Pickle Vendors, Railroad Crossings and More

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Ross

Love & Other Pickles

Being in love can feel like being in a bit of a pickle, or so says the Ross Valley Players’ upcoming performance of Crossing Delancey. This show has it all: a young woman doing her best to make it as a bookseller, with her grandmother, Bubbie, as company. But then enters Sam, a Lower East Side pickle vendor—and, well, the rest is packed away in the storyline like brine. The best part: Some VIPPs (Very Important Pickle-tasting People) will be able to enjoy not only a show but also a thematically appropriate and downright delicious snack. They’re pickles that come from Donna Rich, a multi-time county fair award-winning local who loves the art of pickle-making. The Sept. 22 matinee is sold out, but tickets are still available for the pre-show tasting. And VIPP tickets are still available for Sept. 21 for both the play and the pickle tasting. To buy tickets to any/all events, visit the website at rossvalleyplayers.com/tickets. ‘Crossing Delancey’ runs through Oct. 13 at the Barn Theatre, located at the Marin Art and Garden Center on 30 Sir Francis Drake Blvd. in Ross.

Santa Rosa

Railroad Crossings

This month welcomes the eighth annual Railroad Square Music Festival, presented by local nonprofit The Lost Church. Music lovers and anyone who enjoys free happenings with good vibes should mentally RSVP themselves as a yes to this all-day local musical event. The Railroad Square Music Festival will have a total of five stages playing host to 39 artists—this includes Maria Carillo Mariachi, Princess Boutique Fashion Show, Stella & Bandjango, Ellie James, Rico Pobre, Sonoma County Pomo Dancers, Rock-a-Doodle-Doo, Under a New Sun, J.Lately, Erica Ambrin, N8 and Tha G, Eric Long Band, Foxes in the Henhouse, Coffin Hunters, Cardboard People, Grapefruit Moon, Retro P, Yuka Yu, MAC, Tecni, Dyops, Tommy Echelon, Izzy Lilly, Gabe Duran, From, Jacob, Cam JC & Friends, Silas Fermoy, The Portal Authority, Sky Palace, Taylin Archini, Victoria Bratton and Unconventional Loui. To learn more about this free-to-attend festival, visit the website at railroadsquaremusicfestival.com. The Railroad Square Music Festival is on Sunday, Sept. 22, from noon to 7pm. The festival venue is located at 135 4th St., Santa Rosa.

Napa

M.F.K. Fisher on Film

The Art of Eating: The Life of M.F.K. Fisher is a feature documentary exploring the dramatic life and lasting impact of California food writer M.F.K. Fisher, who transformed cooking from a domestic task into a profound reflection on what it means to be human. Directed by Gregory Bezat, the film screens at 4 and 7pm on Saturday, Sept. 21, at the Jarvis Conservatory, 1711 Main St., Napa. Described by W.H. Auden as “the best prose writer in America,” Fisher introduced continental sensibilities to America’s culinary scene. She lived in Glen Ellen for the last 20 years of her life and in St. Helena for two decades during the 1950s and ’60s. Tickets are $15, including a glass of wine, available at jarvisconservatory.com/artfilms.html.

Healdsburg

Lights, Camera, Shorts!

The Healdsburg International Short Film Festival returns in full force, beginning at 6pm Friday, Sept. 27, at the Raven Performing Arts Theater, Healdsburg. The event pops-off with a sparkling Champagne Kickoff Party, followed by an opening night screening hosted by Karin Demarest. This year’s judges include musician and actor Tom Waits, actor Ed Begley Jr. and the editor of this paper, author-auteur Daedalus Howell. Attendees are invited to dive into a whirlwind of global cinema, with screenings ranging from hard-hitting documentaries and captivating French films to bold youth perspectives (ages 13+). Audiences can mingle with filmmakers and cheer on their favorites at an awards ceremony on Sunday, Sept. 29. The Raven Performing Arts Theater is located at 115 North St., Healdsburg. For more information and tickets, visit healdsburgfilm.com.

Dream Maker: Juana Alicia’s works at SVMA

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What does creating something that exists in the liminal space between reality and dreams mean? 

