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One bird at a time: Marin Audubon’s monthly nature walks mix birding, banter, education

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by WOODY WEINGARTEN, BAY CITY NEWS
Birders observe a pair of mute swans during a field trip to The Ponds at Las Gallinas Sanitary District in San Rafael. The monthly nature walks are organized by the Marin Audubon Society and are open to the public. (Rosina Wilson via Bay City News)

WORLD-FAMOUS FAIRFAX WRITER Anne Lamott turned “bird by bird” into a stylish phrase 32 years ago. Metaphorically, it suggested that folks should tackle major issues one step at a time.

Nowadays, that’s precisely how bird watchers handle the Marin Audubon Society’s monthly field trips at The Ponds at the Las Gallinas Valley Sanitary District in San Rafael. One step at a time; one bird at a time.

First, imagine the birders identifying a duck through their binoculars, then a Cedar Waxwing, then a hawk. Before long, they’ve found 45 to 50 species in a morning’s trek, including many migrants — birds that “don’t really belong there.”

Mark Clark leads birders on a walk at The Ponds on Sept. 4, 2025. The Novato retiree started bird watching 18 years ago and has been leading the nature excursions each first Thursday of the month since September 2024. (John Dahl via Bay City News)

That picture comes from Mark Clark, Novato retiree who started bird watching 18 years ago and has been leading the walks at The Ponds each first Thursday of the month since September 2024.

He specializes in making the trips educational, convivial, and fun. “It’s really a mix of ornithology and the banter of the Jungle Cruise at Disneyland,” he says.

“We’re learning how birds get by on a daily basis, and we’re carrying on the tradition of the Audubon Society of counting birds instead of a century ago when people shot them,” he carries on.

“We usually introduce a topic, such as breeding behaviors, set up scopes in the first pond, the nature pond, and see what’s there. I always bring a scope, and there’s always one or two more. We then move on to the second viewing point. There are usually one or two other experts who chime in and are good about finding birds.”

Good for beginners

The Las Gallinas walks interlock with the overall mission of the Audubon Society, which, according to its website, is to “conserve and restore natural ecosystems, focusing on birds, other wildlife and their habitats for benefit of humanity and the Earth’s biological diversity.”

Alison Pence, a Corte Madera resident and a Marin Audubon board member who’s enjoyed the walk multiple times, reports that Clark is particularly “good with beginners. He’s friendly and tells good jokes.” When informed how she’s described him, he quips, “I am friendly — and handsome.”

Clark retired three years ago after working in hospice for a decade. Before that, he taught theater at Marin Community College and elsewhere, which helps bring “a theatrical flair” to the walks.

The list “for The Ponds is 254 species,” he says, “and I believe I’ve seen them all.”

The Las Gallinas walks draw as many as 25 participants monthly, about half of them beginners, including many elderly. “It’s a terrific walk for beginners,” Clark explains, “because it’s flat and the birds are easy to see. After Point Reyes, it’s the second richest birding area in Marin County and certainly easier to access.”

Rosina Wilson, who lives in Marinwood, not far from what she says was once called The Bird Ponds, is part of the ever-growing senior tsunami in Marin County. “Most of us seniors walk slowly,” she points out. “Many of us use canes or walking sticks. I use a pair of trekking poles, which help me keep my balance and give me upper-body exercise and allow me to walk faster.”

“We don’t walk very fast, don’t rush,” Clark elaborates. “People who come late can catch up.”

A workout for the ages

Wilson contends that “this type of activity is a great brain-training tool. Learning the names of birds … plus their field marks (how you recognize them and differentiate them from similar species) can really give the mind an active workout while the body is enjoying the physical workout.”

Rosina Wilson, a Marinwood senior, takes part in a Feb. 5, 2026, walk at The Ponds. Every visit is different, she says, with a different cast of characters each time the seasons change. (Christina Gerber via Bay City News)

In truth, the age range is quite wide, she says. Though she’s walked with many folks in their 80s, she’s also viewed “a two-year-old walking, a little boy who even had his own binoculars. He was adorable.”

Wilson’s been a participant for years and, in fact, often walks there “on my own and with friends.” Every visit, whether expert-led or solo, she indicates, “is different, and there’s a different cast of characters each time the seasons change. In the winter, there’s a huge number of species of migrants, especially ducks, and we see many types of raptors, including hawks, falcons, and the occasional eagle.”

She’s also spotted other wildlife — “whole families of otters, muskrats, deer, coyotes and foxes.”

Pence, meanwhile, also enjoys Marin Audubon’s other regular field trip, at the Rodeo Lagoon in the Marin Headlands, with leaders William Legge and David Wiechers. Those outings, unlike the ones at The Ponds, are not recommended for beginners, are limited to 15 hikers, and require registration (which opens 10 days before any given walk). Field trips at either location are free to Audubon members and the public, but donations are appreciated.

Asked to pick one highlight from walks she’s been on, Pence cites a trek at Las Gallinas where she “saw a rail, a shy bird that came out of hiding. It was foraging. You don’t get to see them very often.”

This article was first published on LocalNewsMatters.org, a nonprofit site supported by Bay City News Foundation http://www.baycitynews.org/contact/

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.comand https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

‘Hardbody’ musical in Rohnert Park extremely likeable despite heavy theme

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Cast of Hands on a Hardbody appear with Nissan pickup truck that’s the focus of the Rohnert Park show. Photo by Jeff Thomas.

