This month welcomes the arrival of the third installment of “Jukebox Stories,” cleverly titled “The Secrets of Forking,” which premiered on the Impact stage this past weekend. Unlike the previous two, this version incorporates the audience through fortune-telling rather than audience-interactive games. This time around, Gomolvilas and Patton are not merely performers but tarot-card-slash-mind-reading extraordinaires.

Tucked beneath the modern-day pizzeria is a theatrical space decorated with Chinese calligraphy wall art, Maneki-neko cat figurines and Asian lanterns — they evoke a feng shui ambiance as if one has just set foot into a dingy fortune-teller’s cave in Chinatown.

Throughout the course of the performance, Gomolvilas and Patton allow audience members to draw tarot cards from a deck. Each of these corresponds to a particular song or story, as well as an audience member, all of whom are given tarot cards when they first enter the theatre. Not only do these cards dictate the content of the show, they also allow for audience members to be entered in prize drawings. All in all, “Jukebox Stories” is entirely audience-based, creating a theatrical experience like no other.

Gomolvilas performs soliloquies of sorts that tell stories based on the events and interactions he’s experienced throughout his life. These stories range from the time he spent mistaken as an expert in Eastern European cinema to his first and last semi-professional ghost-hunting experience. While some stories resonate in humor and cleverness more so than others, Gomolvilas executes each with character and charm.

One of Gomolvilas’s most memorable rants chosen for the opening night performance was one in which he narrates and provides commentary on (in a hilarious Rifftrax fashion) a music video titled “Get Down” by ’90s Canadian boy band B44. ’90s. Canadian. Boy. Band. Enough said.

In between the spoken stories, Patton plays the guitar and sings songs he wrote himself, also based on his past experiences. Think Flight of the Conchords with a more personal touch. The musical repertoire ranges as extensively in topical variety as Prince’s monologues. One song tells of Patton’s tumultuous upbringing with cheating parents and even touches briefly on his grandmother’s vagina (“Mixed Up Modern Family”). Another, titled “The List: 5 Celebs You’d Sleep With,” is an online forum thread set to music. The list goes on.

Rarely is there a dull moment in the show, as there’s simply too much variety. If you grow tired of Gomolvilas’ voice, no worries, because a musical serenade from Patton is sure to follow. The two differ completely in character and bring separate forms of performance art to the table but manage to balance each other out perfectly. It is this harmonized dichotomy that gives “Jukebox Stories” its individuality and makes the show one of such high caliber. So hats off to both of you, Prince Gomolvilas and Brandon Patton, for crafting a fantastically sublime theatrical experience.

“Jukebox Stories: The Secrets of Forking” will be playing at Berkeley’s very own Impact Theater from Thursdays to Sundays every week up until June 9. Songs will be sung, stories will be told and fortunes will be read.

Contact Michelle Lin at mlin@dailycal.org.

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‘Blancanieves’ Shattuck Cinemas
Opening on Friday at Landmark’s Shattuck Cinemas is “Blancanieves,” a 2012 silent black-and-white film based upon the Brothers Grimm fable “Snow White.” This is a “Snow White” adaptation like no other, with the title character as a bullfighter and the kingdom set in 1920s Spain. “Blancanieves” is a movie for the silent-cinema film buffs and anyone looking for a different cinematic experience from the mediocre, if creative, films of today.

John Leguizamo’s ‘Ghetto Klown’
John Leguizamo, best known for his work in “ER,” “Moulin Rouge!” and the “Ice Age” films, has taken his one-man Broadway show on the road and will be performing “Ghetto Klown” at the Orpheum Theatre in San Francisco for a two-night limited engagement. “Ghetto Klown” tells Leguizamo’s story of struggle in the entertainment world in true Leguizamo fashion — lightheartedly and in the most comically pleasing way possible.

How Weird Street Faire
Kicking off San Francisco’s festival season will be the 14th annual How Weird Street Faire. The Faire will feature 10 stages of electronic music juxtaposed against marching bands, art and parades. This year’s theme is “Weirdi Gras,” paying homage to the Mardi Gras tradition. The event will be taking place from noon to 8 p.m. in the SoMa district. What better way to end the week than embracing your inner weirdo with the best of San Francisco’s offbeat denizens?

Contact Michelle Lin at mlin@dailycal.org.

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BareStage is Cal’s oldest student-run theater company and has been running on a streak of producing charming plays and musicals on both a modest stage and budget. The basement of Cesar Chavez Student Center is no Zellerbach. However, the works put on by the theatrical group entertains even within such a small space by bringing forth a fresh allure under the direction of witty college students — in this particular production, under that of Weston Scott.

