Fred Curchack returns to Main Stage West

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Just when Shakespeare scholars thought they had seen it all; actor, writer, director and professor Fred Curchack created something new and strange in 1983 with his one-man show, Stuff As Dreams Are Made On—a deconstruction of The Tempest featuring Curchack performing with an array of masks and visual trickery.

The play debuted at Cinnabar Theatre in Petaluma, where the New York–native was living, and Curchack went on to tour the show internationally to great critical acclaim.
Now, the 71-year-old Curchack is reviving Stuff As Dreams Are Made On Dec. 27–28 at Main Stage West in Sebastopol, 15 years after he last performed it.

“I’ve been asked to revive this show for a conference of Shakespeare theater directors from all over the world, apparently,” Curchack says. “I decided to do a few local shows, and one in Dallas where I teach, to get it up to speed with real-life audiences.”
This is not the first time Curchack’s been asked to perform for scholarly groups, and the play has been heralded by critics as an ambitious and audacious examination of Shakespeare and of art itself.

“It’s about an actor who tries to do a one-man show using text from The Tempest, and he plays all the roles,” says Cuchack, who incorporates puppetry, ventriloquism and special effects into the show.

Beyond its academic value, Stuff As Dreams Are Made On is also a wildly imaginative, obscene, sometimes scary and often hilarious show that’s been a hit with audiences for years.

“I’m trying to make it very entertaining, very outrageous, very dirty,” Curchack says. “It’s not for kids.”

The balance between Shakespeare and outrageousness is the secret to the show’s success, and Curchack says Stuff As Dreams Are Made On resonates with people who can’t stand Shakespeare, because it confronts the way that Shakespeare’s works are often presented in our contemporary culture.

“Often, the rich spirituality, psychology and existential insights that are Shakepseare’s contribution end up being analyzed merely as political insights,” Curchack says. “Of course, he was hugely political; there’s no question about that. But that’s not all he was doing.”

In reviving Stuff As Dreams Are Made On, Curchack is finding new meaning in Shakespeare and his own work through the process of re-making the masks and special effects and adapting the physically-demanding show to his 71-year-old body.

“All this stuff is what I love theater for, it awakens interest in all sorts of things,” Cuchack says. “Most of all, re-learning the lines and reinvestigating what they really mean. Where do they touch my life on the deepest possible levels? There’s a whole host of things to think about, but it’s no longer in order to have a hit show, because it’s already been a hit show—now it’s in order to really work on myself in a way that’s fulfilling.”

Fred Curchack performs ‘Stuff As Dreams Are Made On’ Friday and Saturday, Dec. 27–28, at Main Stage West, 104 N Main St., Sebastopol. 8pm. $15–$30. mainstagewest.com.

Believe It, Or Not

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Belief in Santa Claus, like many an American’s belief in functional democracy and fair elections, almost never lasts forever. And yet, given differences in culture, religion and individual parenting choices, not every kid in the country grows up believing in the magical man with the flying reindeer.

But it’s safe to say that a large number of children do. And for the vast majority of them, there comes a time when their faith in Santa either gently fades as their cognitive awareness and critical thinking expands, is yanked away rudely by some bubble-popping sibling or playground pal or is traumatically shattered by the sudden realization that they’ve been lied to.

Personally, as someone who stopped believing at the age of 4 (my parents were egregiously sloppy with Santa-details, wrapping paper and Christmas-morning protocols), I’ve long been interested in when and how different children reach the end of their faith in Kris Kringle’s existence. I’ve spent years collecting stories of people’s own moments of Santa Truth Awareness. As a journalist, I frequently have the opportunity to toss in the question, “How old were you when you stopped believing in Santa Claus?”

Here are three of my favorite Santa Truth stories from the last several months:

Author, comic and television host W. Kamau Bell told me during a moment at the 2018 Wine Country Spoken Word Festival that he never technically believed in Santa.

“My mom didn’t encourage me to grow up believing in Santa Claus,” Bell said. “I knew there was this thing out there, but I never connected that person to someone bringing me toys. So, my first memory of that specific version of Santa Claus was at a school event where they were taking kids to see Santa Claus. And I remember very specifically all the kids going in a room to meet Santa Claus, and me being led to … another room.”

