When the ancient Polynesians invented surfing, they often used a paddle to help them navigate. Fast-forward a few millennia, and Stand-Up Paddleboarding, or SUP, finds itself trendy again. Part of its increasing popularity is that standing upright allows surfers to spot waves more easily and thus catch more of them, multiplying the fun factor. Paddling back to the wave becomes less of a strain as well. The ability to cruise along on flat inland water, surveying the sights, is another advantage. Finally, its a good core workout. If youre sold on the idea, schedule an intro SUP lesson, free with board and paddle rental, and you may find yourself riding the waves like a Polynesian king.More
Llewelynn Fletcher's immersive sculptures beguile the senses. Sasha Petrenko's site-specific installations and performances strive to capture a dynamic, living planet. Austin Thomas hides heady themes in seemingly austere drawings, photos, and sculptures. She also cobbles together site-specific social spaces which she calls "perches," but which are obviously kick-ass treehouses, minus the trees. These and other artists are contributing super-sized works for "Just Passing Through: Sculptures and Installations" at the University of San Francisco's Rooftop Sculpture Terrace. "Just Passing Through" promises to challenge notions about how we inhabit or pass through space, or at least provide a lovely respite in a busy city.
"Just Passing Through: Sculptures and Installations" is open to the public 9 a.m.-5 p.m. and runs through Dec. 11 at Kalmanovitz Hall, University of San Francisco, 2130 Fulton St., S.F. Free; 422-5178 or usfca.edu. More
Mondays-Fridays, 9 a.m.-5 p.m. Continues through Dec. 11
Only a few months after The Days of Anna Madrigal, the ninth book in Armistead Maupin's Tales of the City series, came out, the soon-to-be 70-year-old writer and his husband announced they were moving back to San Francisco after two years in Santa Fe.
Exit Theater, 156 Eddy (between Mason and Taylor), S.F.
Through April 14. Tickets are $10-15; call 626-2665.
This trilogy of one-acts was cobbled together by Isis Arts Collective after the success of Counting the Ways, a brief Edward Albee bagatelle, at last year's Fringe Festival. Counting the Ways starts with the line, "Do you love me?" and so -- too cleverly -- do the other two plays in this trilogy, Decaf by Mike Ward and Points of View by Tom Kelly. Counting the Ways is the reason to see the show. An English husband and wife who might have been strong competitors in Monty Python's "Upper Class Twit of the Year" contest discuss their relationship in quick, sometimes very funny scenes. Danielle Thys plays "She," in silk blouse and pearls, describing how distasteful sex with her husband has become. "Do you think you can just shove it in me?" she asks, in a snooty, fluting voice, as if asking the gardener if he thought there might be asparagus this season. Leo Lawhorn plays her portly, befuddled husband, "He," who admits to loving his wife only in the vicinity of crème brûlée. The play is a bit formal and dry, but also well chiseled and totally meaningless (in the best sense). Decaf, a play about Loss, consists of a strange therapy session involving a husband, a wife, and a domineering psychologist. It's mostly space filler. Points of View, the piece about Labour, deconstructs the experience of theatergoing, and features a good routine about an audience member (Micaelee Ellswythe) and her cell phone. Points has the quality of a clever comic strip. Neither add-on play reaches Albee's inspired senselessness, and the evening as a whole doesn't work nearly as well as its centerpiece.