“‘I wanted him!’ With these words Dirk Bogarde consigned his matinee idol alter-ego to history, and a gripping landmark in gay cinema was born. Bogarde’s closeted, married lawyer Melville Farr is drawn into exposing a terrifying blackmail ring when an admirer (Peter McEnery) commits suicide rather than implicate him. Supporting the recommendations of the Wolfenden Committee, director Basil Dearden, producer Michael Relph and screenwriter Janet Green denounced the poisonous, institutionalized homophobia gay men of all classes faced, and cleverly packaged the politics within an accessible crime-thriller. VICTIM, and Bogarde’s courageous appearance in it, helped propel public discourse towards the 1967 Act and beyond – changing lives in the process.” – British Film InstituteOn Friday night, Dr. Bryan Burton, Assistant Professor in Criminology & Criminal Justice Studies will introduce the film and lead a discussion after the screening.Released: 1961Run time: 100
For your safety and that of other guests, masks are strongly recommended, but no longer required indoors. All screenings take place in Warren Auditorium in Ives Hall on the Sonoma State University campus.
Admission is free, but we suggest a $5 donation.
In these challenging times, we are grateful to all Sonoma Film Institute attendees and supporters. To continue as a unique cultural resource in the North Bay Area, SFI needs contributions from the community we serve. With your support, we will continue to program the incredible variety of movies you can’t find anywhere else. Thank you!
The new David Bowie documentary, Moonage Daydream, succeeds not only for what it is, but what it isn’t. That has a lot to do with the clichés — and, occasionally, limitations — of the well-trodden format of the music documentary.
We know bad ones — or just boilerplate ones — when we see them. They typically open in medias res; the subject mumbles something backstage through celluloid grain and a plume of smoke. Here come the talking heads: Jakob Dylan, Dave Grohl, Bono. The director takes us from the cradle to the grave — and you’re left a few bucks poorer, wondering if this is all music is, in the end.
But never fear: Brett Morgen is at the wheel of Moonage Daydream, the new documentary plumbing the depths of Bowie. You may remember Morgen because he directed Kurt Cobain: Montage of Heck, that impressionistic 2015 masterstroke that overwhelmed viewers with the Nirvana leader’s essence — not just the Wikipedia-style bullet points, with LP covers hovering in an iMovie-looking void.
Despite Buzz Osborne of the Melvins’ kvetching about its factuality — and the film losing a little bit of cachet because of it — Montage of Heck remains the gold standard of music docs. By the end of its maelstrom, you felt immersed in Cobain’s very soul. And thankfully, Moonage Daydream is an accomplishment of a similar scale.
More of a long music video than a tedious drive through history, the film spends two captivating hours rolling around in surreal audiovisual representations of what made Bowie tick. But if you think that involves sordid tales, like when he flirted with Nazi iconography and black magic while blasted on outrageous amounts of blow, think again: Moonage Daydream is a jaw-dropping exploration of a 69-year-long life lived magnificently.
Chronology is elastic in the film. While Bowie’s various incarnations, like Ziggy Stardust and the Thin White Duke, get ample screen time (it’d be unimaginable otherwise), they’re less reported on in chronological order than left to float in a fishbowl, making natural and spontaneous connections. Throughout, Morgen leans psychological; time and memory loom heavily.
Most grippingly, Moonage Daydream directly addresses one of Bowie’s deepest fears; perhaps exacerbated by the cornucopia of substances he ingested across the decades, he felt in danger of succumbing to the schizophrenia that gripped his brother, Terry Burns.
Ten years older than his famous brother, Burns was instrumental in making Bowie the man and artist he was. He introduced him to outré culture in a multitude of forms, like modern jazz and the works of William S. Burroughs. This is an already public and well-trod aspect of Bowie’s story, but until you behold this film, you won’t grasp how he externalized those visions from the outer rim — trying to keep his demons at bay by blowing them up into world-beating cultural moves.
Much like in Montage of Heck, Morgen digs into his toybox of period cultural signifiers, including campy UFO flicks of yore and monochromatic Mickey Mouse cartoons, to ground Bowie in time and space.
But it’s far more illuminating when Morgen considers Bowie’s place in the lineage of flesh-and-blood, reality-bending weirdos of yore, like Friedrich Nietzche and Aleister Crowley. Because Bowie truly belongs in the pantheon of these eccentrics, painting the drudgery of human existence with strange and lovely hues, album after album after album.
