Ratatouille Season, the Debate Begins

It’s finally ratatouille season. The French dish of stewy vegetables (as well as its namesake animated film) is a favorite of mine, so much that every year, I try to find someone to argue with me about it. 

I often try arguing at Petaluma’s Jupiter Foods with Dan Bleakney-Formby, since he is a greengrocer and vegetable nerd. Plus, the outdoor half of his shop, that dreamy micro-farmers’ market where Jupiter proves its motto, “We know your farmer,” is usually where I realize the season has begun.

When large eggplants, bright peppers, crowding basil, fat onions and odd-shaped tomatoes flood the markets and people are almost bored of zucchini, the season is here. California gardeners know these plants suddenly overproduce in early mid-August—one has to do something, or they’ll rot, causing all that hard work or the money they gave Bleakney-Formby to go down the drain. Too many tomatoes. Too many zucchini. Almost too many bell peppers. Basil threatening to break one’s heart and collapse into black slime.

“It’s finally ratatouille season,” I say to Bleakney-Formby. 

“Is it?” he replies, almost as if he has things other than ratatouille on his mind. Not me; only ratatouille-related questions occur: Should I get basil, even though I already have pesto? Do I have garlic? Is it sacrilegious to use Jimmy Nardello peppers in any stew? Could Roma tomatoes be delicious enough, if they’re from Yagi Sisters Farm? (Yes, no, sort of, yes.)

“You know what you could do, too,” Bleakney-Formby says. Oh, here it comes. “You could make a tian. It’s the same ingredients as ratatouille, but it’s like a casserole, with stacked vegetables, like in the Pixar movie.”

No, Dan Bleakney-Formby, I could not. Want to argue about why? But he’s busy, already off thinking about something other than ratatouille.

A crucial question in food is, obviously, “What is food?” Related: “Who is food for; who makes it; when, how and where?” Tian’s answers would be: Food is a professionalized endeavor, for adult strangers, made by paid people, quickly, in an organized kitchen. As for “Why?” the tian says: To impress, as much as to nourish. Ratatouille disagrees: Food is sustenance and culture, for family, especially children, made by a grownup, usually a mom, in a home kitchen. 

Why? To nourish, only.

In the film, scenes of actual ratatouille show the strong magic of impressive as well as homey versions: A cook begins to prepare the dish, choosing a sprig of thyme and a traditional recipe card showing a picture of stew. She’s stopped by Remy, the chefly rat. Instead, Remy indicates a course of action which in real life was developed by chefly chef Thomas Keller. This is the tian, also known by its even fancier name, Confit Byaldi. 

When restaurant critic Anton Ego eats this food, plated in the now-famous configuration of meticulously sliced and size-matched vertical and horizontal stacks of vegetables, he’s emotionally transported. He’s “taken” to his childhood home, where his mother soothingly plonks down a bowl of rough-chopped, long-simmered ratatouille.

Dan Bleakney-Formby, I still want to argue—but we might both be right.

Jupiter Foods is located at 100 Petaluma Blvd. N., Petaluma. Visit jupiterpetaluma.com.

Strings Attached, Renegade Orchestra at Sebastiani Theatre

If one thinks the idea of organizing and rehearsing a 10-person rock and roll orchestra sounds daunting, they clearly don’t know nearly enough about hard-working local musicians Jason Eckl and Rebecca Roudman. 

Not only do they, respectively, conduct, perform and organize shows for the Renegade Orchestra, but the married couple also works together in several local bands that are in constant rotation throughout the West Coast. They will get a respite of sorts as Renegade Orchestra plays close to home on Sept. 20 at Sonoma’s venerable Sebastiani Theater. 

“My job is the ‘herding of cats’ aspect of Renegade Orchestra, as well as Dirty Cello, the San Francisco Yiddish Combo, the Death and Taxes Swing Band and anything else that comes up,” says Roudman when asked how she and Eckl manage to keep things moving with so much happening musically. 

And not only does Roudman serve as the show organizer and cellist in the aforementioned bands; she’s also vocalist and titular cellist in Dirty Cello. Eckl performs in all of these bands as well as conducting the Renegade Orchestra, all while overseeing the somewhat newly formed rock band program at Cal State East Bay. Whew.