 

 

 

 

 

 

 

 

 

By WOODY WEINGARTEN

Hands on a Hardbody, which plays in Rohnert Park through March 1, virtually demands that audience members root for their favorite character.

The country-rock musical pits each of 10 needy Texans against the other nine in a cruel endurance contest that screws with participants bodies and minds. The stated goal: To be the last man/woman standing in a competition to determine who can keep one hand on a hardbody pickup truck longer than the rest.

The storyline, by Doug Wright, is based on the real-life saga of a Longview auto dealer’s annual promotion in excessive summer heat from 1992 to 2005. The competition — which actually ended because of a contestant’s suicide — shallow dives into the inner life of those snagged on the underbelly of society, part of the working class that’s often crushed by big corporations and incompetent, uncaring politicians.

Serena Elize Flores, playing Norma, is the show-stopper. Looking on as she sings is Malik Charles D. Wade I (Ronald). Photo by Lauren Heney.

Theatergoers get a batch of characters to root for. They can sympathize, for instance, with Norma, a fervent Christian who apparently has multiple church congregations praying for her to win. She’s portrayed by Serena Elize Flores, who stops the show with a booming gospel tune, “Joy of the Lord,” showing off what’s easily the best voice on stage. The cast — 16 actors of different shapes, sizes, ethnicities, and vocal abilities —makes the number even better by rhythmically pounding on the truck with white cotton gloves they’re ordered to wear.

But maybe a viewer can better relate to Chris (played by Jake Druzgala), an ex-Marine with survivor guilt who poignantly sings “Stronger,” a melody about needing to be macho while in the service but being vulnerable afterwards. He’s clearly now in a war with Post Traumatic Stress Disorder (PTSD).

Or perhaps sensitive observers might feel sorry for one half of a couple, J.D. Drew (Larry Williams), who’s the oldest participant, a dude forced to retire without a pension by an injury he got falling off an oil rig, or his wife, Virginia (Julianne Bretan), who J.D.’s taken for granted despite her taking care of him. They add another emotional moment in “Alone with Me.”

Mark Bradbury (Mike) puts the moves on Katie Kelley (Heather). Photo by Jeff Thomas.

Compassion might also be given Ronald (Malik Charles D. Wade I), a big, black guy who thinks devouring candy bars will somehow be a winning strategy; Jesus (Maick Poroj), a veterinary student who quietly rails against prejudice and wants to sell the truck so he can pay his tuition; or Heather (Katie Kelly), who gulps down speed pills given her by the somewhat lecherous dealership manager to ensure a fixed victory.

Direction by Sheri Lee Miller makes sure the 2½-hour run-time moves swiftly, and that person after person’s self-explorations are tight and the whole enchilada isn’t choppy. She also underscores the humor that’s sprinkled throughout, keeping the show from descending into sentimental tragedy.

A shiny cherry red Nissan truck on a center-stage turntable might itself by the way be considered a character. It swirls and moves forward and backward and symbolizes a chance for the winner to make a 180-degree life change from down-on-your-luck to light-at-the-end-of-the-tunnel.

The playwright, 63-year-old Doug Wright, may well believe his tale is more relevant today than when it arrived on Broadway in 2013 since he has contended that “our economic tumult has brought age-old fissures of race, class, and income inequality to the fore.”

Hands on a Hardbody certainly offers plenty to chew on. It covers, if superficially, the major disappearance of the American dream, the destruction of the U.S. healthcare system, and the hardship of the blue-collar class in general.

But every now and then, the text spits out a distracting behind-the-times reference. Such as when it refers to Desert Storm in current terms, or it lists the then-spanking new truck at only $22,000.

The basically plotless show — reminiscent of A Chorus Line or Sondheim — features southern rock, gospel, country, and Delta blues. It is, according to music director Lucas Sherman, who’s onstage at Spreckels on keyboards, backed by a violinist, guitarist, bass-player and drummer — “gritty at times and beautiful the rest of the time.” Gritty, of course, wins more often.

Trey Anastasio, lead guitarist of the rock band Phish, co-wrote the music with Amanda Green, who also did the lyrics.

Everyone involved worked on making sure that Hands on a Hardbody, in effect stuck in place by the musical’s arc, doesn’t remain static. They break the story’s theme by having contestants leave the truck to move upstage and sing (without being thrown out of the contest). Characters constantly and gracefully slip ‘n’ slide in front of and behind each other while still touching the hardbody. And Karen Miles’ choreography is wonderfully silly in spite of having most of her dance creations needing to be limited — one-handed.

It’s a show that sounds vastly heavier in a review than it is. It’s extremely likable. And the more a theatergoer thinks about it after leaving, the more that person’s apt to like it even more.

Hands on a Hardbody will play in the Nellie W. Codding Theater of the Spreckels Arts Center, 5409 Snyder Lane, Rohnert Park, through March 1. Tickets: $16 to $44. Info: www.spreckelsonline.com or 707-588-3400.

