expansion of our national trans-supportive education, engagement and advocacy work that Bay Area audiences have embraced since day one.” Dorsey continued, “Our mission for the next 15 years begins in 2019 – a critical time when trans communities are facing escalating attacks across the nation.”

SEAN DORSEY (founder and artistic director, Sean Dorsey Dance) is an award-winning San Francisco-based choreographer, dancer, writer and trans activist. Recognized as the nation’s first critically-acclaimed transgender choreographer in modern dance, Dorsey has toured his work to 30 U.S. cities and abroad.

You don’t want to miss your chance to catch these exciting events!

“BOYS IN TROUBLE”

“Boys in Trouble” is a timely and urgent commentary on contemporary masculinity. The work places a trans and queer lens onto intersectional questions of embodiment, violence, Black queer love, whiteness, shame and posturing. The award-winning, multi-generational SEAN DORSEY DANCE ensemble (Sean Dorsey, Brian Fisher, ArVejon Jones, Nol Simonse, Will Woodward) performs this intensely athletic work with gusto – moving seamlessly between full-throttle dancing, live speaking and intimate storytelling.

Performances: March 14-16, Z Space (450 Florida Street, SF), four performances only.

(Thursday evening 8 PM; Friday evening 8 PM; Saturday 4 PM matinee with ASL interpretation; Saturday evening 8 PM – gala performance followed by champagne toast and reception with SEAN DORSEY DANCE.)

Tickets: $15-$30.

More Info: http://SeanDorseyDance.com/Boys-in-Trouble/

“Boys in Trouble” was recently nominated for two regional 2019 Isadora Duncan Dance Awards (Best Company Performance; Best Music/Sound/Text).

18th ANNUAL “FRESH MEAT FESTIVAL” (June 20-22)

Sean Dorsey curates the highly-anticipated “Fresh Meat Festival” of transgender and queer performance in San Francisco, performing June 20-22. Now in its 18th year with an international following, the annual three-day festival of live dance, theater, spoken word and music will present 12 gender-nonconforming, transgender and queer artists and ensembles from across the U.S. (SEAN DORSEY DANCE performs at the festival each night.)

Performances: June 20-22, Z Space (450 Florida Street, SF).
*ASL interpretation provided on 6/21 & 6/22 *
* Gala Performance & Reception Sat June 22*

Tickets: $15+ sliding scale.

More Info: http://freshmeatproductions.org/

Upcoming – Documentary

Sean Dorsey himself is the subject of an upcoming documentary directed by Annalise Ophelian and StormMiguel Florez. Annalise is also the director of the documentary “MAJOR!” about Miss Major, the pioneering elder black transwoman and activist. It was an official selection at 60 film festivals worldwide and garnered more than 20 awards for best documentary. We’re looking forward to seeing the result of this collaboration.