Said program might be one of the school’s best-kept secrets. “Professor” Eckl explains its unique mission: “This is a new program that seeks to prepare students to be employed as rock musicians when they graduate. It’s a pretty unique program; imagine learning the ins and outs of how to be a rock star.”

When asked how they find time and energy to keep the music playing, Eckl says, “I would like to say that I plan months in advance and budget my time wisely, but in reality, the creation of the music tends to happen in a frantic, caffeine-fueled spurt.” 

Roudman elaborates while also highlighting Eckl’s point, saying, “I don’t necessarily balance these groups, but instead try to say yes to everything, and then rely on the professionalism of all of the other musicians to remember when the show is and show up prepared.”

If one has not heard Renegade Orchestra before, Eckl enlightens thusly: “It’s always fun to describe what a Renegade Orchestra concert is like to people who haven’t been to one before. Basically, if you think about everything that makes a standard orchestra concert a little stuffy, we do the opposite. It’s loud, it’s lively, and cheering is encouraged. We want people moving and grooving. And in addition to the strings, there’s a great rhythm section.” He also makes sure to note, “We’re not big fans of singalongs however.”

Typically the orchestra’s setlist often includes songs such as Jimi Hendrix’s “Purple Haze,” Iron Butterfly’s “In-A-Gadda-Da-Vida” and the Creedence Clearwater Revival’s classic “Proud Mary,” just to name a few. A real highlight is their rendition of Queen’s “Bohemian Rhapsody,” as well as local and worldwide faves Metallica with a cool cover of “Enter Sandman.” Yet for the Sebastiani show, they’re mixing things up once again. This time, they’re featuring a playlist of all San Francisco artists.

According to Eckl and Roudman, the “songs are all wild, symphonic rock takes on classic works by musicians that are connected to San Francisco or the Bay Area. There’s standard classics you would expect like Jefferson Airplane, but also some more out there tunes like ‘Holiday in Cambodia’ by the Dead Kennedys.” They’ll even do “Spirit in the Sky” by Sonoma County resident Norman Greenbaum, who, in case one is wondering, is still locally based and invited to the show.

Many of these songs were chosen by the Renegade Orchestra’s fans. 

Says Eckl, “When I choose songs to arrange for Renegade Orchestra, it’s quite a laborious process. First, I go through the never-ending list of songs that have been requested by people who came to our shows. These requests range from amazing ideas to thoughtful ideas to downright bizarre ideas. I use the fan requests as a starting point. 

“After that, I have to look at what will sound good with an orchestra—a catchy melody, powerful rhythm parts and something that will come out as an artistic statement, not as elevator music. With this particular album, I searched far and wide for songs that fit all those criteria, plus were connected to the greater Bay Area. We even sent out an email to everyone on the mailing list asking for help on this one,” he continues.

If the name Jason Eckl sounds familiar, one may have heard some of his music via the soundtrack of Bohemian editor Daedalus Howell’s film, Werewolf Serenade. Of the experience, Eckl says, “The movie has a cellist in it, so I wrote some new music for the cello scenes. I’ve written music for a lot of independent films that never saw the light of day, so it was exciting to see Werewolf Serenade on the big screen.” When it came to choose a cellist for the soundtrack, Roudman was the obvious choice.

Another natural question regarding the group is whether or not it’s the same musicians each time or a rotating cast based on who’s available. 

Roudman says the orchestra lineup “starts off with a faint hope that we’ll have all the same people all the time. But the reality is good musicians are busy, and the group is full of good musicians. This means we end up having a mostly steady group with lots of fun guests coming in and out. Each player is chosen for being not only great at their instruments, but also fun people.” 

For those scoring at home, Eckl clarifies, saying the Sebastiani lineup will be Michael Lu, Magali Sanscartier, Christine Meals, Wakeford Gong, Alice Chen Carver, Jill Hirsh, Peter Walsh, Evan Ceremony, Diego Soto and of course Roudman.

The Sebastiani show will be the first time the new album will be made available. Eckl nervously says, “They’ll probably arrive in the mail 24 hours before the show, we hope.” He adds, “After that, they’ll be available at our live shows for about a year, before we bow to the inevitable pressure of putting them up on Spotify. Also at our shows, in addition to physical CDs, we’ll be selling flash drives with the new album on them.”