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.comand https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

Masquers Playhouse’s ‘Improbable Fiction’ hits funny bone hard

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Conrad Cady, Tyler Null, Alicia von Kugelgen and Simon Patton are excellent in Masquers Playhouse’s production of Improbable Fiction.” (Mike Padua via Bay City News) 

By WOODY WEINGARTEN

Arnold, a disoriented wannabe writer, suddenly finds several hunters in his living room trolling for aliens from outer space in Masquers Playhouse’s production of Alan Ayckbourn’s “Improbable Fiction” onstage in Point Richmond.

Played deftly by C. Conrad Cady, Arnold’s jumpy, overheated befuddlement hit the audience’s collective funny-bone so hard and long, their laughter drowned out more than a few of the next lines.

The first act of this farce — about a do-it-yourself writer’s group whose members talk more about writing than doing it — starts slowly. While audiences may momentarily worry about reacting well to the British humor, they should watch out: the pace quickly becomes frenetic. Then, Act 2 incites laughter immediately. With physical and verbal slapstick antics and quick-change costuming, it demands out-loud laughs as Arnold finds himself in the middle of a collaborative story.

Also very funny are Simon Patton as Brevis, who writes the book for musicals and whose comic crabbiness is so inflated it surpasses Lewis Black’s nasty/funny attitude; Tyler Null as Clem, who garbles one word after another, concocts conspiracy stories and adopts a noir detective persona as an alter ego; and Anna Kosiarek as Vivvi, a horny woman whose hangdog expressions are reminiscent of Stan Laurel.

None of the members, however, have a greater burning desire to finish their projects than Grace (played by Alicia von Kugelgen), who for years has been futilely trying to write a kids’ book about Doblin the Goblin to accompany her drawings.

Indeed, only Arnold has completed anything, and that’s been in the form of instruction manuals.

Masquers Playhouse, an amazing intimate community theater, consistently stages musicals and plays like this 2 ¼-quarter hour comedy that’s so tightly directed by Angela Mason. Here, the actors are superb, even when being intentionally hammy.

Equally excellent are the light and sound design by Michael O’Brien and dazzling, imaginative costumes by Ava Byrd.

Sir Alan Ayckbourn improbably has written and produced more than 90 plays, 10 of which have landed on Broadway, but he spends the bulk of his time directing. At a Masquers opening-week matinee, his delightful “Improbable Fiction” received an almost unanimous standing ovation. It was merited.

“Improbable Fiction” continues through March 1 at Masquers’ Playhouse, 105 Park Place, Point Richmond. Tickets are $15 to $35 at masquers.org.

This article was first published on LocalNewsMatters.org, a nonprofit site supported by Bay City News Foundation http://www.baycitynews.org/contact/

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.comand https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

‘The Cherry Orchard’ at Marin Theater reveals top acting, directing, costumes, and set

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A zoned-out servant, Firs, clutches 100-year-old bookcase to show it off to cast of The Cherry Orchard. Photo by David Allen.

 

 

By WOODY WEINGARTEN

Nina Ball’s classy set for Marin Theatre’s The Cherry Orchard is exceptional, fully capturing the sense of an aristocratic, past-its-sell-date Russian estate.

Lydia Tanji’s costumes for the almost three-hour modern-language comedy are delightful, some comic, some gorgeously reinforcing the sense of powerless, turn-of-the-20th-century characters all dressed up with nowhere to go.

Superlative is the direction of the two-act classic Anton Chekhov play by Carey Perloff, who helmed the American Conservatory Theatre for 26 years, carefully extracting both comic and tragic emotions from an energetic, top-notch cast that’s mercurial yet predictable.

Bay Area actors with familiar faces — Howard Swain, Liz Sklar, Anthony Fusco, and Lance Gardner, for example — are inspiring, often briskly moving the 1904 modern-language play along with subtle eye or mouth movements or silences that brilliantly flesh out a fading upper-crust. For pure theatrical pleasure, check out Swain as Firs, an aged butler who’s ultimately abandoned after being in everyone’s face; Sklar as Liubóv, a frivolous, ineffectual “loose woman” who’s clueless about how to overcome a debilitating family debt; and Fusco as Gáyev, Liubóv’s brother, who revels in prattling but is often shut down.

Lopákhin (right) excitedly holds attention of cast in The Cherry Orchard. Photo by David Allen.

Tour de force becomes the appropriate label for Gardner, the theater company’s executive artistic director who cloaks himself in the persona of status- and money-hungry Lopákhin, who thinks the orchard, which “is mentioned in the encyclopedia,” should be cut down and developed as vacation housing. Gardner’s verbal pauses demand attention. So do his statements like “I’m rich. I’ve got lots of money,” contrasted with his unrelenting belief that he’s still just a poor schnook from the country. The actor, in fact, quietly draws scrutiny even before the play opens as he sleeps center-stage on a divan with an open book on his chest.

For those looking for comedy, The Cherry Orchard provides plenty of over-the-top clowning and pratfalls, as well as sly verbal humor and running gags, not to mention mock-violence that might have been lifted right out of a zany Three Stooges playbook or a Road Runner cartoon.

For those seeking drama, the production delivers sufficient riveting themes — such as grieving over a child, multiple references to slavery, and class differences at a time when society’s underpinnings are shaky and the Russian Revolution waits in the wings. Illicit relationships cause ripples, and cherry blossoms and a 100-year-old bookcase and a slew of broken dolls, all symbolic, help create a thought-provoking atmosphere.

Descriptive phrases are common. One character, for example, accuses another of being “like an animal that eats everything in its path.”

