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.
The pair of Pinter one-acts at ACT works as a brief, two-punch retrospective at which audiences can compare the playwright's first play, The Room (1957), with one of his latest, The Celebration. The first is a sleepy, postwar-Britain chamber piece about a woman (Diane Venora) cooking for and nattering at her tremendously silent husband (Marco Barricelli) in a drab kitchen. Venora has a certain charm at first, but her British accent and flurrying stage presence aren't strong enough to carry the script, which has some early-Pinter flaws of its own (sterility, forced Beckettisms). The cast as a whole does manage its pauses, though, holding the sinister tension beautifully until some pungent line springs the audience into laughter. But the show is less conclusive -- and less crowd-pleasing -- than The Celebration, which is flat-out yuppie satire, with fashionable Londoners in a swank restaurant yelling at each other about the wine, the food, the service, their salaries, and the sexy young betty from the neighboring booth. It might remind ACT subscribers of last season's Glengarry Glen Ross, not only because of Marco Barricelli's blustery performance in a power suit and Loy Arcenas' red-toned restaurant set, but also because David Mamet owes so much to Pinter. Gregory Wallace also does excellent work as an intrusive, social-climbing waiter. "Do you mind if I interject?" he keeps saying, a phony like the others, hoping to convince somebody that his grandfather drank with Thomas Hardy and stood as James Joyce's godmother.