Closing out our interview, Eckl says, “We’re going to be very brave at our Sebastiani concert and at our other Bay Area concerts, and invite all of the famous bands that inspired the songs.” Will these foggy headed stars of yesteryear make it to the show? One will have to show up to find out.

More information about Renegade Orchestra can be found at renegadeorchestra.com. Tickets for the Sebastiani Theater show are available now at sebastianitheatre.org.

Union? Yes. ‘Pins and Needles’ Opens Mercury Theatre Season

If an obscure satirical musical review written nearly 100 years ago hits one right in the gut because of its social relevance, they might just be living in today’s America.

History, they say, has a tendency to repeat itself, and it is the duty of artists to illuminate this with works that speak to the times. Mercury Theatre opens their debut season with just such a work.

Pins and Needles, stage directed by Eileen Morris, with gorgeous musical direction from Jared Emerson-Johnson, runs through Sept. 14 at the site of the former Cinnabar Theater in Petaluma.

Crafted in the 1930s by the International Ladies Garment Workers Union by working class folks who wanted to implement social change at a time of rising tumult in both America and abroad, Pins and Needles offers sharply clever musical sketch commentary on the plight of the common person. It grapples with myriad social upheaval in the forms of fascism, inequality and impending war. 

The subject matter is enough to make one squirm, as it feels so familiar. I simultaneously laughed and shuddered at how apt the lyrics were, especially in such numbers as “Call It Unamerican” and “Three Little Angels of Peace.”

Morris has a very plucky, eager cast at work, with standout performances from Lisa Flato (doing an inspired Mussolini parody), Juliana Eiras (stage presence for days) and Megan Watt (a wonderful character actress). Other newcomers and Sonoma County vets round out the very diverse ensemble with harmonious voices.

The only problem is that most of the time they were often unheard. The live band was playing at an appropriate volume, so perhaps the acoustics of the old Cinnabar Theater just aren’t complimentary without mics. 

Similarly, some numbers seemed low energy and almost hesitant in nature. The show begins rather abruptly, but ends with a heartening call to action in the form of the ILGWU anthem. The audience seemed visibly moved.

Apart from that, the choreography by Megan Watt was a lively throwback to old time dances and was always servicing the action onstage. Costumes by Donnie Frank were both evocative and practical. Lighting design by Ella Weiss adds atmosphere to numbers like “Mene Mene Tekel” and the memorable “Sunday in the Park.”

If one needs something to spark their patriotism, Pins and Needles might be just the remedy.

Mercury Theater presents ‘Pins and Needles’ through Sept. 14 at 3333 Petaluma Blvd. N., Petaluma. Fri & Sat, 7:30pm; Sun, 2pm. $20–$35. 707.658.9019. mercurytheater.org.

Culture Crush, Sept. 10

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Point Reyes Station

Fab Four

From Sept. 20 to Oct. 26, Gallery Route One presents four exhibitions that respond to today’s world through diverse voices and materials. Sherrie Lovler’s Distant Voices offers elegant calligraphic paintings as messages of change and hope; Renée Owen’s Adrift: A Landscape of Loss uses fiber and book art to reflect on human displacement and fragile connections with nature; Fedra Yazdi’s The Weight of What Was explores belonging through paintings inspired by Persian and Suzani textiles; and Will Thoms’ 21 9x9s presents small, playful experiments in color and texture. Opening reception with artist talks: 3–5 pm, Saturday, Sept. 20. Gallery Route One, 11101 Highway 1, Point Reyes Station. Open Thurs–Mon, 11 am–5 pm. More at galleryrouteone.org.

Sebastopol

Climate Confab

Two Acre Wood Cohousing throws open its doors Sept. 27 for an afternoon of tours and a community potluck focused on sustainability and climate solutions. Visitors can explore solar systems, EV charging setups, heat pump water heaters, induction stoves and thriving gardens while learning about zero-waste practices. The 14-home community recently hit a climate-positive milestone, producing 25% more energy than it uses. Tours at 1, 2:30 and 4pm by RSVP (TA********@***ic.net or ma****@***ic.net). Happy Hour Potluck at 5:30pm—bring finger foods and one’s own plate and utensils. Free. Two Acre Wood Cohousing, Robinson Road, Sebastopol (park at St. Stephen’s Episcopal Church, 500 Robinson Rd., and follow signs).