Oddly juxtaposed are a female, dressed as if she stepped out of a Nickelodeon telecast, who does card tricks and a guy who does ventriloquy.

One downside is that the farce starts off frenzied while introducing too many characters at once. It’s parallel to many Russian novels where, despite accompanying graphics of family trees, it takes a while to unravel who’s related to whom.

Once you figure out who’s connected to whom, however, the play’s easy to relate to, especially its political undercurrents that resemble today’s, including obsessions with a new world order and either begging for or stockpiling money.

Compassion was Chekhov’s hallmark, according to dramaturg Michael Paller.  “He never judged his characters one way or the other.” But we can.

Perloff, a press release reports, says the play, which she’d commissioned Paul Schmidt to translate, is “about why change is crucial and why we always resist it. It’s…full of narcissistic characters who are sure they’re the star of their own story, but fail to realize the damage they’re causing to the people around them.”

Know anybody like that?

The Cherry Orchard will play at the Marin Theater, 397 Miller Ave., Mill Valley, through Feb. 22. Tickets: $15 to $89 (plus $6 handling fee per order). Info: 415-388-5200 or www.marintheatre.org

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.comand https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

 

WWI phone operators light up Ross Valley Players’ ‘Hello Girls’

By Woody Weingarten

Ross Valley Players production of “The Hello Girls” features, L-R, Monica Rose Slater, Jacqueline Lee, Abigail Wissink, Grace Margaret Craig and Malia Abayon. (Robin Jackson/Ross Valley Players via Bay City News)

By WOODY WEINGARTEN

Women’s roles in wartime rarely have been so smartly and poignantly portrayed as in “The Hello Girls.”

Ross Valley Players are staging the 2018 musical drama co-written by Peter C. Mills and Cara Reichel, which starts in World War I as U.S. servicemen are fighting in France. Dispatches were being screwed up because male American telephone switchboard operators couldn’t speak French, and their French counterparts lacked English.

Enter the Signal Corps Female Telephone Operators Unit.

“The Hello Girls” tracks the misogyny French-speaking females suffered at the hands of their peers and superiors, all the way “up the chain” to stalwart Gen. John “Blackjack” Pershing, played by Joseph Walters with appropriate gruffness.

The feel-good story focuses on Grace Banker, the women’s leader, and four other bilingual operators. Monica Rose Slater adroitly portrays Banker, who is often stone-faced, a countenance befitting keeping her underlings in line—until she starts singing and smiling, often with wide-eyed mugging. She clearly has the most resonant voice of the 10-member cast. Grace Margaret Craig displays comic chops as sharp mouthed operator Suzanne Prevot.

Monica Rose Slater plays Grace Banker, leader of the telephone operator corps in Ross Valley Players’ “The Hello Girls.” (Robin Jackson/Ross Valley Players via Bay City News)

Mills composed the sometimes-similar jazz and ragtime songs in the two-act, two-and-half-hour show. The dense lyrics are geared to move the story along, but the tunes lack memorable riffs. However, some numbers are pleasant: the opener “Answer the Call”; the bouncy title tune “Hello Girls”; the first-act finale “Lives on the Line”; the second-act opener “The Front” and “Making History,” which details what happened after the time period of the show, as the “girls” fought to be recognized as soldiers for decades.

Only a few numbers near the schmaltzy ending—such as “The Lost Battalion,” a solo by promoted Capt. Riser (Nelson Brown) that’s a study in poignancy—deal with the horrors of war.

None of Mills’ melodies are as exciting as snippets of standards such as “Alexander’s Ragtime Band” that are included. And those morsels aren’t nearly as good as the upbeat choruses of signature tunes from each U.S. military branch, belted by the full cast in a patriotic medley.

The actors playfully display their abilities on myriad instruments — keyboard, drums, double-bass, cello, violin, flute and accordion. While they’re probably not either Juilliard or San Francisco Symphony material, they play well enough to create an illusion of mastery.

Director Maeve Smith ensures that the performers’ singing and dancing are in sync, and that their facial expressions and body language convey precisely the right mood.

Ron Krempetz’s set is marvelous and eye-catching; cross-hatched wires and bright lights reveal how critical phone messages were to the war effort.

Grace Margaret Craig displays comic chops and proficiency on accordion in “The Hello Girls.” (Robin Jackson/Ross Valley Players via Bay City News)

Costumes by Valera Coble providing an accurate sense of the era range from blue military outfits with high necklines, puffy sleeves and long skirts, and contrasting colorful civilian garb, for the women, and olive drab uniforms and army helmets and ammo belts for the men. All that, plus heavy boots!

Jonathan Blue’s choreography, predominantly cutesy, can’t help but evoke smiles.

Props are few, and the switchboard is invisible. However, the actors make it real by simulating plug-in motions and serving up perfect harmony, musically and in demeanor.

While it was difficult to watch how the women were rebuffed in their efforts to be in the middle of the action “at the front,” the show’s comedy goes down easier, such as the scene where the women are learning ever-changing secret phone system codes that force them to be trilingual, to know French, English and gibberish.

Ross Valley Players’ “The Hello Girls” runs through March 1 in the Barn Theatre, Marin Art & Garden Center, 30 Sir Francis Blvd., Ross. Tickets are $30-$45 at rossvalleyplayers.com.