Bell’s mother had sent a note, instructing her son to be excused from all Santa-related activities, including being forced to sit on a bearded-stranger’s lap.

“Part of that was, she remembered how painful it was, for her, when she found out there was no Santa Claus,” Bell said. “It was like, for my mom, that was the moment childhood left her. And she was like, ‘I don’t want to do that to my own kid.’ But she never explained any of that to me.

“We just didn’t ever talk about Santa Claus in my house. So that day, when I was sent to this one room and all the other kids went to see this guy in red with a big beard, I was sort of confused about the whole thing. I was thinking, ‘Why are they going in that room to talk to that guy, and I’m in here by myself with the teacher?'”

He estimates he was between 6 and 8 years old at the time.

Megan Westberg, the editor of Strings Magazine, estimated she was around 9 or 10.

“Oh, I definitely remember when I stopped believing—I walked up to my mom, who was sitting there doing something, and I said, ‘You know Mom, a lot of kids do not believe in Santa Claus anymore, but I do, because you wouldn’t lie to me … right?'” Westberg said. “I know, I’m the worst. And she turned around and said, ‘Oh boy. Megan, I’m sorry to tell you, but no, there is no Santa Claus.’ And apparently what I said was, ‘Well, I guess that’s bad news for the Tooth Fairy.'”

Actor Denis O’Hare, probably best known as the vampire king Russell Edgington on HBO’s True Blood, was fuzzier on how he came to stop believing.

“But I did grow up believing in Santa Claus,” he acknowledged, during a post-show reception following a Mill Valley Film Festival screening of his film The Parting Glass. Directed by Stephen Moyer and featuring Anna Paquin (both of whom appeared in True Blood), the film was written by and stars O’Hare, who based the screenplay on his family’s story of dealing with the suicide of their youngest sister.

“I remember being 5 years old, with my brother in the bunk bed,” he said. “Every year, on Christmas Eve, I climbed up into his bunk bed so I could look out at the roof and hopefully see the reindeer landing. I remember waiting and waiting—I’d always fall asleep before they landed. And then people would say, ‘Oh, you missed it!'”

Though he didn’t remember the moment he stopped believing, he recalled that his younger sister continued believing for some time. “We all colluded to keep her believing as long as we could, as a family unit.”

“My son is seven,” O’Hare said. “He asked me point blank, about five months ago … ‘Is Santa Claus real? Just tell me the truth.’ And I said, ‘No, he’s not real.’ He said, ‘Okay,’ but then, about two weeks ago, he was suddenly kind of like, ‘So, will Santa still bring me a gift if I want?’ So I’m not sure what he’s doing, if he’s still wanting to play the game, or he’s re-believing, or what.

“My older sister—Pam, in this movie—we’re planning to all meet up in Florida for Christmas this year, and she just asked me, ‘Is your son coming? Great, should we put cookies out for Santa and everything?’ I said, ‘Yes, go ahead’ … but at this point, I really don’t know what he believes. I guess we’ll all just play it by ear and let him decide when he’s ready to stop.”

Back to W. Kamau Bell, he went on to say that though he never believed, his own kids do.

“My wife grew up believing in Santa Claus, and she believes that kids should have that magic in their life,” he said. “There are some decisions in married life where you just say, ‘You know what? I’m going to stand over here and stay out of this one.’

“The joke in my house is that I’ll go, ‘So, you told Santa Claus what you want for Christmas yet? Did you tell Birthday Claus what you want for your birthday?’ And they’re all, ‘Oh, there’s no Birthday Claus!’ So we have fun with it, but I don’t know exactly where it all sits with my 7-year-old’s head right now. She’s beginning to understand, and sometimes she’ll ask, ‘Is there really a Santa Claus?’ And I have to be like, ‘Uhhhhhhh … talk to your mom.’

“But sometimes when I look into my kids’ faces, I sort of wonder what I missed out on,” he continued. “My daughter went and met Santa Claus once, and she was so blown away and filled with this kind of ‘Oh my God’ sense of wonder and amazement, I have to admit I had a little bit of envy that she gets to feel something I never got to feel. But hey, I don’t blame my mom at all—Santa or no Santa, I think she did a good job.”