San Geronimo

Day of Peace

The San Geronimo Valley Community Center hosts the 11th annual International Day of Peace Festival Sept. 16–21, weaving together art, music and community practices for peace. Highlights include a new mural and Peace Box Art Show created by Lagunitas School students, teachers and families; gallery exhibitions featuring San Quentin’s Prison Arts Project alongside Teamworks Art Mentoring Program; workshops in sound healing, meditation and nonviolent communication; and film screenings on personal peace journeys. The week closes with a Peace Concert headlined by Bay Area music legend Barry “the Fish” Melton. Sept. 16–21 at San Geronimo Valley Community Center, 6350 Sir Francis Drake Blvd. Details at sgvcc.org.

Sonoma Valley

Plein Air Fest

Art meets advocacy as the Sonoma Plein Air Festival continues through Sept. 13, bringing 29 master painters to capture Sonoma’s landscapes while raising funds for art education. Since 2002, the festival has invested more than $2.4 million in local classrooms and nonprofits, ensuring kids have the supplies and support to create. Highlights include the outdoor Art Show & Sale on the Plaza (Sept. 13, 10am–4pm) with live music, demos and free kids’ activities. Forty percent of art sales go directly to grants for K–12 art programs and supplies. Now through Sept. 13 at various Sonoma Valley locations. Full schedule at sonomapleinair.org.

Cannabis Lounge: Brandon Levine of Mercy Wellness

Even sitting at his “ease” in the house he built (Mercy Wellness), Brandon Levine is taut and nervy. His brain is a policy brain, restless, seeking, spinning and flashing. He is a leader, and he is a human vector, held in self-restraint.

Whether his journey through the ever shifting cannabis industry made him, or whether his inborn character suited him, Brandon Levine is a rare survivor. And he thrives, even amid the current industry conditions of mis-regulation, over-taxation, piratical rents, glutted supply, dropping prices, corporate-buyouts and fierce do-or-die competition. 

This spring, surrounded by friends and work family, Levine celebrated the 15th anniversary of Mercy Wellness (whose branding evokes its medical-era founding). The occasion was marked to celebrate all they had achieved over a long journey—and to point to the future, for the event was held in Mercy Wellness Lounge, Sonoma County’s first ever cannabis “consumption lounge.”

That, friends, is the event I celebrate, for the idea of a “consumption lounge” is both new and old. My memory stretches back. Before the efficiency-geared high style dispensary, before the bullet-proof glass dispensary, there was the home-y homely cannabis club of the medical era. I remember clubs, mostly in San Francisco, that were true community smoke-out hangouts—anti-bars where bouncers were nice and the bartenders goofy. They were chill because the cultural tone is set by weed, not liquor. Inasmuch the struggling industry needs this, the North Bay needs this, a new set of venues and low-pressure hangouts. 

As I entered, I passed a calendar of events and a small cabaret stage, then joined Levine in a cushy booth. Aromasoma played handpan.

Cincinnatus Hibbard: Congratulations, Brandon. Tell us about the new space. It’s big and open.

Brandon Levine: It’s a little under 3,500 square feet inside and like 6,000 square feet outside—about a third of which is unfinished—that will be a private party area. There are 160 lineal feet of windows, and it all opens to the outside. You can sit at “the bar” and be inside or outside. I’m building a second, much bigger stage on the outside, out of redwood. We have a scullery kitchen here we’re working on. We’re going to be building a wood fired BBQ and pizza ovens.

On the patio, fenced in by young redwoods and aspen, I see a hitch for a food truck around picnic tables. At our table, there are two menus, one for non-infused munchie snacks, and one for bud—flower, “flower flights,” pre-rolls, edibles, infused beverages, etc. At the bar, your “bud tenders” advise us on safe consumption advice?

