Ninth Annual Cheshire Rock Opera
Alice’s penchant for traveling through looking glasses, falling down rabbit holes, and eating psychedelic mushrooms isn’t the only reason she’s been a consummate pop culture muse since the Victorian age. She’s also beloved simply for having a rebellious spirit. By all appearances a sweet blond in ruffly knickers and a pinafore, Alice nonetheless refused to play by societal rules. She couldn’t be tamed by stiff clothing, or children’s primers, or even a hostile Queen of Hearts. Thus, it’s little surprise she’s embraced by the underground arts community in Oakland. One of Alice’s more devout local followers, a musician named Sean Lee, put together a “full-immersion” celebration of Alice in Wonderland back in 2004, complete with a costumed tea party, a dance competition, and themed songs. The event had enough fairytale cachet to draw a following and ensure real longevity. This year’s ninth iteration will feature antics by Wanderlust Circus, plus a “Queen’s Concert” with several musical guests, including Thee Hobo Gobbelins. It happens at Oakland Metro Operahouse (630 3rd St., Oakland) on Friday, Jan. 27. 8 p.m., $10 for those wearing Wonderland costumes, $15 for everyone else. OaklandMetro.org — Rachel Swan
Ghost Light
Jonathan Moscone’s theatrical version of himself might be slightly exaggerated, but it works well for a play about a child dealing with his father’s death — especially given that Jonathan’s father, former San Francisco mayor George Moscone was a well-known, widely respected public figure whose career kept him somewhat estranged from his children. Ghost Light spawned from conversations between the younger Moscone, who directed, and Berkeley Rep artistic director Tony Taccone, who wrote the script. Some details may have been altered for the purpose of plot, but it hews to a fairly realistic storyline: Jonathan hears about the assassination of George Moscone first from a gelid Diane Feinstein, speaking numbly through his television screen, then from a police officer (Peter Macon), who comes knocking at the door. He has to confront that traumatic event first in therapy; then repeatedly in dreams; then in pop culture, where the term “Twinkie defense” quickly becomes common coin; and finally as an adult, such as when he was invited to consult on set for the movie Milk, which lionized fellow shooting victim-turned-LGBT-martyr Harvey Milk while underplaying his father’s death. The play is dreamlike, sometimes ponderous, and often profoundly sweet, particularly as an encomium to San Francisco. Through February 19 at Berkeley Repertory Theatre (2025 Addison St., Berkeley). $14.50-$73. 510 647-2949 or BerkeleyRep.org. — Rachel Swan
Smuin Ballet