For its spring musical, BareStage chose the absolute perfect show to produce. The Tony Award-winning “Spelling Bee” is not only exceptional in music and script but is also a production that needs not rely on a large-scale stage or cast to enthrall audience members. The content is hilarious and simply needs to be led under the right guidance and matched with actors willing to shamelessly act like cracked-out children (and a few adults). BareStage excels in both masterfully.

“The 25th Annual Putnam County Spelling Bee” tells the story of a fictitious spelling bee that takes place in a crummy high school gymnasium. The bee is hosted by former bee champion Rona Lisa Perretti (Jessica Slaght) and, alongside her, word reader Vice Principal Douglas Panch (Mike Kohn), who has the temper fuse of a 5-year-old, and comfort counselor Mitch Mahoney (Matthew Williams), a man with a serial killer-like stare in the midst of his court-mandated community service.

The participants include Chip Tolentino (Francis Dournayan), a youth on the brink of puberty who breaks into song in one scene about his “unfortunate erection.” There’s also Leaf Coneybear (Matthew Borchardt), a not-so-smart child with a strange affinity for finger puppets who only advanced to the county bee by default; Marcy Park (Cecily Schmidt), a misanthropic perfectionist child and Logainne Schwartzandgrubenierre (Meghan Cleary), a young liberal activist with two gay dads and a lisp. The bee largely centers around finalists Olive Ostrovsky (Trina Rizzo), a soft-spoken girl whose parents don’t give her the affection she needs, and William Barfee (Nathan Corbett), a boy with a “rare mucous-membrane disorder” who spells out words with his so-called “magic foot.”

This strange array of characters will keep you in hysterics as they each tell their stories in song. “Spelling Bee” also calls for audience interaction — members of the audience are chosen to compete as contestants in the bee as well.

Because BareStage is completely student-managed, one shouldn’t expect a theatrical extravaganza. There are definitely some rough technical edges. However, there’s much to praise about this particular production. For one, the amateur set manages to revolve and shift from gymnasium to settings within the minds and private lives of the characters. Secondly, the acting is fantastically bold and shameless in all the right ways — especially with Nathan Corbett’s William Barfee, who absolutely steals the show. Thirdly, it’s downright crude and laugh-out-loud funny. With the charm of the libretto and the fresh BareStage touch, “The 25th Annual Putnam County Spelling Bee” surely meets expectations as a student production.

Contact Michelle Lin at mlin@dailycal.org.

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Neil LaBute has always had an eye for the ugly, past the superficial sense of the word. “Reasons to be Pretty” is the third and final installment of a trilogy written by LaBute, following “The Shape of Things” and “Fat Pig” — all of which explore America’s disgusting obsession with physical appearance.

The play opens with a huge domestic quarrel between a furious Supercuts hairdresser, Steph (Lauren English), and her bewildered boyfriend, Greg (Craig Marker). There are F-bombs dropped left and right (even words like “fuckheadedness” tossed in there somewhere), objects thrown and tears shed all because Steph’s friend overheard Greg describing Steph’s face as looking simply “regular” and told her about it. The scene closes with a breakup and a door slam, setting the stage for the rest of the production.

“Reasons to Be Pretty” isn’t exactly a love story, but it plays out similarly to the plot of a traditional romantic comedy. There are hysterical public breakdowns, attempts at rekindling romance and stereotypical characters (“Pretty in Pink,” anyone?). As the drama unravels, we are introduced to the two other characters in the story — Greg’s misogynistic best friend, Kent (Patrick Russell), and his “pretty”-faced wife, Carly (Jennifer Stuckert). Carly had, ironically, been the one to rat Greg out to Steph in the first place and ends up being cheated on while pregnant with Kent’s baby. The relationship between the couple exemplifies the truest depths of misogyny, superficiality and human indecency — comically combined in a nice little satirical package.

In one of the most noteworthy scenes, Greg attempts to win Steph back in the food court of a shopping mall but is instead shut down as Steph stands on a chair and publicly reads aloud a long list of his physical flaws. She touches on nearly every single part of his body except for his penis — out of politeness, of course.

As entertaining and funny as LaBute’s dialogue may be, it also digs deeply into society’s everyday problems and provides a clear view of how truly twisted humanity is capable of being. The conversations, the fights and the events that take place onstage all revolve around physical appearance to a certain degree. However, the conversations are so easily relatable to and reminiscent of our own reality that it’s almost a little frightening.