Roofs and Rental Rules

At the start of the new year, a mass of new state housing laws will kick in. Whether you rent or own in the North Bay, here are some of the new rules you should know about.

Rent Control Lite

Assembly Bill 1482, formally known as the Tenant Protection Act of 2019, includes an annual rent cap and various tenant protections. It was passed in October as a compromise between renters and landlords after several years of increasingly high profile political skirmishes between the groups across the state.

Ultimately, no one seems perfectly happy with AB 1482. Tenants’ advocates say it’s too weak and landlords tend to cringe at any restrictions of their profits. The bill goes into effect on Jan. 1, 2020 and lasts through Jan. 1, 2030.

Notably, the bill’s author, San Francisco Assemblymember David Chiu, calls the new limit a rent cap, not rent control.

AB 1482 does cover more properties than were previously affected—i.e. almost no properties in parts of the state without local rent control laws—but there are still some sizable holes in this bill.

Here are some, but not all, of the people who are not covered by AB 1482:

Homes built in the past 15 years, determined on a rolling basis, including accessory dwelling units, also known as granny units.

A duplex in which the owner occupies one of the units from the start of the rental agreement.

Condos and single-family homes, unless they are owned by a corporation, a shell company owned by a corporation or a real estate investment trust.

If you are covered, the law sets an annual limit on rent increases at 5 percent plus the increase in the cost of living or 10 percent, whichever number is lower.

Between April 2018 and April 2019, the cost of living rose by 3.3 percent across the state, according to the California Department of Industrial Relations.

That means a landlord covered by the law could increase rent by 8.3 percent this year on unit covered by the new law.

AB 1482 also extends “just cause” eviction protections to tenants covered by the bill.

A landlord can now only legally evict a tenant for the following reasons: falling behind on rent, breaching the terms of the lease and committing a criminal act on the property.

Note: This is by no means a comprehensive guide to the new law. Do your own research on the new rules for renters and landlords or contact a local advocacy organization if you have further questions.

Bay Area Central Finance Authority

Another bill by Assemblymember Chiu, AB 1487, the San Francisco Bay Area Regional Housing Finance Act, creates a regional funding organization to back housing production and related programs throughout the nine-county Bay Area.

The bill empowers two existing regional bodies—the Metropolitan Transportation Commission (MTC) and the Association of Bay Area Governments (ABAG)—to put forward ballot initiatives to raise funds for housing and transportation projects.

In the past, that work has been done regionally, leading to differing patterns of development and land use across the Bay Area.

At its core, this is the latest skirmish in the Bay Area’s war over “local control” of housing policy decisions.

AB 1487 and several other bills passed in 2019 came out of recommendations floated as part of the MTC-led CASA Compact, a bundle of legislative suggestions written by a committee of lawmakers, developers and nonprofit representatives from around the Bay Area.

The final CASA Compact, which includes suggested tenant protections, land-use changes and the Bay Area regional funding mechanism, was endorsed by the CASA committee in January 2019.

However, Marin County’s representatives on ABAG—Supervisor Dennis Rodoni and Novato Councilwoman Pat Eklund—and the MTC Supervisor Damon Connolly, all voted against the compact when it came before their boards. All three cited concerns about the erosion of local control, according to coverage in the Marin Independent Journal.

Since then, many of the suggestions have been passed by state lawmakers as separate pieces of legislation.

Under AB 1487, the Bay Area Housing Finance Authority, which will be governed by the MTC’s existing governing board, will be able to place regional housing bonds on the ballot and then disperse the funds throughout the nine-county Bay Area.

“A regional approach is crucial to tackling our housing crisis in the Bay Area. Our challenges are inextricably linked across our region, and we need to tackle them together,” Chiu told the San Mateo Daily Journal in September.

Expect debates over “local control” to continue as they have before.

Miscellaneous

In an effort to increase housing stock across the state, politicians penned numerous new laws intended to boost housing production and protect vulnerable tenants throughout the state. We’ll just cover a few here.