Through this lens, you’ll probably walk away smiling and grateful — that somebody would come perilously close to sacrificing their mind and body to add beauty to the world, synthesizing experimental theater and arena rock and avant-garde classical music and cutting-edge fashion and so many other disparate elements to do so.
Bowie was unquestionably larger than life in every conceivable way, but perhaps Morgen could have afforded a little breathing room between the countless moments of seat-shaking impact. Thankfully, those moments are few and far between — and like Bowie himself, Moonage Daydream bows out with humor, heart and rapturous intelligence.
With Bowie’s death several years in the rearview, sometimes his musical achievements can become enveloped by endless chatter about his various personae. Of course, they’re crucial to his story. But it wouldn’t mean much without majestic tunes, and Morgen shows that they still destroy — from the early “Space Oddity” days to the infamous-yet-revolutionary Berlin period to Bowie’s underrated final run of albums, culminating with 2016’s Blackstar.
And in the end, the lasting impression isn’t simply of a cultural juggernaut, or a psychedelic songsmith, or even the guy with the bleached tips making vaguely Nine Inch Nails-style jams. Again, Morgen’s in the business of impressionism and abstraction, revealing the cosmic debris that birthed this subjects — how they burst through the mold of mere entertainment to irrevocably alter the spirit of the wider world.
Sunday September 18 @ 4 pm. Juanito Pascual Trio at Occidental Center for the Arts. OCA is pleased to welcome back internationally renowned flamenco guitarist Juanito Pascual, performing with bassist Brad Barrett and percussionist/ singer Jose Moreno at our outdoor amphitheater! American born ‘flamenco phenom’ Pascual has appeared world wide on concert stages and in film, television and radio. He offers a mesmerizing blend of masterful traditional and contemporary flamenco, infused with elements of jazz, pop, and rock. Juanito Pascual Trio creates a unique and exciting world music experience, delivered with passion and virtuosity that is not to be missed! Tickets are $25 General/$20 OCA Members at www.occidentalcenterforthearts.org; or at the door. Bring your own seat cushion or low-backed chair for outdoor seating. Fine refreshments for sale. Art Gallery open during intermission. Accessible to patrons with disabilities. 3850 Doris Murphy Ct. Occidental, CA. 95465. 707-874-9392. Become an OCA Member and get free/reduced admission on all events.
Come to the cabaret and the heady ‘anything goes’ world of Berlin in 1930. In the steamy, sleazy Kit Kat Klub on the eve of Hitler’s rise to power, is love possible? Jared Sakren, Playhouse Artistic Director, directs this daring and provocative musical in his signature style (West Side Story, Vincent, A View from the Bridge). It’s a treat for all of your senses.Expect lavish music, erotic dancing with tender and humorous moments building toward an alarming finale.
Cabaret September 15 – October 9, 2022 music by John Kander lyrics by Fred Ebbbook by Joe Masteroff directed by Jared Sakren
Come experience this latest rendition with fresh eyes!
OUTwatch, Sebastopol Documentary Film Festival and Rialto Cinemas are all co-sponsoring Loving Highsmith
Based on Patricia Highsmith’s personal writings and accounts of her family and lovers, the film casts new light on the famous thriller writer’s life and work, permeated by themes of love and its defining influence on identity. The Price of Salt (the first Lesbian novelwhich broke with convention by depicting a lesbian relationship that ended with the promise of fulfillment, not moral condemnation, misery or death), Hitchcock’s Strangers on a Train and the Talented Mr. Ripley were all written by Highsmith.“It focuses extensively on Highsmith’s sexuality and relationships with women, shedding light on her double life and eventual choice of solitude while subtly suggesting how those experiences resonated through her celebrated prose. …Perhaps the real achievement of Loving Highsmiththough is the degree of access it provides to the inner life of a famously guarded woman.” Hollywood Reporter
Go to www.outwatchfilmfest.org for more information
The Italian Cultural Institute, Cinema Italia San FranciscoIn collaboration withArtistic Soul Associationunder the auspices ofthe Consul General of Italy in San Francisco PresentPASOLINI 100:Homage to Pier Paolo PasoliniOn the 100 year anniversary of his birthSaturday, September 10, at the Castro Theatre429 Castro StreetSan Francisco, CA
This Special Homage to Pasolini, who pushed the boundaries of politics, art and sexuality, follows the complete retrospective that Cinecittà premiered at the Academy Museum of Motion Pictures in Los Angeles on the occasion of the 100th Anniversary of Pasolini’s birth.