For contemporary muralist and multidisciplinary artist Juana Alicia, this question isn’t just an idea; it’s the energy behind every work she makes. Rooted in the traditions of magical realism and social realism—two genres that have come to define much of contemporary Latin American art—her style explores themes of social justice, gender equality, environmental crises, and the influence of resistance and revolution.

A new exhibition at the Sonoma Valley Museum of Art (SVMA), “Cenote de Sueños: The Art of Juana Alicia,” invites viewers into that liminal space. On view from Sept. 21 through Jan. 5, 2025, the exhibition offers an intimate look at the career of the celebrated artist known by her first name, Juana Alicia. The collection, which was created over 30 years in both the United States and Mexico, includes paintings, drawings, prints and an original artist-created book.

“Visitors will discover a body of work that is deeply informed by poetry, folklore traditions and a response to socio-ecological crises, all created through a feminist lens,” says Annee Booker Knight, exhibit manager at SVMA.

SVMA invites the public to celebrate the opening of “Cenote de Sueños” on Saturday, Sept. 21, from 5-7pm. Admission is free for museum members and $10 for non-members, but pre-registration is required. The registration deadline is Sept. 20 at 5pm, and space is limited. 

This event offers attendees the opportunity to meet the artist, curator and other artists while also having the first look at the exhibition. “The opening reception is a festive event that will be attended by many of Juana Alicia’s supporters and artist colleagues,” says Booker Knight. 

Those colleagues include poet Leticia Hernández-Linares, who will open the exhibit with a spoken word performance, and “digestible satire” from The Great Tortilla Conspiracy, a tortilla art collective that will provide edible tortillas featuring a unique print of Juana Alicia’s art for guests to enjoy.

Juana Alicia’s art is visually captivating and invites deeper contemplation of themes of social justice, gender equity, environmental crisis and revolution. 

“My work as an artist has frequently been inspired by literature, especially poetry,” she says. “The voices of the women have often moved me to make images. I work for the future, for my children and grandchildren and theirs.”

A professor at numerous institutions, including the University of California at Davis and Santa Cruz, San Francisco State University and Stanford University, Juana Alicia is now retired from academia and divides her time between her studios in Berkeley and Mérida, Yucatán. She’s been the recipient of a Fulbright fellowship, a Windcall residency, Master Muralist Award (Precita Eyes), Woman of Fire Award and San Francisco Art Commission Golden Capricorn Award, among other recognitions. 

While Juana Alicia is renowned for her large-scale murals that breathe life into public spaces, the “Cenote de Sueños” exhibition highlights her artistic talents beyond murals, presenting her as a true interdisciplinary artist. One of the standout pieces in the exhibit is her most recent project, La X’tabay: The Book of Books (2024), a collaborative work with author Tirso González Araiza. The graphic novel is an illustrated retelling of the ancient Mayan legend of X’tabay, a mythic figure often depicted as both seductive and dangerous.

“My partner, Tirso G. Araiza, has reinterpreted the story as a contemporary, eco-feminist tale of the struggle between modern ‘civilization’ and nature, between men and women, between religion and Indigenous tradition, between reason and dream,” she explains.

With scratchboard illustrations, she brings the legend of X’tabay to life. The story’s connection to nature and the feminine serves as an ideal subject for an artist who often explores the relationship between humans and the natural world and the ways in which women’s bodies and lives are politicized.

While this exhibition focuses on her fine art, Juana Alicia’s legacy as a muralist is inescapable. Over the past four decades, she has completed a number of high-profile public art commissions.

“I use murals and printmaking to make the images accessible to a wide public: to the folks in the streets, at demonstrations or just going about their lives, struggling, loving, suffering, rejoicing,” she says. “You’ll be walking down the street and pow! A building becomes a song, a film on walls, an alternative vision to the commercialism bombarding us from billboards to our telephones.” 

Among her most recognized works is Maestrapeace, the iconic mural at the San Francisco Women’s Building and a collaboration with six other women, which has become a cultural landmark in the city. Another significant public work is Sanctuary at San Francisco International Airport, which reflects Juana Alicia’s engagement with issues of immigration, human rights and environmental justice. In this work, she explores the concept of sanctuary—both as a physical space and as a metaphor for safety, belonging and resistance. 