The Housing Crisis Act of 2019 (SB 330): Written by State Senator Nancy Skinner, this law would make local governments green light certain housing developments if they meet criteria laid out in the bill. It also caps the number of public meetings about an individual proposal at a total of five.

Source of Income Protection (SB 329): This bill bars landlords from choosing not to rent to prospective tenants solely because they use Housing Choice Vouchers, the government benefits for low-income renters.

Easier ADUs (AB 68 and 69): These two bills, written by Assemblymember Phil Ting, alter the rules around the size of and locations where Accessory Dwelling Units (ADUs) can be built. These small, separated units, sometimes known as granny units, are thought to be a way suburban regions can increase housing density and affordability without building upwards.

Do It for Will

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Actor-producer-comedian Debi Durst has learned a lot about strokes over the last several weeks, ever since her husband, stand-up comic Will Durst, had a serious one in October.

If you’re going to have a stroke, hemorrhagic is the way to go,” she says.

Still hospitalized following an infection and a series of procedures involving feeding tubes, PICC lines, drainage clamps and tubes in his head, Will is recovering, making jokes, regaining his appetite and looking forward to getting back to work after canceling gigs for the first time in his 30-plus-year career.

“But we’re not cancelling the Big Fat Year End Kiss Off Comedy Show,” Debi says. “At first, we were planning on wheeling him out in his wheelchair to do his set, but then when he ended up back in the ICU with an infection, we decided to go ahead and bring in some extra help and do the show with him calling the shots from his room.”

She’s talking, of course, about the popular annual comedy showcase Will has headlined—and Debi has produced and appeared in—for the past 27 years. For 2019, the touring comedy cavalcade will play 10 shows in nine venues over nine days. Featuring names that fans have come to count on—Johnny Steele, Arthur Gaus, Michael Bossier, Mari Magaloni and Debi Durst—the show will welcome a revolving band of additional comedians to fill in for Will during the performances. They will include effervescent comedian-actor Diane Amos, veteran stand-up Dan St. Paul, the ever-eccentric Michael Meehan, hard-working Barry Weintraub, and Larry “Bubbles” Brown, who Debi says, “Will show up whether we ask him to or not, so we just put him on the bill.”

The comics will take turns performing stand-up sets, interspersed with sketches and songs, each devised to—in words made famous by Will—”lampoon, satirize, mock, scoff, scorn, taunt, tease, rib and ridicule the people and events of the past year,” which, given the year we’ve just had, should be a total laugh riot. North Bay fans can catch the show at the Raven Theater in Healdsburg on Saturday, Jan. 4.

“It’s what Will wants; for us to do the show,” Debi says. “And he kind of loves the idea that it takes three or four comics to take his place in his 45-minute set. Barry Weintraub is flying out from New York City to help—it’s all hands on deck, and it’s all because Will hated the idea of the show not going on. So, we will proceed in the spirit of what Will set the show up to be, a show in the spirit of fun and laughter; ’cause I don’t know about you, but we sure need to laugh right now.”

Asked if Will is currently working on any jokes for his act once he returns to the stage, Debi laughs. “Oh, man,” she says, “I’m thinking he’s going to have an entire one-man show about this.”

Rise & Fall

As you’re composing yourself after the brassy blast of John Williams’ theme song with its 42 years of weight behind it, here come the first words in the Star Wars: The Rise of Skywalker title crawl: “The dead speak!”

And that’s the problem right there.

An enervating part of the Star Wars religion is the way the dead keep coming back as blue-tinted ghosts—as when old Obi Wan joined in on the teddy-bear picnic of Ewoks from the next world in Return of the Jedi. While the filmmakers mean for us to feel sorry about an already-demised actor who died on-screen, it’s like that glitch in Facebook’s algorithms that reprints a dead person’s obituary on the anniversary of their death—it’s sad, and it’s news to some, but it lacks surprise.

Moreover, Rise of Skywalker violates the law that says you don’t show the monster until the end of the movie. From the title crawl, we know that Emperor Palpatine (quavery old Ian McDiarmid) has come back to life.