Yes. And you can order from the dispensary at the bar and have it delivered to you. We have free papers and fresh glass for you to use and all kinds of devices. For a small fee, you can have unlimited day use of cartas, puffcos, gravity bongs and volcanos. Another thing we are hyper focused on is entertainment and experience. If you look at our calendar, you see a wide range of options—comedy nights, DJs, live bands, magic, a puff ’n’ paint, Bingo—surprisingly, Bingo was a big hit. There’re prizes.

How were you able to open the first consumption lounge in Sonoma County?

First, California State had to approve consumption lounges, but then your local jurisdiction—in our case, the city of Cotati has to pass a local ordinance approving it. They also need a guinea pig business.

Learn more. Follow the link, mercywellness.com, for a full event calendar. And if one can’t make it to the dispensary or lounge, Mercy Wellness delivers to large parts of Sonoma and Marin.

Support Local Arts, Save a Nation

There’s a reason authoritarian types go after the arts first. Fragile, underfunded, subjective as hell—it’s easier to remove the arts rather than reckon with culture.

Sure, we won’t miss the silenced songs, shuttered theaters or unshelved books that we never liked anyway. But we’ll also never know the ones we were denied—the voices throttled before they reached us, or the ones we forsook while yoked to an algorithm that insists resistance is futile and bingeing sophomoric TV is self-care. That’s not culture; that’s hospice.

What we’re really watching is culture atrophy in real time. Perspectives narrow, appetites for resistance wither and before long even dissent goes out of print.

Which is why producing and supporting new, original local art isn’t a pastime—it’s a civic necessity. Freedom of expression is a 236-year-old covenant, radical in its insistence on the new, conservative in its insistence that free speech, press and assembly remain intact. And that’s all one needs to put on a show.

Art keeps the contract current. Stop making new art and one surrenders the very premise of freedom.

I’ve entered the “best defense is a good offense” period of my creative life. And in culture, that means making more art, not less—even if it offends. Especially if it offends authoritarians. Local art is harder to censor because it’s everywhere and nowhere: the mural on the café wall, the band at the bar, the poem at the open mic. It’s guerrilla defense—decentralized, abundant, unpredictable and impossible to silence. Whac-A-Mole meets Moleskine.

With libraries under siege, curricula gutted and funding stripped, it’s on us to buy the ticket, go to the show, toss a few bucks in the guitar case—or make something. Capture an imagination, free a heart. Every act of original creation is a line held against cultural amnesia and political erasure.

In this moment of suppression, local art is both shield and sword.

Sharpen up. The nation depends on it.

Daedalus Howell is editor of this paper, a filmmaker and host of ‘The Drive’ on 95.5 FM.

Sparkling Darling: Arnaud Weyrich of Roederer Estate

Following his 1993 graduation from Montpellier’s esteemed Ecole Supérieure d’Oenologie with a master of science in viticulture and enology, Arnaud Weyrich launched his professional journey as an intern at the lovely Roederer Estate in Anderson Valley. 

During this internship, he applied his solid foundation in viticulture and enology principles, marking the beginning of an enduring partnership with Maison Louis Roederer that had him crossing back and forth over the Atlantic five times in one decade.

After completing his internship, Weyrich returned to France to join his then fiancée, now wife Floriane, accepting a position with a major retail corporation where he managed quality control for all beverages produced under the company’s private label brands.

Driven by his passion for the wine industry and preference for smaller company environments, Weyrich enthusiastically rejoined Roederer Estate in 2000 as assistant winemaker. However, when the opportunity arose for him to serve as chief technical officer responsible for development at Champagne Louis Roederer in Reims, he left the U.S. once again for more than a year.

In 2002, Weyrich relocated his family back to Roederer Estate, where he has since managed comprehensive winery operations from vineyard to daily business affairs, currently holding the position of winemaker and vice president of production.

Amber Turpin: How did you get into this work?

Arnaud Weyrich: I was born in Alsace, France, and wine was part of life there. My parents always had good wine on their table. Growing up, I knew I wanted to do a job that involved the outdoors. Farming, growing grapes and making wine seemed to cover that option.

Did you ever have an ‘aha’ moment with a certain beverage? If so, tell us about it.

There wasn’t one specific moment. I do remember one wine very vividly. It was Champagne Philipponnat, Clos des Goisses. I was on a date with my wife, Floriane, at a very good restaurant, 2-star Michelin. Maybe it wasn’t the perfect bottle, but it was the perfect person, the perfect time, the perfect place. The wine felt extraordinary.