However, there is some light at the end of the tunnel. If anything, “Reasons to Be Pretty” is a coming-of-age story that follows Greg as he slowly comes to realize the vapidity of the world around him. And as frustrating as the characters and subplots may be at times, the work is ultimately moving.

LaBute’s script is undoubtedly vivid and smart on its own, but when combined with the talent and vivacity of the SF Playhouse cast under the keen direction of Susi Damilano, the production is an exceptional one. While there are some scenes that stall for longer than they should, SF Playhouse’s “Reasons to Be Pretty” can still be described as edgy, hilarious entertainment and downright ugly. Sometimes, not being pretty isn’t so bad after all.

Contact Michelle Lin at mlin@dailycal.org.

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The setting was ambient, vintage and personal — the perfect feel for a reunion show after such an extensive break. At the peak of their career in the mid 2000s, the Hush Sound’s emo-pop Fall Out Boy-esque sound was all the rage in the mainstream. However, the mainstream has taken quite a turn since then — leaning more towards synth-heavy electro-dance rather than old school, electric guitar-based pop-punk. Thus, their return to the music scene was rather questionable. Despite this, it seemed as though the fans remained loyal throughout the years for the venue was brimming with eager 2000s-era hipsters in tight pants and outdated band shirts. It literally felt like 2006 all over again.

Around 10 o’clock, The Hush Sound took the stage — immediately bringing the crowd to a roar. First came the group’s founders, Bob Morris, the lead singer and guitarist, and Greta Salpeter, the lead female vocalist and keyboardist, with Darren Wilson, Chris Faller and Lucas Carpenter trailing close behind. As they took their positions, the group instantly broke out into “We Intertwined”, their most well-known song with Morris as the main vocalist, and the audience went absolutely wild. Heads were bobbing, arms were flailing and the chorus loudly echoed by the concert-goers. The energy was just as relevant on stage — the band members appeared to be having a dance party of their own all while hitting each note perfectly, instrumentally and vocally.

Next up was “Love You Much Better,” off of Goodbye Blues (2008), The Hush Sound’s most recently released album. This song allowed Greta to display her pristine vocal skills — delightfully so as she crooned the chorus “I can love you much better / And you know someday I’m gonna make you mine,” overlaying the boys’ “la-la’s” and “bah-bah’s” in true Hush Sound-fashion. At one point, she changes up the lyric as most artists do at shows to personalize the concert experience, “I can love you much better San Francisco!” However, the sound system did not do Greta’s voice true justice for the volume in her mic struggled to keep up with those of the other members, occasionally drowning out her voice.

The vocal switch-a-roo between Morris and Salpeter continued as the show went on, each taking turns singing lead vocals from song to song with the band members enthusiastically slamming away at their instruments. The set consisted mostly of Hush Sound classics, ranging from the melodic lullaby “Hurricane” to the angsty, percussion-heavy “Medicine Man.” A few new songs were also introduced, including “Scavengers” and “Not a Stranger”, which contain the same echo-ing lyrical nature and “la-la” undertones, but couldn’t quite resonate in the same way as the older tunes.

Between songs, the band members held conversations directly with the audience members and poked fun at one another — making the experience in all even more personal amidst the already intimate setting.

After The Hush Sound departed from the stage, they were promptly brought back out by desperate cries for an encore. They closed the show with “Not Your Concern,” a high-energy anthem that concluded with Morris pulling a signature guitar jump. I suppose it is now safe to say The Hush Sound is back, with just as much spunk and musical charisma as before.

Contact Michelle Lin at mlin@dailycal.org.

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Love is the group’s ninth album release. Fronted by Craig Minowa, Cloud Cult musically documents the lead singer-songwriter’s story, which is tragically rooted in the death of his 2-year-old son. This record in particular explores the overarching themes of love, loss and spiritual unity — concepts that are intricate yet simple and universal in nature.

“You’re The Only Thing In Your Way” opens up the album with lush instrumentals and soft vocals. The chorus of the song, “You are the wind, the flood and the flame / Nothing here can get in your way” serves as a foreshadowing of the lyrical cadence of the tracks to come. The rest of the record shifts in terms of sound, ranging from 2000’s angsty rock to acoustic indie. However, it relays the aforementioned universal concepts in the lyrics.