He’s resurrected and needs to be snuffed, and so we know where this movie will end. He and the Final Order hide on a grim, bad planet full of blue lightning. It’s a Sith stronghold that can only be found with a triangular widget, which in turn can only be found with the help of an inscription on a blade in the dread language of Mordor (actually Sithese) which C-3P0 is forbidden to utter. And we know that the last of the Jedi, Rey (Daisy Ridley—sometimes beautifully fierce, sometimes blandly intrepid) must be the spearhead.

Rise of Skywalker has the disadvantage of following The Last Jedi, maybe the best in the series; during lag times in this J.J. Abrams film, you recall the energy Rian Johnson brought to the lightsaber fight in Snoke’s crimson throne room, and the groans of the grizzled Chewbacca, and the closeups of Adam Driver’s vaguely teenage face swollen with emotion.

Driver’s Kylo Ren helps this film, and Rise of Skywalker’s most attractive side is the relationship between him and Rey, the woman he loves and hates and can’t stop pulling a lightsaber on. The two are so bonded that they’re in each other’s heads. They share the same space from separate locations at the same time—in one fight, she’s on a spaceship and he’s in a marketplace; he swings his saber and bursts open a bag of beans, and the beans roll at her feet, many miles away.

Their more-or-less climactic duel takes place atop the rusting ruins of the Death Star, surrounded by a turbulent sea. But there’s plenty of rudderless action as the rest of the characters make a crowded-yet-uneventful chase from one planet to another.

There’s constant eye candy: a Kumba Mehla–style festival in the desert called “the Festival of the Ancestors” (which the movie certainly is), a six-eyed sandworm attack and various growling muppets. And yet nothing connects. This was once a series that did things no other movies did; now every movie does them, and that’s the best thing to be said about it now that it’s wrapped up.

‘Crappy Creek’ Revisited

Update to the high levels of E-coli (“Crappy Creek,” Nov. 6): Over a year ago I complained to the City of Petaluma and its previous harbormaster before that. I have witnessed liveaboards blow their waste out the sides of their boats. I have witnessed people toss buckets full of human waste like it was the thing to do. I have made reports to the new harbormaster and even all the way up to the mayor. And everyone in between. I met a gentleman from the state water board who came and tested the water in the marina. The levels were high; the highest being at the marina entrance. He didn’t understand why. Nor did I. Then all this negative publicity came out.

The Bay Keepers are correct in saying that this whole plan isn’t effective. I wrote to them and explained. The very next day after over a year of trying to get someone to enforce the obvious.

After finding out the pump-out station at the marina was pumping directly into the river and that may be why the E-coli levels are so high at the mouth of the marina. The pump-out station is located at the mouth of the marina as well. But after all of this time and effort, the state water board got hold of me and the next day an inspector came and put an “out-of-order” sign on the pump-out station.

It is the marina’s responsibility to ensure the vessels are using the pump-out station and not dumping discharge in the river. If there are a total of 16 people living on the boats in the marina and only two boats use the pump-out station and none of the people use the restrooms, what is the only logical explanation?

Why have all these rules and regulations if nothing is enforced? The part that really sucks is that the people who are environmentally conscious and respect our waters get punished because of this.

This is the turning point for the Petaluma River. Hopefully, people will start to do the right thing. If it takes holding the responsible parties accountable, then so be it. It will work like peer pressure.

Thank you Baykeepers for your help in getting some action.

Chad Roughton
Via PacificSun.com

Floodwater opens in Mill Valley

Gone are the ’90s design elements architect Cass Calder Smith brought to the cavernous space that was the longtime home to Italian restaurant Frantoio. Even vestiges of the celebrated stone olive press are nowhere to be seen. Instead, Bill Higgins of Real Restaurant Group (Buckeye Roadhouse, Picco, Bar Bocce, Bungalow 44 and Playa) has reimagined the 7,200-square-foot space just off Highway 101 in Mill Valley. The revived restaurant, surprisingly named Floodwater, features five distinct eating areas and a 30-seat bar.