San Francisco will pay homage to the great Maestro with a selection of his works on September 10 at the Castro Theatre. This is Cinema Italia San Francisco’s 11th program of classic Italian cinema.
10:30am Pasolini
Director: Abel Ferrara, 2014, 84 min., DCP, Color, Italy, Belgium France. DCP by Kino Lorber.
Cast: Willem Dafoe, Ninetto Davoli, Valerio Mastandrea, Riccardo Scamarcio
Willem Dafoe stars in Abel Ferrara’s dramatic English-language film Pasolini, about the mysterious final days of the renowned Italian film director Pier Paolo Pasolini. This haunting biopic draws on Pasolini’s last interview and scenes from his unfinished novel Petrolio, which imagine Pasolini’s muse Ninetto Davoli returning to “finish” the unfinished work, in a final act of love. Dafoe’s charisma shines as he embodies the intellect and passion of the murdered director. The film, written by Maurizio Braucci, was selected to compete for the Golden Lion at the 71st Venice International Film Festival and screened in the Special Presentations section of the 2014 Toronto International Film Festival.
12:30pmMamma Roma
Director: Pier Paolo Pasolini, 1962, 107 min., 35mm, B&W, Italy. Distr. Janus Film. Print from Cinecittà.
Cast: Anna Magnani, Ettore Garofolo, Franco Citti, Silvana Corsini
Mamma Roma is Pasolini’s second feature and is among Pasolini’s most audaciously shaped and satisfying movies. The immortal Anna Magnani is equally vulnerable and volcanic as the titular character in Pasolini’s gritty tale of a mother determined to rise above poverty. The writer-director returns to the desolate outskirts of Rome for this tale of doomed maternal love set against a stark backdrop of ancient ruins and prefab apartment blocks. Former prostitute Mamma Roma is trying to start a fresh life in a new flat with her teenage son. But the criminal underworld she thought she had escaped slowly pulls her back into its vortex.
3:00pm Accattone
Director: Pier Paolo Pasolini, 1961, 117 min., 4K DCP restoration, B&W, Italy. Distr. Janus Restored by Cinecittà with Cineteca di Bologna and The Film Foundation in collaboration with Compass Film. Restoration funding provided by the Hobson/Lucas Family Foundation.
Cast: Franco Citti, Franca Pasut, Silvana Corsini, Paola Guidi
After writing a pair of novels, Ragazzi di Vita and Una Vita Violenta, set in the urban periphery of Rome, Pasolini decided to turn to cinema to continue exploring this world and its characters. Accattone is the nickname of Vittorio—played by non professional Franco Citti, a soon to be Pasolini regular—a young loafer roaming the hardscrabble Roman slum of Pigneto who fancies himself a pimp. The desperation of Vittorio’s sun-baked world is intensified by Tonino Delli Colli’s crisp cinematography and the strains of Bach’s St. Matthew Passion. One of cinema’s great debuts, Accattone reimagines Neorealism by eschewing any sentimentality for the poetry of the everyday.
6:00pm Medea
Director: Pier Paolo Pasolini, 1969, 110 min., 35mm, Color, Italy/France/West Germany. Distr. Unzero Print from Cinecittà. Restored by Cinecittà and S.N.C. in 2012 in its original 35mm format with the support of Gucci.
Cast: Maria Callas, Massimo Girotti, Laurent Terzieff, Giuseppe Gentile
InMedea, Greek American soprano Maria Callas stars in a rare non-opera role as the title character in Pasolini’s haunting adaptation of the tragedy by Euripides, about a woman scorned by her husband (Jason of the Argonauts) who avenges herself with fierce abandon. The film is also ravishing in its visual imagery—Medea was shot on location in ancient sites of Italy, Turkey, and Syria, including the Citadel of Aleppo. British film critic Tony Rayns called this stunning portrait of a woman pushed to the brink, “a love song to Maria Callas.”
8:00pm-10:00pm La Roma di Pasolini
Mezzanine Reception
Rudy of C’era una Volta restaurant will re-create the Roman atmosphere for selected guests in the Castro Mezzanine.
10:00PMSalò or the 120 days of Sodom 116 min
Director: Pier Paolo Pasolini, 1976, 116 min., 35mm., Color, Italy/France. Distr. Park Circus Print from Cinecittá.