“Cenote de Sueños” is guest curated by Marco Antonio Flores, an accomplished curator and scholar whose work focuses on contemporary Latin American art. Flores is a doctoral candidate in the department of art and art history at Stanford University and brings a deep understanding of Juana Alicia’s work and its cultural significance. He is interested in art’s connection to literature and poetry, and his vision for the exhibition highlights the ways in which Juana Alicia’s work inhabits the spaces between the personal and the political, the local and the global, and the traditional and the contemporary.

Juana Alicia’s work is visionary on multiple levels, literally with its imagery and also in its engagement with complex issues, including climate change and Indigenous rights. Her art challenges viewers to confront systems of power and oppression while offering a vision of hope.

“Our intersectional movements must come together, creatively, politically, spiritually, for the very survival of the planet,” she says. “As artists, we can remove structures of oppression from our collective imagination and replace them with visions that celebrate our autonomy and power.”

Sonoma Valley Museum of Art (SVMA) 

551 Broadway, half a block from Sonoma’s historic Plaza

Open Wednesday through Sunday from 11am to 5pm 

Admission is $10 for general visitors, with free entry for members and individuals 18 and under. Wednesday admission is always free. 

For more information, visit svma.org or call 707.939.SVMA.

Deleted Dignity, Another ‘Teachable Moment’

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Perhaps one has heard the term “teachable moment” in recent years. It is a way of framing or reframing a mistake or misfortune into a learning opportunity or chance for growth. 

I recently watched vice presidential candidate Tim Walz speak at the Democratic National Convention. And I got emotional when I saw the show of support he received from his family. I teared up vicariously when I saw his son overflowing with pride for his father—“That’s my dad.” It reminded me of the last conversation I ever had with my own father, and I cried when I told him how proud of him I was.

Not everyone had the same reaction. I know people who were not blessed with good relationships with their fathers, and others whose fathers embarrassed them. We can all learn from each other by sharing our experiences, even when we sometimes disagree.

Ann Coulter provided a teachable moment by tweeting (and subsequently deleting) the following about Walz’s son: “talk about weird…” 

It has opened conversations about when—if at all—it is acceptable to mock children. Many people observe Gus Walz’s neurodiversity; he has a nonverbal learning disorder and ADHD. These are important conversations, because (like with so many issues) it is not clear when “just joking” pushes limits into harmful or cruel behavior. 

Dirty Deleting is when a person makes a post or comment on social media that provokes outrage. In that discomfort and embarrassment (possibly even guilt or shame), the poster chooses to delete—if it is not there, it did not happen—rather than acknowledge, apologize or make a correction.

Deleting without comment is an avoidant behavior that limits the potential for growth and learning. 

In my field, there is significant evidence that shame is not an effective mechanism for conflict management or behavioral change. When we pretend it did not happen or ignore our role, we become stuck. When we take accountability, we listen to others, actively address issues and take corrective action. People of all age groups benefit when we acknowledge conflicts, communicate and collaborate to find solutions. 

Wim Laven, Ph.D., teaches courses in political science and conflict resolution.  

McCarter Cellars Readies for Harvest Fair

Many stories come out of the Sonoma County Harvest Fair—mine is usually like, “Dude, where’s my car?” From a winemaker’s perspective, however, the annual event can prove life-changing. 

Such was the case with Dennis McCarter, who started making wine in his garage a little over a decade ago. Each vintage saw his wines blossom. He took his last swing at amateur winemaking in 2019, entering a pinot noir from that same year and a 2018 cabernet sauvignon co-fermented with 10% viognier. To his delight, the pinot took home Best of Class, while his cab snagged a Solid Gold in its category—a pivotal moment that marked his transition from passionate amateur to professional winemaker.

Fast-forward to today, as McCarter (now co-owner of McCarter Cellars with his wife, Laura) reflects on the miles traveled and wines crafted while gearing up for this year’s Harvest Fair. His 2023 Russian River Valley Pinot Noir and a 2022 Forchini Vineyard Russian River Valley Pinot are leading the charge—both already basking in critical acclaim. 