What is your favorite thing to drink at home?

When I imbibe at home, my drink of choice is either Champagne or Roederer Estate Sparkling wine. Either one goes perfectly with food and friends.

Where do you like to go out for a drink?

We don’t really go out for drinks. We like to invite friends and family over for drinks at home to enjoy the peacefulness of the vineyards where we live.

If you were stuck on a desert island, what would you want to be drinking (besides fresh water)?

Roederer Estate 2019 L’Ermitage Brut.

Roederer Estate, 4501 Highway 128, Philo, 707.895.2288. roedererestate.com.

Free Will Astrology, Sept. 10-16

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ARIES (March 21-April 19): I can’t speak the Quechua language, which is Indigenous to the Andes Mountains. But I have lifted one of their words to use for our purposes here. The word is munay. It refers to an intensely practical and visionary love that includes far more than sweet feelings and affection. When we practice munay, we offer discerning respect and detailed appreciation to those we adore. We are generously eager to help our allies live their best lives. It takes discipline. And focus. And ingenuity. To be a rigorous and vigorous source of munay, we must cultivate it as a daily practice. In the coming weeks, Aries, I hope you will go a bit wild in your expression of this tender force of nature. Imagine yourself as a gentle whirlwind of love that spreads interesting beauty and bestows useful blessings. Be a relentless dispenser of catalytic gifts.

TAURUS (April 20-May 20): The medieval Persian polymath Avicenna believed the soul entered the fetus not with the first heartbeat, but with the first dream. I offer this idea for your poetic consideration, dear Taurus. Let’s imagine that the next beautiful thing you create will not arise from your forceful intention. Rather, it will emerge because you give yourself permission to fantasize, to wander freely in wonder and to meander with curiosity on the frontiers. Your assignment is not to hustle, but to incubate; not to push forward, but to dwell expectantly in the mystery.

GEMINI (May 21-June 20): The bowerbird constructs elaborate ground-based shrines not as nests but as seduction lures. The enticer might gather blue bottle caps, yellow flowers and shiny stones so as to create a scene that piques the attention of a potential mate. These objets d’art are not merely decorative. They are displays that demonstrate discernment, skill and aesthetic intelligence. I authorize you to be like a bowerbird, Gemini. What collection of symbols, words, gestures and curiosities will magnetize the people or opportunities you long to engage with? It’s not about flashiness; it’s about alignment. What you draw into your sphere will reflect the vibes you emanate.

CANCER (June 21-July 22): The pearl doesn’t begin as treasure. In its earliest form, it’s an irritation: a grain of sand that’s really a wound inside the oyster. Over time, the creature coats it with layers of nacre, turning discomfort into luminescence. Let’s use that as a metaphor for you, Cancerian. In my view, your task right now is not to escape or shed what’s bugging you, but to expedite the coating process. What is that gritty thing? A memory, injustice or unmet yearning? It’s crucial you don’t reject it and don’t let it fester. I think it’s best to turn it, layer by layer, into a luminous asset, even a treasure. Prediction: The pearl you form will long outlast the wound.

LEO (July 23-Aug. 22): Olive trees can thrive in rugged environments, including rocky and nutrient-poor soils. Their root systems are wide, deep and resilient. They are well-adapted to full sun, high temperatures and low water availability. In comparing you to an olive tree, Leo, I’m not implying you will always have to be as hardy as they are. But in the coming weeks, you will be wise to be equally plucky and persevering. Here’s another fact about the olive tree you can and should emulate: Its fruit is valuable and in demand.

VIRGO (Aug. 23-Sept. 22): The Basenji is a dog breed that doesn’t bark. Instead, it produces an eerie, melodic yodel called a baroo. This oddity isn’t a flaw or drawback; it’s an interesting uniqueness. In the coming weeks, Virgo, I invite you to express your personal versions of the baroo—your idiosyncratic offerings and singular gifts. Playfully resist the pressure to be more conventional or “on brand.” Be faithful to what yearns to come out of you, which may be raw, radiant and a little weird. Let your authenticity be exactly what it is: a beacon, not a liability.

