Lily Janiak, Theater Critic - San Francisco Chronicle

Stories By Lily Janiak

  • Review: S.F. Playhouse cracks ‘The Glass Menagerie’ open Director Jeffrey Lo reveals Tennessee Williams’ 1944 masterpiece as a wide, ripe canvas.
  • New name, new leader, lesser-known plays at Marin Theatre in 2024-25 New Artistic Director Lance Gardner represents far more than a pro-forma changing of the guard at the Mill Valley company. 
  • ‘Funny Girl’ review: Katerina McCrimmon gives a performance that makes comparison irrelevant The 1964 musical about Fanny Brice at BroadwaySF’s Orpheum Theatre feels like a new text with McCrimmon in the lead.
  • Review: Danish theater at S.F. International Arts Festival probes the narcissism at abuse’s heart Kassandra Production’s “The Soul Catcher” might make you start to rethink the relationships in your own life.
  • This Berkeley native just got nominated for a Tony Award Shana Carroll, of the 7 Fingers and “Dear San Francisco” at Club Fugazi, spoke to the Chronicle about her Tony nod for choreographing “Water for Elephants” on Broadway.
  • Review: Oakland Theater Project’s ‘Red Red Red’ writes new myth of queer love In Amelio Garcia’s play, inspired by Anne Carson’s verse novel, actor Romeo Channer is a live wire who might spark trifles and slights — or wisdom and poetry.
  • Review: Immersive show about Fillmore’s redevelopment scheme asks which side you’re on Walking Cinema’s “The Fillmore Eclipse” is set in a 1950s jazz joint the night before its bulldozing.
  • Review: ACT’s ‘A Strange Loop’ is a musical whirligig of invention Michael R. Jackson’s West Coast premiere at the Toni Rembe Theater in San Francisco summons the gods of lighting, music, set design and costume.
  • Bay Area Theatre Week returns with half-off tickets The annual promotion offers steep discounts to BroadwaySF, Berkeley Rep, American Conservatory Theater and more. 
  • 4 Bay Area artists to receive $100,000 each from Kenneth Rainin Foundation For Oakland theater artist and poet Ayodele Nzinga, the fellowship “is a piece of validation that I've been waiting for.”
  • Review: Golden Thread’s ‘Returning to Haifa’ is theater helping you understand the war in Gaza Witnessing Ghassan Kanafani’s 1969 barn burner onstage is like discovering a midcentury classic.
  • In 2024-25, Berkeley Rep bets on stories that Netflix can’t tell “I feel real responsibility, both for myself but also institutionally, to be bringing new theatrical stories into our shared lexicon,” Artistic Director Johanna Pfaelzer told the Chronicle.
  • In 2024-25 lineup, TheatreWorks goes from fundraising emergency to world-premiere musicals Local writers Min Kahng, Lauren Gunderson and Margot Melcon return to the 54-year-old Silicon Valley company.
  • Review: NCTC’s ‘The Tutor’ makes Slip ’N Slide of love triangle In Torange Yeghiazarian’s world premiere, three characters fill the playing space to bursting.
  • Aurora Theatre might be in financial trouble, but it’s still announcing its 2024-25 season Classics by Lynn Nottage and Noël Coward grace the 32-year-old Berkeley company’s next lineup.
  • Golden Thread opens a ‘Season for Palestine’ with play to combat historical amnesia The West Coast premiere of “Returning to Haifa” contextualizes the current conflict in Gaza.
  • Got overbearing Asian American parents? Confront them vicariously with ‘Tiger Style!’ Mike Lew’s comedy at TheatreWorks Silicon Valley is balm for any thwarted adult who’s ever fantasized, “I’m gonna yell at my mom like a white girl.” 
  • In the AI age, how have artists envisioned robots in theater, film and ballet? Pieces such as S.F. Ballet’s “Mere Mortals” help us understand our place in the ChatGPT era.
  • Bay Area theater that premiered Oakland artist’s Broadway-bound play now facing fundraising emergency Jonathan Spector’s “Eureka Day” heads to Manhattan Theatre Club in the fall — even as the venue that premiered it, Berkeley’s Aurora Theatre, unveils an emergency fundraising campaign.
  • Review: In ‘Hangmen,’ Martin McDonagh is the maestro of macabre, the bard of bloviation San Jose Stage Company’s West Coast premiere about an English hangman forced into early retirement trades moralizing for high style.