By combining visual art and green activism in their musical pursuit, Cloud Cult displays a rare inspirational quality in their seeking of a higher meaning that differs greatly from much of the music relevant today. Cloud Cult is far more than your everyday indie rock band — they’re musical revolutionaries.

Contact Michelle Lin at mlin@dailycal.org.

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This production of “As You Like It” premiered last Thursday at La Val’s Subterranean, a theater space beneath La Val’s Pizza that Impact Theatre calls home. For those of you who know a thing or two about the Bard’s classic romantic comedy, you might be a little surprised by this version — Celia is a sassy gay man, the two dukes are duchesses, Jacques is also a female, the Forest of Arden is a rural small town based in Northern California and most of the scenes take place in a bar. There is also some karaoke-ing, WWE-esque wrestling, vlogging and a Lady Gaga reference thrown into the mix as well. The reinvention epitomizes modernity through context while retaining the true essence of the original script and does so in a most comically pleasing way.

Gender-bending is nothing new to Melissa Hillman, a UC Berkeley alumna and the artistic director of Impact Theatre. In prior Shakespearean productions, the theater company has had a female Lucius (“Titus Andronicus”), Mercutio (“Romeo and Juliet”) and so forth. While many directors tend to shy away from this bold move, it is Hillman’s gender-swapping casting that gives the avante-garde Impact Theatre and its shows so much gusto.

The most notable character is, by far, Alexander Lenarsky’s Celia — the saucy, “Vogue”-toting best friend and cousin of Maria Giere Marquis’ Rosalind, the female protagonist whose awkward nature is often outshined by Lenarsky’s pinpoint comedic timing and flamboyant hilarity. While Shakespeare had always been quite fond of cross-dressing and role-play in his plays, this adaptation takes these elements a step further by completely reconstructing Celia’s character, bringing a whole new perspective to this quintessential rom-com.

In close second is Luisa Frasconi’s soda-sipping, frivolous and floozy teen queen Phebe. The character is anything but charming. She is an absolute romp to watch as she prances around the stage lusting after Ganymede, the indistinguishably disguised Rosalind, and ruthlessly rejects the advances of hopelessly lovestruck Silvius, played by Brandon Mears.

Other memorable characters include Sarah Coykendall’s sharp gender-bent depiction of Jacques and Miyaka Cochrane as the male protagonist, Orlando, Rosalind’s equally awkward lover.

Despite its humor, “As You Like It,” struggles to clearly string together the series of events and can be hard to follow at certain times. For those unfamiliar with Shakespearean language, following the play would be even more difficult because the dialogue doesn’t stray from the original except for the occasional utterances of modern phrases in between lines. The recycling of several actors for multiple characters may also elicit confusion.

In any case, Impact Theatre’s re-envisioning serves not only as a reminder of the timelessness of William Shakespeare’s works but also entertains as a refreshingly modern comedy. The production will appeal to those young and old, Shakespeare fanatics or not, and is wonderfully jam-packed with pop culture references while actors speak in classic verse. Under Gillman’s daring direction, “As You Like It” is a one-of-a-kind theatrical gem that will satisfy any comedic appetite even amid moments of confusion.

Contact Michelle Lin at mlin@dailycal.org.

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The four-man indie electro-pop group originated in Portland, Ore., as a solo project by Joshua Hodges (vocals, keyboard, guitar and drums) under the alias Sexton Blake. The project has since evolved into STRFKR, after several name changes and member additions. Their psychedelic tunes are featured nearly everywhere — on TV shows, commercials, movies and so forth.

From start to finish, Miracle Mile entices with its twangy guitar riffs, downright catchy hooks and overall ethereal feel. It opens with the first single of the album, “While I’m Alive” — a dreamy confection of layered vocals and funky bass lines. The rest of the record follows in a similar fashion. While there isn’t much variation in the songs, besides in length, this doesn’t strike one as necessarily a bad thing.

Another favorite from the album is the track “Atlantis,” which starts off with video-gamelike instrumentals and repetitive drumming, immediately catching one’s ear before Hodges even begins crooning the opening lyric, “You are an angel / I am the aftermath.”

Miracle Mile is everything you would expect in a record from STRFKR — easy to listen to, fun and addictive with a hint of the ‘80s thrown in as well. The quartet will be heading out on tour later this month, making a stop in San Francisco at the Regency Ballroom on March 1st.

Contact Michelle Lin at mlin@dailycal.org.

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In many instances, I have been advised against engaging in one-night stands. It’s probably because I am a woman, and by partaking in and enjoying casual sex, I will henceforth and forever be considered a “slut.” Well ladies and gents, after much careful consideration on the matter, I can say with great pleasure that this is all bullshit.