Cast: Paolo Bonacelli, Giorgio Cataldi. Umberto P.Quintavalle, Aldo Valletti
Pasolini’s infamous final film transposes the Marquis de Sade’s 18th century treatise on torture to Mussolini’s Italy circa 1944. A group of representatives of the wealthy upper classes—a Duke, a Bishop, a Magistrate, and naturally, the President—have holed themselves up in a palatial estate in the titular city of Salò, where they have imprisoned a horde of young men and women to torment for their pleasure. Salò, a town in Northern Italy, was briefly made the capital under Benito Mussolini’s Fascist government in 1943-1945. The story, rife with political implications, is in four segments, inspired by Dante‘s Divine Comedy. Pasolini’s controversial masterpiece makes disturbingly literal the way the rich exploit the poor. Salòdescends into the abyss until not a fleck of light remains.
(Viewer discretion is strongly advised)
Ticket Prices & Info:
Single screenings: $15 per admission
Seniors, Students and IIC members: $12 Reception: $35 per admission Festival Pass (all films + reception): $80 per pass
Vaccination proof & ID are required
Advance tickets can be purchased via www.cinemaitaliasf.com on June 10, 2022, or by calling Box Cubed at 415-552-5580.
About Pier Paolo Pasolini
Pier Paolo Pasolini was a filmmaker, poet, novelist, journalist, Marxist, and gay man. His work reflects post WWII Italian society in upheaval and questions power structures, political and sexual mores. Pasolini passionately fought again government corruption, materialism, and social repression. The son of a Fascist army officer, Pasolini films unrelenting examine the Fascist experiment in Italy, the fervor of nationalism, and the disdain of the rich for the poor. His films also celebrate (without fetishizing) the lives of Italy’s working poor, including everyday citizens as well as hustlers and prostitutes.
Pasolini’s early literary work attempted to resolve his Christian and Marxist ideologies. His first novel, Ragazzi di Vita (1955), on which his film Accattone is loosely based, featured a protagonist who is a young street hustler. The book caused obscenity charges to be filed against Pasolini, the first of many instances in which his art led him to interact with the legal system.
A prominent player in the post WWII cultural scene in Rome, Pasolini was part of a coterie of talented artists, including writer Alberto Moravia, writer Elsa Morante and was friends with opera star Maria Callas, who he cast in her only film appearance in Medea. His decision, long before the modern LGBTQ rights movement, to make his own homosexuality the subject of his poetry and novels was, at the time, scandalous.
CinemaItaliaSF is proud to present a range of his work, from the sublime to the difficult, in the spirit of the freedom of expression that Pasolini passionately espoused. We are thrilled that this Homage, on the 100 anniversary of Pasolini’s birth, serendipitously coincides with the 100th anniversary of the Castro Theatre, an architectural jewel in the heart of San Francisco’s LGBTQ neighborhood.
“Though he was a filmmaker for just over a decade, Pasolini’s impact on cinema is profound. An openly gay man and outspoken critic of capitalism and Europe’s bourgeois establishment, Pasolini remained in the crosshairs of the elite for his entire career, which ended tragically when he was murdered weeks before the premiere of his most incendiary condemnation of the upper classes: Salò, or the 120 Days of Sodom. He was 53 years old.
Presented almost in preserved 35mm prints, realized by Cinecittà and Cineteca di Bologna, this small selection of movies traverses Pasolini’s main periods: his reinvention of Italian Neorealism as a potently lyrical vehicle for devastating portraits of modern life (Accattone, Mamma Roma); his searing portraits of the depravity of European society and his shocking one-two punch of the celebratory Trilogy of Life, a celebration of the primal pleasures of sex set in antiquity, and its antithesis, the devastatingly bleak World War II horror show Salò.”