As the Real Restaurants empire grows, second-generation Higgins’, Tyler and Henry are rolling out this new concept that appears to be doing its level best not to compete with its many existing properties. Vietnamese chicken wings and pork belly steamed buns are a clear nod to one of the group’s now-closed but beloved Union Street eateries, Betelnut, and a chicken matzah ball soup offers a Jewish deli favorite.

Executive Chef Michael Siegel has created an ambitious menu that is quite literally all over the map. Jewel-like scallop crudo prepared with tart finger lime and pickled citron shares space with an equally inspired vegetarian cassoulet concocted of butter beans, farro and broccolini. But I’m not going to lie—the best thing I tasted at Floodwater is the pizza. A dedicated pizza oven in the lively dining/bar area pumps out fresh, blistered pies with toppings including potato, roasted garlic, leek veloute and mozzarella. A salsiccia version features housemade sausage, caramelized onions and sweet peppers.

While the food is eclectic, the bar menu is more straightforward with a handful of cocktail offerings, 10 mostly-local craft beers on tap and familiar California wines by the glass. Five flat-screen TVs add to the lively nature of the bar, but a quieter, more lounge-y room flanking the main bar provides a more intimate atmosphere with couches, chairs and more screens. And yet another dining option is at the opposite end of the room where booths, four-tops and tables fill out the space and offer a quieter dining experience where guests can hear one another speak.

Floodwater just opened on
Nov. 29 and while it’s quite likely it will draw a bar crowd, I suspect the menu may undergo some tweaking. Trying to offer something for everyone is understandable, but maybe these pros should focus on what they do best—making really good pizza! Oh, and desserts! Two standouts included a sticky toffee pudding with dates and a huckleberry panna cotta with ginger honeycomb candy.

Rialto Cinemas celebrates 20-year anniversary

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On Jan. 14, 2000, “art house” arrived in Sonoma County. That’s the date Rialto Cinemas first opened its doors in Santa Rosa, ushering in a new era of local theaters that showed independent, foreign-language and other small-but-important films on the big screen.

The now Sebastopol-based Rialto Cinemas is planning a yearlong celebration in 2020 for its 20th anniversary. Proprietor Ky Boyd looks back on all the movies and moments that made Rialto Cinemas what it is today.

Reel One

Boyd, a native of Great Falls, Montana, moved to the Bay Area in 1993 and worked in healthcare administration. “It wasn’t really fulfilling my soul,” he says of the experience.

He had a background in working for nonprofit arts groups, as well as a lifelong dream of owning a movie theater.

“When I was a young child, like a toddler, I was fascinated with things that went in circles; sprinklers, the washing machine,” Boyd says. “I also remember in kindergarten, one day we had a movie, and I couldn’t tell you what the movie was, but I was fascinated by the projector, which I can now tell you was a Kodak Pageant 16 mm projector. The reels went ’round and that was the beginning.”

In fact, Boyd operated his first movie theater—complete with a Coca-Cola sign hung on the stairs—out of his parent’s basement as a child, showing Super 8 movies to family and friends.

In Great Falls, Boyd’s film diet was all mainstream studio releases, though he discovered foreign-language films in college and started going to “art house” movie theaters in the ’80s.

“It opened my mind to a whole world of cinema,” Boyd says.

With the support of family and friends, Boyd opened the Rialto Cinemas Lakeside on Summerfield Road in Santa Rosa in 2000 with that “world of cinema” inspiration. In a county that was dominated by United Artists movie theater chains, Boyd planned to screen films made with artistic, rather than commercial, intentions.

“I wanted to show movies that weren’t just the big, noisy movies with $20 million marketing budgets,” he says. “I wanted to help connect audiences to these independent films that they may have never heard of, but that I thought they may enjoy.”

Though independent movies did play in Sonoma County before the Rialto Cinemas opened, Boyd compares their screen-time to breadcrumbs. Even if a small-budget film did well upon release, it was soon taken off the marquee for whatever blockbuster Bruce Willis–versus-an-asteroid-type flick came along next.

“The audience was here (for independent movies), we just had to show that it existed,” Boyd says. “Part of the deal was getting people to trust us. If they keep coming and seeing films they like, they start swinging a little wider and take a chance on a film they might not have otherwise.”