People like sex. People have sex. It’s in our nature, no matter our gender or sexuality. The one-night stand is simply another way to participate in the sexual phenomenon that is life. We all have them, and typically, they happen more than once. We must be accepting and comfortable with the reality of sex, keeping in mind that it can be casual, too. And like any other sexual relationship or encounter, the one-night stand has its perks as well.

First and foremost, you get to have sex. It might not be mind-blowing, toe-curling, “never-want-to-leave-the-bedroom-ever-again” sex — but then again, how frequently do those occurrences even take place? It’s sex nonetheless, as long as there’s consent, and sometimes you just need someone to get the job done. You’re getting laid, so enjoy it! There is also nothing quite like fucking someone new.

Second, there are no strings attached. Reiterating what was previously stated, you’re having sex with someone you have no previous ties to. You can embrace the fact that you don’t know this person and may never see them again, which allows you to explore your sexual capabilities to the fullest. Be fearless — do things you’ve always wanted to try but haven’t been granted the opportunity to do. Not only is there something exciting and thrilling in that fact itself, but if you’re not into it, you don’t have to make it into anything more than a one-time fuck.

The setting of the affair is sometimes the most exhilarating factor of all. The one-night stand is unplanned, and usually so is the situation. This can range anywhere from Memorial Glade to the roof of a building overlooking the Bay Area skyline. The possibilities are endless. One-night stands push you out of your comfort zone and provide you with nearly boundless screwing ground, if you allow them to. The backdrop of the situation is always the best part of the story.

In a college setting, one-night stands can often lead to something more. Just to clarify — by “more” I don’t necessarily mean something romantic, but something along the lines of a friendship or a consistent fuck buddy.

Romantic relationships don’t come easily, and it’s not like you’re going to fall in love with every person you meet — and you don’t want to at a fast-paced university like UC Berkeley. But a new partner can make a great addition to this fast-paced lifestyle. There’s a time and place for love, and there’s a reason people spend their entire lives searching for it. In the meantime, we have to make do with what we’ve got, which, quite frankly, isn’t so bad.

With that said, if you feel that you’re up to it, go fuck someone new.

Contact Michelle Lin at mlin@dailycal.org.

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The charm of “Our Practical Heaven” lies mostly in its palette of familiar yet very distinct characters — all of whom come together on three separate holidays to their family’s oceanside vacation home, which doubles as a slipping refuge of sorts, among changing tides in each of their lives. While there is talk of men, there are no male characters present in the production. There’s the ailing, senile matriarch grandmother, Vera (played by the delectable Joy Carlin); the overbearing middle-aged mother of technology-obsessed 20-somethings, Sasha (played by Anne Darragh); and her two daughters, the young activist Suze (played by Blythe Foster) and the quirky, college-bound Leez (played by Adrienne Walters). On the extended side of the family, there is Sasha’s headstrong lifelong-friend-slash-“honorary sister” (as the characters put it), Willa (played by Julia Brothers) and her estranged daughter, Magz (played by Lauren Spencer), who suffers from a chronic illness that causes her unbearable physical pain. The women fight and make up, break down and act up and are all strangely infatuated with birds. They birdwatch, they dream about birds, they talk about birds.

All in all, the play revolves around “decay” and “miscommunication.” Each generation of women struggles greatly to connect with the next. This is particularly noted in the younger women’s frequent texting to gossip about their mothers; Clarvoe makes use of this by projecting all of their conversations on the backdrop of the scene. The excessive use of this technology takes away from the allure of the production. Although, to give credit where credit is due, Clarvoe makes sure to fully define each relationship between the women through precise execution of placement, movement and speech.

While there is a very dramatic factor to “Our Practical Heaven” and the overall story at hand, the comedic timing of the dialogue and nondialogue is absolutely on point. From Vera’s poignant one-liners to Sasha’s many panic-induced freak outs, the humor conveyed in the dramedy keeps the mood light. On the other hand, the more dramatic scenes are largely fragmented in terms of purpose and deliverance.

“Our Practical Heaven” explores the overarching theme of family — the good, the bad and the ugly. Furthermore, it concludes rather abruptly amid some unresolved tensions. While the two-hour-long play makes for a fairly enjoyable evening at the theater, the story lacks an overall direction and objective, and ultimately, there is nothing that stands out too much in terms of memorability and fascination.

Contact Michelle at mlin@dailycal.org.

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