—B. Rondeau, senior director, film programs, Academy Museum of Motion Pictures
Presenting Organizations:
Cinecittà Established in May 2010, following the merger of Cinecittà Holding and Istituto Luce (founded in 1924), Cinecittà is the public service branch of the Italian Ministry of Cultural Heritage and Activities and Tourism with the aim of promoting classic and contemporary Italian cinema worldwide, through traveling programs in major international institutions. Such programs include: film retrospectives of Italy’s most prominent directors and actors, art and photographic exhibitions, books presentations, support in the selection of Italian films at film festivals, and the participation of Italian talents attending international events. It is also home of Cinecittà Studios. www.Cinecitta.com
The Italian Cultural Institute of San Francisco The Italian Cultural Institute promotes Italian language, culture, and the best of Italy by offering information about Italy, scholarships, and cultural events, such as: art exhibits, film screenings, concerts, and lectures. The Institute’s goal is to foster mutual understanding and cultural cooperation between Italy and the United States. www.iicsanfrancisco.esteri.it
Cinema Italia San Francisco Founded in 2013, Cinema Italia SF is an organization that operates in San Francisco bringing to major screens the best of Italian Cinema. This will be the 11th program organized by CISF in the Bay Area: Pasolini (2013), Bertolucci (2014), De Sica (2015), Magnani (2016), Dino Risi and Lina Wertmüller (2017), Michelangelo Antonioni, Marcello Mastroianni (2018) Ugo Tognazzi ( 2019) and Fellini 100 ( 2020). Cinema Italia San Francisco is a member of Intersection for the Arts, which provides fiscal sponsorship, incubation and consulting to artists. www.CinemaItaliaSF.com
Artistic Soul Association
The Artistic Soul Association was founded in 1995 by Loredana Commonara, a professional in the film and audiovisual sector. Artistic Soul Association’s activities include the production and organization of short films and international festivals in Italy (Ventotene Film Festival) and the promotion of contemporary Italian cinema and audiovisual in New York (Italy on Screen Today-New York Film & Tv Series Fest). The initiatives produced by the association are realized thanks to the Italian Ministry of Culture and the Italian Cultural Institutes, in collaboration with the Parliament, the European Commission, and many prestigious Italian and international Universities. www.ventotenefilmfestival.com – italyonscreentoday.it
“Playwright Kate Hamill has made a madhouse out of the Bennets’ world and it works wonderfully, filling the stage with delicious portraits of classic romance-novel characters.” —J. Peter Bergman, The Berkshire Edge
A rapturous romantic comedy, propelled by Austen’s sparkling characters and blazing wit.
Finding a husband is hardly Elizabeth Bennet’s most urgent priority. But with four sisters, an overzealous match-making mother, and a string of unsuitable suitors, it’s difficult to escape the subject. When the independent-minded Elizabeth meets the handsome but enigmatic Mr. Darcy, she is determined not to let her feelings triumph over her own good sense — but the truth turns out to be slipperier than it seems.
In a society where subtle snubs and deceit proliferate, is it possible for Elizabeth and Darcy to look beyond his pride and her prejudice, and to make the best match of all?
Pride and Prejudice
previews August 11
Monroe Stage
written by Kate Hamill based on the novel by Jane Austen directed by Laura Downing-Lee
Starring Matt Cadigan, Lauren DePass, Sierra Downey, Tim Hayes, Skyler King, Kristine Ann Lowry, Elijah Michael Pinkham, and Miranda Jane Williams
Emily Jansen-Adan stars as Alison in Left Edge Theatre’s premiere production of Fun Home, running September 3-18, at The California, 528 7th Street, in Santa Rosa. In this interview, they speak about Alison Bechdel’s powerful story and nonbinary identification.
Cheryl King: Alison Bechdel’s graphic novel was the source material for Fun Home. In your research for the role of Alison, what commonalities did you discover between the two of you?
Emily Jansen-Adan: The more I learn about Alison, the more I know there is both a lot we have in common, and not, at the same time. We are both lesbians and part of the queer community. And in that sense, almost any queer person can share in her experiences. The moments of not wanting to accept yourself for who you are. And the moments of truly realizing who you are, and coming to terms with that. We all have those moments and stories. I see a lot of myself in her. But the queer community is not monolithic, so it is important to me, as I am playing this character, based on a real life person, that I not only bring the realness that being queer does, but also, that I play it authentic to who she was, and her unique experiences in her life and this story.
CK: I note you use non-binary pronouns.. What are your thoughts regarding the cultural issues surrounding non-binary identification and have you had any personal experiences regarding that issue that you would care to share?
E J-A: I am non-binary, and I use They/she pronouns. I can only speak on behalf of myself, as every person who is part of the queer community is different and we all have our own experiences and perspectives.
I do find that a lot of people have a hard time with being able to understand what being non-binary is, both in the queer community, and outside of the queer community.
A lot of people have a hard time using they/them correctly, and that does make it really hard for me, and I am sure others as well. And I think it’s important for people to take the time to truly understand someone’s pronouns, and learn to use them the right way.