Boyd also knew early on that he had to show the film distributors and the industry that he could gross high numbers of ticket sales in Sonoma County. He credits four movies in 2000 and 2001 with doing that; Christopher Guest’s Best in Show, British dance drama Billy Elliot, Kenneth Lonergan’s You Can Count on Me and the Coen Brothers’ Oh Brother, Where Art Thou?

“That was the beginning,” Boyd says. “When those films all worked, we were on a roll.”

Reel Two

Boyd stresses that, despite getting on a roll, the overall ride has been far from smooth. In fact, moviegoers may recall that the Rialto Cinemas Lakeside ceased to exist in the Fall of 2010, when the five-screen theater’s master lease reverted back to the family that owned the property.

Determined to keep showing movies, Boyd took Rialto Cinemas “On the Road,” presenting events like National Theater Live and the Jewish Film Festival at the Sixth Street Playhouse in Santa Rosa until 2012, when the former Sebastopol Cinema 9 on McKinley Street became available.

“It was great, because we had a home,” Boyd says. “We knew we were going to renovate the theater, and renovating while you’re operating is always an interesting challenge. I’m sure there are people who wondered, ‘What the heck are they doing?'”

Aside from updating the look of the Sebastopol location, Rialto Cinemas went about securing a beer-and-wine license and committed to serving superior food—including paninis, pizza, soups, salads and other shareable bites made onsite in a full kitchen—to the audience. But don’t worry, old-school movie lovers; their popcorn and soda machines didn’t go anywhere.

“We’re running not just a theater, but a legitimate restaurant,” Boyd says. “People have embraced the concept. I was talking to someone in the lobby last night who just came for dinner, and that’s so cool.”

Reel Three

“To be involved in the community was always important,” says Rialto Cinemas General Manager Mary Ann Wade, who has worked with Boyd since 2005. “I get thanked constantly by our customers for having such a wonderful place they can come to in their own community. Especially in Sebastopol, here in
what some people would say is the middle of nowhere, we’re showing world-famous shows like Metropolitan Opera Live and National Theatre Live.”

Today, Rialto Cinemas helps anchor the ever-growing downtown Sebastopol, which has seen the development of the Barlow and other changes during the last eight years. The theater also offers more mainstream films alongside those niche indie-films in its lineup, screening the mega-popular Frozen 2 and opening Star Wars: The Rise of Skywalker this week. Still, the theater maintains a commitment to those lesser-known films and continues to work with groups like the Sonoma County Library Foundation, the Sonoma County Jewish Film Festival and the Sebastopol Documentary Film Festival.

“It’s in my DNA, I guess is the best way I can say it, to think the theater is not just a theater—it’s a community center, a gathering place,” Boyd says. “We’re using film to help local organizations, whether it’s bringing awareness to a particular issue or helping to raise money, we’ve done a lot of that stuff over the years and we’ve had some amazing partnerships. It’s crucial and core to what we do.”

Rialto Cinemas is still planning specific events throughout 2020 for the upcoming 20th anniversary. But for now, in an era where more streaming sites and other film-watching avenues exist than ever, the theater wants to continue to be the place where audiences come together to appreciate films.

“We want every single person who comes to the Rialto Cinemas to feel that they’ve experienced something magical or they’ve opened a different door, a different viewpoint on something in the world,” Wade says. “We want them to leave with a sense that they came in by themselves, but they left being part of a community.”

Blanc Elephant Party

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Are the chains of the Ghost of Christmas Present scraping on the floor already, and you haven’t even checked a wine lover or two off your gift list? Then it’s time to give the absurdly obvious a go.

Consider a corkscrew as a stocking stuffer. Really, a corkscrew? Yes, really, especially if you’ve ever noted family or friends struggling to strong-arm the vinous precious from the bottle with an old, single-action corkscrew. It’s heroic, sure, but it’s not efficient on a Wednesday night after work when you’re seriously wanting for a splash of Chardonnay. Everyone who drinks wine often, or even occasionally, or who plans on maybe having a splash to celebrate the New Year, ought to have a double-hinger, or “waiter’s” corkscrew. It’s simple and effective. A wooden-handled version adds some class for a gift. The good news is, they’re often for sale as branded items at wine-tasting rooms and make an easy pairing with a bottle from that winery. Now we’ve wine and a means of accessing it—what else is necessary?