This article was first published on LocalNewsMatters.org, a nonprofit site supported by Bay City News Foundation http://www.baycitynews.org/contact/

 

Find Sherwood “Woody” Weingarten, a member of the San Francisco Bay Area Theater Critics Circle and the author of four books at voodee@sbcglobal.net, woodyweingarten.com or vitalitypress.com.

Mark Morris dancers play second fiddle to sound, projections, and astronaut figurines

By Woody Weingarten

Mark Morris dancers perform in front of projection of the moon and a geometric design, ringed by miniature astronaut figurines. Photo by Xmbphotography.

By WOODY WEINGARTEN

It was a rarity for sure — a sound tsunami, rear-screen projections, and pint-sized astronaut figurines, the totality of which often became more compelling than Mark Morris Dance Group movements.

But true to form, the group’s Moon still provided an overall offbeat, entertaining, jam-packed 60-minute program at Zellerbach Hall in Berkeley. And amusing, even though some segments were significantly befuddling or weird.

The music began with percussive single notes that quickly morphed into jazzy phrases that foreshadowed a lot of what was coming. Astoundingly, the loud, rich tones were provided live in the pit by only two instrumentalists — music director Colin Fowler on piano and organ, Michel Taddei on double bass — on melodies as diverse as Clair de lune, Debussy’s ubiquitous classic, and the obscure Blue Moon of Kentucky by Bill Monroe and His Blue Grass Boys. Plus excerpts from Carl Sagan and NASA’s Golden Record, which was placed aboard two 1977 Voyager spaceships in hopes of communicating with extraterrestrials.

The first of countless projections impeccably designed by Wendall K. Harrington simultaneously highlighted György Ligeti’s Musica ricercata and attempted to supersede the growing jingoism that was spotting our nation in April, when Morris premiered his creation in D.C. in conjunction with Cal Performances and several other musical organizations that co-commissioned it.

Moon saluted old-style American patriotism, initially showing a moving circle of stars that transformed into the U.S. seal. Following images illustrated the John F. Kennedy Center for the Performing Arts in D.C. and the assassinated president at a podium. Both the world premiere in the nation’s capital and the three-day Zellerbach booking that marked the Bay Area premiere ignored Donald J. Trump, the current, living president — obviously on purpose.

Other projections included full and crescent moons, closeups of craters, moons overlayed with geometric lines and circles, moons linked with pretty much anything you’ve ever associated with that sphere. They perfectly embellished the overriding theme of man’s consistent infatuation with the satellite.

Mark Morris dancers perform in front of projection of the moon and a geometric design, ringed by miniature astronaut figurines. Photo by Xmbphotography.

Costumes by famed designer Isaac Mizrahi, which vaguely resembled jumpsuits used by astronauts, were surprisingly dissatisfying. The contrast of light fronts and dark backs worked well enough, but at least several audience members commented that the outfits lacked excitement and were distracting because they flapped loosely, particularly in the stomach and crotch areas.

Even more bedeviling, however, were segments of the program that were as short as any dance material ever professionally staged, lasting but a few seconds, certainly insufficient time to figure out its purpose.

Perplexing, too, was what seemed an excessive use of the nine featured dancers as, in effect, stagehands who constantly moved around the one-and-a-half-foot high astronaut statuettes, to the point of even simulating robots as they carried them offstage.

It also became difficult to discern why the many foreign-language insertions of greetings to aliens were inserted at the places they were, and it was sometimes tough on the ears to absorb the scratchy static from recordings of 80 or 90 years ago.

Oh, yeah, as for the dancing itself, it generally lacked inspiration. Redundancy throughout — with couples repeatedly hugging and twirling, with dancers reaching out as if to touch a projected moonscape, with dancers swirling across the stage — silhouetted behind a scrim — as they spread out on stools with wheels. Chunks of that was memorable, but some was less than wonderful (especially a sequence that supposedly emulated the movements of monkeys).

The audience for the most part clapped tepidly after each segment but found the energy to applaud vigorously when the short intermission-less piece was done. It also had the grace to give choreographer Mark Morris a standing ovation in honor of the outstanding modern ballets he’s created since founding his troupe in 1980.

Morris’ most popular works are his masterpiece, L’Allegro, il Penseroso ed il Moderato, which uses Handel and Milton’s sung poetry as a base; his witty The Hard Nut, which toys with The Nutcracker as if were turned sideways; and the sexy Dido and Aeneas, an adaptation of a Purcell opera.

Upcoming dance performances at Zellerbach Hall include the Martha Graham Dance Company Feb. 14 and 15, celebrating the company’s 100th anniversary; A.I.M. by Kyle Abraham Feb. 21 and 22; the Alvin Ailey American Dance Theater April 7-12; and The Joffrey Ballet performing the West Coast premiere of Midsummer Night’s Dream.

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle and the author of four books, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.com and https://vitalitypress.com. His books include Rollercoaster: How a man can survive his partner’s breast cancer, aimed at male caregivers; MysteryDates — How to keep the sizzle in your relationship; The Roving I, a compilation of 70 of his newspaper columns; and Grampy and His Fairyzona Playmates, a whimsical fantasy intended for 6- to 10-year-olds that he co-authored with his then 8-year-old granddaughter.