LIBRA (Sept. 23-Oct. 22): Scientists discovered that some caterpillars, while dissolving inside their cocoons, retain memories of their caterpillar lives even after becoming butterflies. In my view, that’s equivalent to us humans remembering details of our previous incarnations: having an all-new body but being able to draw on what our past body learned. According to my analysis of the astrological omens, you will be able to draw on this amazing capacity in the coming weeks. The person you used to be will have key revelations and inspirations for the future you.

SCORPIO (Oct. 23-Nov. 21): According to Celtic mythology, Cerridwen is the goddess of inspiration. In her cauldron, she brews magical elixirs that bestow the powers of wisdom, creativity and transformation. The humans most likely to earn her blessings are those who are patient and willing to be changed. Of all the signs in the zodiac, you Scorpios are now at the top of the eligibility list for gifts like these. And the next three weeks will be the most favorable time for you to ask for and receive such blessings. Here’s a clue that will help you get all you deserve: Believe in magic.

SAGITTARIUS (Nov. 22-Dec. 21): In ancient Chinese philosophy, ziran means naturalness, spontaneity. It might refer to the way a mountain is purely a mountain, and a wave is a wave without trying to be a wave. I think you Sagittarians are due for an extended engagement with this wild ease and elegant freedom. After weeks of inner labor, your soul wants to breathe in ziran. Your assignment is to let yourself be as natural and unconstrained as you dare—not correct or careful or “optimized.” So I advise you to head in the direction of what’s simple and real and good. Emphasize smoothness over effort. Choose your rhythm, not theirs. You aren’t required to prove your healing. You just have to live it.

CAPRICORN (Dec. 22-Jan. 19): “Serendipity” is an English term that refers to beautiful accidents, fortunate interruptions, unexpected opportunities and surprisingly wonderful discoveries (The French equivalent is sérendipité; Italian: serendipità; Japanese: serendipiti.) The word didn’t exist until 1754, when author Horace Walpole coined it. Lovely outbreaks of good luck and uncanny blessings had been happening from time immemorial, of course, even though there wasn’t this precise word for them. Here’s a key point: They are more likely to occur if you believe they’re possible and make yourself alert for their arrival. That’s good advice for you right now.

AQUARIUS (Jan. 20-Feb. 18): The placenta is the only organ that the human body creates from scratch and then discards. Let’s pause for a moment to register how remarkable this is: to grow a temporary life-support system and then jettison it once its purpose is fulfilled. Inspired by this miracle, I speculate that you may soon undertake a metaphorical version of it. A situation or experience that has nurtured you is reaching the end of its mission. Though it has served you well, the wise move might be to outgrow it and move on to a new phase of your evolution. At the very least, it’s time to embark on a search for new forms of nourishment.

PISCES (Feb. 19-March 20): In Balinese gamelan music, there’s a technique called kotekan. Two instrumentalists play distinct musical parts that together create a seamless, intricately melodic and rhythmic texture. Let’s make this your metaphor to live by in the coming weeks, Pisces. In my astrological opinion, you are not meant to work solo. Your greatest success and most fun will come by generating harmony through collaborative improvisation and shared timing. A small warning: Someone else’s input may at first feel like interference, but it’s actually the missing part of the song. Let yourself blend, bounce, echo and respond. Genius will be born in the spaces between.

Your Letters, Sept. 10

Mapmaker

Politicians have long abused district maps to cling to power. In Texas, lines were redrawn, not through a fair election process, but through manipulation. That’s gerrymandering, and it silences voters.

Here in California, we led the way with an independent redistricting commission. I’m proud of that achievement, but now Republicans in Washington are taking this fight to a new low. Prop 50 is our way to fight back. It is a temporary change (2026 to 2030) in how maps are drawn, and, unlike in other states, we the people get to vote on the change.

Congress had a chance to make fair maps the law of the land. In 2019 and 2021, the House passed H.R. 1, the For the People Act, to require independent commissions in every state. The Republican Senate blocked it.

Our democracy depends on fair elections and fair maps. This isn’t the California we want long-term—we already chose an independent commission. But right now, with so much at stake, Prop 50 is the tool we need to protect voters until national reform can finally take hold. And 2026 elections could be our last chance before new barriers are locked in place. Learn more and vote YES on Prop 50.