I think there is a big cultural shift, and we are seeing a lot more people being comfortable being themselves, and I think the beautiful thing about being non-binary is there is no finite way of being non-binary. Some people use only they/them for pronouns, some use only she/her, or he/him, or both, or all or none. Even the way we express ourselves is different for each person, and I find it really beautiful and inspiring.
CK: Regarding the issues of parents coming out to their children, what have you discovered about the relationship between Alison and her father (Bruce) in the course of rehearsals and homework on the topic? Can you relate any of that to your experience in life?
E J-A I think one of the most interesting things about Alison’s and Bruce’s story is the stark contrast between them. He lived a closeted and secretive life of being gay, up until his last days; and Alison came to terms with herself in college and has lived authentically since. Alison and Bruce have a very complex relationship, so there is a lot that comes into play when we are portraying this story.
I have a lot more in common with Alison specifically, as I was actually around the same age as she was when I “came out” to the world. I also grew up religious, and was a classic tomboy throughout my childhood, and find many commonalities to her life in that regard.
CK You are working with two younger actors who play Small Alison and Medium Alison. Have you done any particular work to align your interpretations of the character? What is that process like?
E J-A We just started rehearsals recently, so there hasn’t been a lot yet, but really it is just us all taking the time to really understand what Alison is feeling in each moment and stage of her life. We’ve been doing a lot of observing of each other, so we can kind of mirror each other in that regard.
CK: Left Edge Theatre has moved to a new location during the rehearsal process. Are you excited about being in the new space? What are you looking forward to?
E J-A This is actually my first performance with Left Edge Theatre. It is really cool though, to be in the rehearsal process in the new space, as they are still getting the space ready, so we are seeing the transformation of the new space day by day.
C.K. What has been your favorite experience in the rehearsal so far?
E J-A For me, this is my first time really being in a fully professional production, and my first time being the main role, so it’s all new for me. I guess my favorite thing, so far, has just been being in the same space and rehearsing with my fellow cast members and seeing the show start to come to life, as the show has a relatively small cast, so it is very important for us to all be on the same page.
CK: Is there anything you’d like to add?
E J-A: I think something cool to note is the cast has a lot of wonderful LGBTQ+ people putting on this show for everyone. I also think it is just so important to know that this show is based on a real-life lesbian person and her life, family, and her real life gay father who died by suicide. The story is very complex, and it shows the humanity in us all. Kleenex is definitely needed as this show will bring you on a roller coaster of raw emotions.
Emily has been doing theater off and on since they were a teen, making their debut on the Cinnabar Young Rep stage as Audrey in Little Shop of Horrors (2012).
Their most recent credits include Fantine in Les Miserables (2019; Music to My Ears), and Gargoyle in The Hunchback of Notre Dame (2020; Music to My Ears).
Cheryl King is a frequent contributor to gaysonoma.com and is a producer for The California.
Saturday, August 13 @ 7:30 pm. Mimi and the Moonlights at Occidental Center for the Arts. Enjoy an evening of fine jazz from the 1930’s, with a dash of blues. Vocalist extraordinaire Mimi Pirard will be stepping outside her French cafe repertoire to sing some sultry early jazz standards in our acoustic sweet spot on Bohemian Highway. She will be accompanied by a stellar ensemble of talented Bay Area musicians : Jan Martinelli, Issac Vandeveer, Kendrick Freeman, Jeff Pierce, and Chris Amberger. Not to be missed! Tickets are $25 General/$20 OCA Members at www.occidentalcenterforthearts.org; or at the door. OCA is following current Sonoma County masking guidelines. Fine refreshments for sale, Art Gallery open during intermission. Wheelchair accessible. 3850 Doris Murphy Ct. Occidental, CA. 95465. 707-874-9392. Become an OCA Member and get free/reduced admission on all events.
Saturday August 6 @ 7 pm. ZipLine Improv! at Occidental Center for the Arts Amphitheater. Occidental native Laura Wachtel returns to OCA with ZipLine Improv, bringing you new hijinks and stories (and maybe even a song or two) all made up in the moment — led by your suggestions! ZipLine brings together some of the finest improvisers from around the Bay Area for your merriment. Tickets are $20 GA, $15 for OCA members@ www.occidentalcenterforthearts.org; or at the door. Bring your own seat cushion and enjoy our outdoor theater! Fine refreshments, art gallery open, special needs/access please email info@occidentalcenterforthearts.org. 3850 Doris Murphy Ct. Occidental CA. 95465. 707-874-9392. OCA is a non profit performing and fine arts organization with volunteer staffing.