The sound of wildflowers: Photographers’ audiobook lets visually impaired ‘see’ nature

By Woody Weingarten
Desert Candles in the Caliente Mountain Range, Carrizo Plain National Monument in California, in 2017 is one of the audio-described photos in “Voices for the Splendor of California Wildflowers: A Descriptive Journey for the Visually ImpairedShown here. The forthcoming work is the creation of Marin County nature photographers Rob Badger and Nita Winter, who wanted to create a descriptive coffee table audiobook. (Rob Badger and Nita Winter via Bay City News)

 

 

by WOODY WEINGARTEN, Bay City News

 

AWARD-WINNING CONSERVATION PHOTOGRAPHERS Rob Badger and Nita Winter lived together lovingly for “one month short of 38 years” before getting married under a huge oak tree in a friend’s back yard in the hills of Mill Valley.

“We had to make sure it was going to work out,” explains Winter mischievously.

The Mojave Desert’s Poppy Preserve in 2003 on the cover of the coffee table wildflower illustration book “Beauty and the Beast: California Wildflowers and Climate Change” by Rob Badger and Nita Winter, co-published by the California Native Plant Society. (Rob Badger and Nita Winter via Bay City News)

Badger and Winter had for three decades photographed flora in natural environments for their passion project, Beauty and the Beast: California Wildflowers and Climate Change, a 2020 coffee-table book that includes 190 color shots captured by natural light.

A companion exhibit of 52 framed photos, which preceded publication of the book and has been touring for seven years, has already been seen by 100,000 people.

Now they’re wrapping up the components of an innovative spinoff, Voices for the Splendor of California Wildflowers: A Descriptive Journey for the Visually Impaired, a labor-of-love audiobook that “will allow the visually impaired to see and connect with nature in their mind’s eye,” says Badger.

“We believe that no one has published an audio-described, beautiful coffee-table book where people can feel what it was like to be invited into our world and feel what kind of day it was when the images were shot,” he adds. “The poetically described photos can link directly with a listener’s imagination.”

The project, which highlights essays by scientists, environmental leaders, and nature writers, was inspired by the desire of a legally blind friend to “see” the striking images.

As part of the final stages before publication, which Badger and Winter hope to happen in the first quarter of 2026, they’re writing in-depth audio descriptions of their multi-colored, floral images, and they’ve gathered professionals in the world of sound to embellish those images and their stories. Becky Parker, founder and CEO of Pro Audio Voices, the company that will produce the audiobook, will voice those audio-descriptions.

Braille and Talking Books Libraries plans to reformat the book so it can be accessible to its 10,000 subscribers.

Peter Coyote lends his ‘iconic voice’

Actor Peter Coyote, famed for his roles in such classic movies as “E.T. the Extra-Terrestrial” and “Erin Brockovich” and for his narration on Ken Burns’ multi-part television documentaries, has narrated — from a studio in Sebastopol, near his home — “the personal short stories of seven male authors, the foreword, and ‘behind the scenes’ Badger-Winter text,” Winter reports.

Annie Obermeyer, Coyote’s actress friend, protégée, and what he labels “a force of nature,” reads 13 stories by female writers.

Actor and environmentalist Peter Coyote, in Threshold Studios on Aug. 13, 2025, records part of audio-described photos in “Voices for the Splendor of California Wildflowers: A Descriptive Journey for the Visually Impaired.” (Rob Badger and Nita Winter via Bay City News)

Winter and Badger sometimes echo each other’s thoughts. Case in point: “It was surreal for us to be sitting in a control room listening to Peter with his iconic voice reading our words.”

Coyote, who says he’s “been an environmentalist since I was about 6,” alludes in a phone interview to his “Buddhist philosophy about everything being interconnected.” He enjoys focusing on “the magical feelings I have about living creatures,” but maintains that human beings “are not different from water, from insects in the soil. You’ve never been free of the sun, of oxygen, of birds that are pollinating.”

Regarding his approach to narration, he admits, “I go into the studio naked to the text. If I’m open, the text itself will engender the appropriate emotions. I never prepare. My technique is no technique.”

Winter and Badger spent a lot of time fundraising for their exhibit, their coffee-table book, and for their audiobook, which Winter says is aimed in the final analysis “at the visually impaired, the blind, the dyslexic, non-English speakers, the sighted community, and, well, everyone.” Specifics are available on a crowdfunding page for the project.

The original idea for their coffee-table book, co-published by the California Native Plant Society, was birthed in 1992 after Liz Hyman, another outdoors photographer, invited Badger to join her in the Mojave Desert’s Poppy Reserve for a shoot. It started out too windy to photograph anything, but, soon thereafter, Badger watched “waves of intense warm wind blow across the poppies, (and) witnessed this amazing spectacle of color and beauty.”

Their work is crucial, he says, “because we’ve spent so many hours outdoors looking at beauty and environmental destruction, and it’s become important to us to promote the beauty and public land, whether it’s a national park or a local city park.”

Winter gently interrupts: “It’s always been about how can we make positive changes with our images — through visual storytelling.”

Relationship blossoms for Team Sweetie

Their own story is as compelling as their quest for California wildflowers. Their unconventional, humorous wedding ceremony, for instance, was pulled off without a hitch at a total cost of $610 by soliciting tables and chairs, plates and silverware, and flowers for each table. “It was a real community event in the sense that people contributed to our wedding,” explains Winter.