Kathleen Meadows
Santa Rosa

Blood and Guts

‘Gary, A Sequel to Titus Andronicus’ at Left Edge in Santa Rosa

If a dearth of penises and flatulence on North Bay stages has kept you from returning to live theatre, Santa Rosa’s Left Edge Theatre has got a show for you. It’s Taylor Mac’s Gary, A Sequel to Titus Andronicus and it’s currently covering the stage of The California with blood, guts, and various intestinal materials through September 7.    

For those not familiar with Shakespeare’s Titus Andronicus, it’s an incredibly violent play containing rape, mutilation, dismemberment, cannibalism, and a whole lot of death. Mac picks up from that play’s ending and asks the question “Who cleans up the mess?”   

Well, it’s Gary (Be Wilson), a pigeon-juggling clown who talks his way out of a hanging by asking that very same question. He’s sent to the palace banquet room where bodies are stacked like cords of wood awaiting disposal. Gary doesn’t mind, as he sees being a maid as a promotion of sorts from being a clown. He thinks he’s in charge until maid Janice (Jess Headington) shows up and lays down the law. She knows what she’s doing. She’s done it before. 

They don’t know how they’re gonna get everything cleaned up in time for a coronation when midwife Carol (Lydia Revelos) shows up. Now the three of them together can get an assembly line of sorts moving to handle the stack of bodies around them. Each of the bodies needs to be drained of blood, intestinal waste, and gas. Good thing they’ve got hoses and pumps to speed things along. 

As they get about their task, conversations flow about status, inequality, improving one’s lot in life, gender roles, the patriarchy, and the role of art in changing the world for the better.

Ah ha! 

And there you have it. Mac’s modern Grand Guignol answers the show’s original question: Who cleans up the world’s messes? According to Mac, the artists do. Well, they at least play an important role in getting the world to acknowledge its messes and help people visualize and perhaps even create better days. Maybe that’s why the arts, along with democracy as a whole, are under attack right now.  

As far as this particular piece of art goes, director/sound designer Lulu Thompsxn has gathered a terrific trio to take on the show’s three roles, and together with set designer Tenn Elledge, lighting designer Matilda Black, and with props by Lexus Fletcher and Serena Elize Flores (Who sewed all those carcasses?), have all created one of the most theatrical experiences to hit a North Bay stage in a while.

Anatomically correct torsos cover the stage (when they’re not being “manipulated’), body fluids are frequently sprayed (yes, there are “splash zone” warnings for the audience), and Mac’s often-lilting dialogue floats through the air, sometimes in rhyming couplets, other times in piercing monologues delivered in a Cockney accent. And in case I haven’t made it clear, all the horror on stage is dressed in some very dark comedy.  

Wilson, a Dell’Arte-trained clown, is in their element here. Their talents have never been put to better use on a local stage. Headington grounds the chaos with her “been-there-done-that, probably-gonna-do-it-again-so-I’ll-keep-my-head-down” approach to her character.

Revelos opens the show and, despite a gaping, gushing wound in her throat, provides a recap of what happened in the original play (So you don’t need to be familiar with the source material.) She disappears until the second act and becomes quite an aural presence from that point forward. Her character actually provides a smidgeon of hope at the end.    

Gary, A Sequel to Titus Andronicus is not going to be everyone’s cup of tea. At the end of two hours, you may be asking yourself “What the hell did I just watch?” , or “What will wash stage blood out of my shirt?”, or “What is the point?”

That last question can be asked of far too many things in the world today.

Maybe that’s the point.  

Left Edge Theatre’s ‘Gary, A Sequel to Titus Andronicus’ runs through September 7 at The California Theatre. 528 7th Street, Santa Rosa. Wed – Sat, 7:30pm; Sat & Sun, 1pm. $22–$44. 707.664.7529. leftedgetheatre.com

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Blood and Guts

‘Gary, A Sequel to Titus Andronicus’ at Left Edge in Santa Rosa If a dearth of penises and flatulence on North Bay stages has kept you from returning to live theatre, Santa Rosa’s Left Edge Theatre has got a show for you. It’s Taylor Mac’s Gary, A Sequel to Titus Andronicus and it’s currently covering the stage of The California...
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