Wine glasses. Really? Sounds like a tip from the vineyard of Clos-St-Obvious. If your intended recipient is in the wine business, maybe, but scope the cabinets. Wine enthusiasts know that glassware breaks, perhaps especially in moments of enthusiasm, and is not always replaced. Many homes where a fine Sonoma County or Napa Valley wine brightens but the rare weekend evening simply lack proper wine glasses. This isn’t a matter for wine snobs only—it’s about enjoying the darn wine. The straight-sided jelly jar had a tortured tenure as the, uh, hipster’s anti-snobbery vessel of choice for sipping artisanal Albariño, but it still kills the aroma. And who wants to do that when our neighbors have braved smoke and blackouts to make sure their fermentations result in a high-quality libation? Fine glassware isn’t made much locally, but look to a local business like Corrick’s for experience and advice in choosing Riedel stemware—proper whiskey glasses, too—or Waterford crystal, both in a modern, elegant style and traditional cut crystal designs, decanters and more. Corrick’s, 637 Fourth St., Santa Rosa.

OK, the presents are open and cheeks are getting rosy, but we don’t want to ruin a perfectly cheery celebration by having one glass too many—and wouldn’t want to waste the rest of that good wine, either. See if a can of Private Preserve doesn’t fit in that stocking, too. From a company based in Napa, it’s a blend of inert gas—a blast or so in a bottle saves the wine for another merry day. Local wine shops, like Wilibees Wine & Spirits, carry it.

Weed magic

His real name is Mitchell Thompson, but I know him as Mitcho. He’s a gentle soul who played a big role in creating Sebastopol’s first dispensary, Peace in Medicine. This spring, he’ll be an even bigger presence in the industry when he launches his new company, Phytomagic (www.phytomagic.com), which will make organic tinctures and salves in small batches using the best buds, along with other healing herbs and flowers.

Sarah Schrader, the co-chair of the local chapter of Americans for Safe Access (ASA), says, “Mitcho is the Martha Stewart of our industry and one of the most knowledgeable people about the synergy of herbs.”

Mitcho calls his concoctions “cannacentric.” Indeed, weed is at the center of his world.

“Phyto is Latin and means plant,” he says. “We don’t know exactly how THC and CBD work in the human body, but they do. That’s the magic of the marijuana plant.”

In San Francisco, Mitcho used weed therapeutically to rescue homeless kids. One of those kids, Robert Jacob, later founded Peace in Medicine and was the first person from the medical marijuana industry to become the mayor of an American city. Mitcho worked one-on-one with Peace in Medicine patients to help them figure out remedies that worked best. “It wasn’t necessarily cannabis,” he says. “We were trying to help, not make a ton of money.”

This afternoon, on the plaza in Sebastopol, Mitcho remembers his boyhood in Burbank, where he was born and raised and embarked upon his career as a Disney extra. He might have gone on to become a movie star, but other magical kingdoms beckoned. He smoked his first joint at 13, studied the herb and realized that the feds were lying about it. “I remember telling my dad that on the subject of marijuana the government lost its credibility,” he says.

From the time he was a teenager, and all through the decade of Reagan’s Drug War, he believed weed had the potential to bring peace. He still does. His hope for 2020 is that the U.S will decriminalize and legalize weed on the federal level.

“It’s time to stop arresting and jailing people for possession of marijuana, and also time that we’re allowed to put our money in banks,” he says.

In the decade ahead he wants more events where weedsters can use the herb legally in public.

“When tourists arrive in Sonoma from states where it’s still illegal, they can’t believe the availability here,” he says. “When you travel to those places you’re made to feel like weed is something dirty. Thankfully, that’s not us.”

Jonah Raskin is the author of ‘Dark Day, Dark Night: A Marijuana Murder Mystery.’

Fred Curchack returns to Main Stage West

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