Rob and Nita backpacking on Sept. 12, 2006, at Lake Winnemucca near Carson Pass, Mokelumne Wilderness, El Dorado National Forest in Alpine County. (Rob Badger and Nita Winter via Bay City News)

The two haven’t limited their interest in nature to distant sites. Winter says that “we’ve been “re-wilding our property, with 42 native plants, on a quarter of an acre on a hillside in Marin City, where there’s a steep slope with a lot of clay soil and where we have a really incredible view of the bay.”

Since they moved in 25½ years ago,” she says, “we’ve taken down five or six big Monterey Pine Trees, which are fire hazards, when they got sick, and juniper. When we bought the place, there was one Coastal Live Oak tree in the corner of the property. Birds carried seeds and we now have 20.”

Badger gently interrupts — and smiles impishly as he reveals how they jointly perceive their personal/creative relationship: “We are Team Sweetie.”

Soweto Gospel Choir’s energy compels Berkeley audience to participate

By Joe Cillo, Woody Weingarten

Energy is the operative word at Peace, a concert at Zellerbach Hall on Sunday. Photo by Stefan Meekers.

By WOODY WEINGARTEN

It was hard to believe that 16 singers from South Africa could sustain the amount of energy they expended Sunday.

Their arms kept flailing, their legs kept pumping, and their butts kept shaking in the first half of a concert titled Peace at Zellerbach Hall in Berkeley. Solo voices reverberated with gusto as the rest of the all-black, three-time Grammy-winning Soweto Gospel Choir harmonized behind them, their bright, colorful costumes undulating and rolling to rhythms so complex and fast they sometimes impeded audience toe-tapping.=

The packed crowd was nevertheless drawn into the songs, clapping and singing along and shouting approval, as well as offering an almost universal standing ovation at the end of the 95-minute concert. Support seemed loudest when freedom songs became political and angry and reminiscent of anti-apartheid struggles and rallies — and the choreography was highlighted by outstretched arms with fists.=

It was amazing that just two men — a keyboard artist and a percussionist — could supply sufficient musical sound to be a booming but flawless foundation for the vocals, which ranged from the melancholy sweetness of “You’ll Never Walk Alone” to screeching like birds and animals.

Colorful backdrop complements costumes of Soweto Gospel Choir. Photo by Stefan Meekers.

The second half of the pre-Christmas concert was a contrast — soft, spiritual, and spunky — featuring gospel standards, snippets of four carols, and then ending with the rousing Leonard Cohen classic, “Hallelujah.”

Being present for the 23 musical numbers, which are sung in six African languages plus English, meant having a vibrant experience that dragged a listener emotionally back to the heyday of Nelson Mandela and Dr. Martin Luther King. It also became impossible to ignore the fact that Donald J. Trump is currently allowing only whites to emigrate from South Africa.

Members of Soweto Gospel Choir are in sync. Photo by Stefan Meekers.

The choir, which was formed in 2002 “to celebrate the unique and inspirational power of African gospel music,” stands, in effect, as a tribute, to Soweto township, a suburb of the city of Johannesburg. The area became world famous in June of 1976 with the Soweto rebellion, when up to 20,000 school children protested the government’s policy supporting education in Afrikaans, “the language of the oppressor,” rather than the native tongue. Police opened fire on the students.

In a sense, the Soweto Gospel Choir is a living monument to those who were killed.

Upcoming vocal performances at Zellerbach Hall in Berkeley include the San Francisco Gay Men’s Chorus in a holiday spectacular Saturday, Dec. 20 and An Evening with Kelli O’Hara on Saturday, Jan. 31. 

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle and the author of four books, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.com and https://vitalitypress.com.

Masquers’ ‘Catch Me If You Can: The Musical’ is funny, bittersweet 

By Woody Weingarten

In many shows, a director’s work is invisible. Here in Point Richmond, it is visible to theater buffs because director Enrico Banson, along with choreographer Katherine Cooper and costume designer Tammara Noleen, have superbly reinvented what was a too-long tale. Now it’s a fast-paced, bouncy musical-comedy that well might keep a smile on your face throughout its 18 musical numbers and two acts.

After tapping your toes, though, you also may leave the theater with a serious aftertaste from some bittersweet themes: father-son relationships, identity, crime and punishment, and redemption.

Banson is also responsible for the projections seamlessly inserted as a backdrop; unlike those in shows trying too hard to be artsy, these images are simple and appropriate to the storyline. A few snippets are real TV clips from the 1960s, the show’s setting. Better yet, some gems are cinematic scenes that were shot beforehand.

“Catch Me If You Can: The Musical,” with score by Marc Shaiman and Scott Wittman and book by Terrence McNally, steals the best lines and scenes from the movie and leaves much of the sluggish stuff behind.

Danila Burshteyn, who has a strong, resounding voice and a perfect countenance, plays Frank Abagnale Jr. in a leading role nearly as captivating and demanding as the Emcee in “Cabaret.”

Burshteyn is the complete singer-actor combo. But, like DiCaprio, being years older than his character, he doesn’t quite impeccably replicate a brash 16-year-old runaway and forger with dreams of stealing millions of dollars before he’s 21.

Abagnale, a comic book reader who struggles with loneliness and a futile yearning to bond with his father, a dapper con man who hands down criminal skills to his son, starts his life of crime by improvising the role of a substitute teacher. Then, pretending, he successfully becomes an airline pilot, doctor, lawyer, everything but an Indian chief. Interestingly, the story stems from a memoir written by the real-life Abagnale.

The framework for the show has Junior spilling his checkered story in a television studio with a flashing applause sign that pulls the Masquers audience into the action. Instead of remorse, he arrogantly claims that he “did it in style.”

Nicole Stanley, who charmingly portrays the momentary love of his life, Brenda Strong, stops the show with her amazingly powerful voice.

Nelson Brown plays FBI agent Carl Hanratty in Masquers Playhouse’s ‘Catch Me If You Can: The Musical.” (Mike Padua via Bay City News)

Nelson Brown as FBI agent Carl Hanratty, who’s frustratingly chasing master counterfeiter Abagnale Jr., fills out the top-billing slate. Brown has exquisite comic timing but is fittingly detached; the character admits that he’s “never been cool.”

Brown occasionally spews dialogue so quickly; it’s a little hard to hear every word. And the show’s sound is difficult at times, muffling some performers. Also, the seven-piece band at the side of the stage led by music director Camden Daly on keyboards now and then gets so loud, it drowns out the often-sardonic lyrics. Mostly, though, the band provides jazzy, upbeat rhythms that ultimately may be forgettable but in the moment are ear-candy.

At nearly 150 minutes (plus intermission), this version of “Catch Me If You Can: The Musical” may play havoc with your bottom. But despite its drawbacks, it would be a shame for anyone who likes upbeat song-and-dance shows to miss it.

Catch Me If You Can: The Musical” runs through Dec. 7 at Masquers Playhouse, 105 Park Place, Point Richmond. Tickets are $30- $35 at masquers.org.

 

This article was first published on LocalNewsMatters.org, a nonprofit site supported by Bay City News Foundation http://www.baycitynews.org/contact/.

 

Contact Sherwood “Woody” Weingarten, a member of the San Francisco Bay Area Theater Critics Circle and author, at voodee@sbcglobal.net, https://woodyweingarten.com or https://vitalitypress.com

Dancer-illusionists are spectacular, magical, and mind-blowing at Zellerbach in Berkeley

By Woody Weingarten

Costumes in Momix show are extraordinary. Photo by Sharen Bradford.

 

 

By WOODY WEINGARTEN

Momix, a troupe of dancer-illusionists, simply can’t be reviewed like one would an ordinary company of hoofers, or, for that matter, even some exceptionally first-rate ones.

This group was so much better — perhaps because it was so different, so fresh.

At times, the eight celestial, acrobatic performers became movable pawns in artistic director Moses Pendleton’s absurdist Alice, their newest traveling show at Zellerbach Hall in Berkeley. They could disappear and reappear into and out of lighting effects and projections. They could slyly, whimsically exaggerate dance moves as avant garde recorded jazz, rock, and choral music also captured the audience’s toe-tapping attention. And they could get embedded in mind-blowing, quirky choreography and costumes.

The performance was salted with somewhat subtle humor, via odd arm and leg movements and imaginative heads of critters and babies, via hidden wires that shot performers into the air, and via costumes that rapidly changed characters from this to that to the next thing.

The show also contained understated sexuality.

It’s unlikely most of the crowd had ever seen anything like the 105-minute, two-act Cal Performances Bay Area premiere, even from Momix, which has matured in its sophistication and its ability to create illusions over the years. The performance had a plethora of slick smoke-and-mirrors, minus the smoke.

Pick a descriptive word; these all fit — spectacular, amazing, magical, unique.Come to think of it, fantastic, with its multiple meanings, might be the most on the nose moniker.

The book Alice’s Adventures in Wonderland was the inspiration for the 23-number wonderment, with Act 1 carrying a “Down the Rabbit Hole” label and Act II being tagged “Through the Looking Glass.”

The spectacle was too superb to have only one show-stopper — it had three, the best of which spotlighted male performers toying athletically with extra-large mirrors that marvelously distorted reality.

Even if the last time you’d read Lewis Carroll’s stories was 20 or 30 years ago, you would immediately remember and recognize references to such classic figures as the Mad Hatter and the Cheshire Cat (even though their identities here were somewhat fluid).

Exercise balls become dance props in Momix. Photo by Sharen Bradford.

One don’t-miss moment, another of the show-stoppers, was a synchronized bit that proved massive exercise balls could become extraordinary props.

Missing the red aerial silks of “The Mad Queen of Hearts” would have been a shame. The segment might have reminded you of a Cirque du Soleil act but with even more striking beauty and pizzazz.

Also, “Advice from a Blue Caterpiller” provided some charming, light-hearted moves that you most likely haven’t witnessed before.

So, with all those visual vignettes in mind, this sentence becomes incredibly easy to write: Next time Momix appears in the Bay Area, go!

Other dance performances coming up at Zellerbach that are certainly worth checking out are the Mark Morris Dance Group’s “Moon” from Jan. 23 to Jan. 25 and “Graham 100,” the Martha Graham Dance Company’s anniversary year celebration on Feb. 14 and 15.  

Sherwood “Woody” Weingarten, a longtime voting member of the San Francisco Bay Area Theater Critics Circle and the author of four books, can be contacted by email at voodee@sbcglobal.net or on his websites, https://woodyweingarten.com and https://vitalitypress.com.