The latter racked up a 98-point Best of Class nod at the North Coast Wine Challenge and glowing reviews from the San Francisco Chronicle. Not to be overshadowed, his dry-style gewürztraminer grabbed silver at both the Sunset International and North Coast Wine Challenge, while his rosé of pinot noir earned local love, was voted Best of the North Bay by North Bay Biz and won gold with 93 points at the Experience Rosé International Wine Competition.

The Bohemian recently enjoyed an email exchange with McCarter during the ramp-up to this year’s Sonoma County Harvest Fair.

Bohemian: You have one of those great “Cinderella” stories, having gone from a garagiste to an award-winning, premium winemaker in a decade or so. What has been your driving passion to succeed? Great wine idea, I imagine—is there more?

Dennis McCarter: My journey from garagiste to an award-winning winemaker has been truly inspiring. Growing up in a cooking family, I developed a deep appreciation for homemade meals, and that same love and care is poured into my wines. My driving passion to succeed goes beyond just the love for great wine; it involves a commitment to quality and craftsmanship, as well as an unwavering desire to create exceptional wines from the grapes I source.

Building connections within the community and fostering relationships with wine enthusiasts and fellow winemakers, along with the push from my friends and family, has been a significant motivation for me. Additionally, I find joy in storytelling through my wines, capturing moments and experiences in each bottle. The pursuit of knowledge, continuous experimentation and innovation in my techniques further fuel my drive. Ultimately, it’s a combination of my passion for the product, respect for the sources I work with and a vision for the future that propels me forward in this rewarding journey.

WINNING WINE Dennis McCarter’s wines have been winning awards, including for his gewürztraminer, which is seen here and is available at Penngrove Market. Photo by Daedalus Howell.

B: In your bio, you mention how the wildfires partly inspired your shift to fully embrace winemaking as a career—how did that take shape?

DM: Since 2017, fires in Napa and Sonoma County have made it difficult to run my agency due to changes in the insurance industry and commission structures. I realized it was time to change my path. Starting over can be intimidating, especially from the bottom, but it’s perfectly fine to begin again. I sold my agency and returned to my roots.

After the Tubbs and Nuns fires, I had the opportunity to work with smoke-tainted grapes. I crafted a petit verdot and a merlot. The petit verdot had a unique character, while the merlot featured smooth tannins and won a gold medal at the harvest fair despite the smoke exposure. This experience serves as a reminder that wine is geography and history bottled.

B: I love that you studied locally by working at wineries and enrolling in the lauded enology courses at SRJC. What are the advantages of studying winemaking where you intend to make it?

DM: Taking an enology course at SRJC reinforced what I learned at home and on the job at other wineries, emphasizing that education is the foundation for growth.

B: Your wines are identified with Sonoma County. Have you ever been tempted by other regions? What else is on the horizon?

DM: As the wine business grows slowly, I’m open to sourcing from anywhere in the North Coast, including Sonoma, Napa and Mendocino. I will be making a zinfandel from Leigh Thomas Vineyard in the Rockpile AVA, and my pinot noir from the Russian River Valley arrived last week.

B: What’s it like working so closely with your wife, Laura? Do you have any tips for other aspiring power couples in the wine industry and beyond?

DM: Laura’s day job is in middle management at Keysight. Anything beyond that can be taxing, and she sometimes feels burnt out on both ends of the candle. My advice is to take time to value and appreciate each other’s effort and plan date nights and trips. I see power couples in the industry like Sarah Vaughn and Matt Duffy of Vaughn Duffy Wines, as well as Eric and Alison of Smith Story Wine Cellars.

B: I’m going out to buy a bottle of McCarter right now. Which one should I start with? Which one should I end with (haha!)?

DM: Get a bottle of my double gold pinot noir, an international gold-winning rosé and a bottle of my dry gewürztraminer.

For more information on McCarter Cellars, visit mccartercellars.com.The Sonoma County Harvest Fair hosts Taste, Toast & Celebrate from 6 to 9pm, on Saturday, Oct. 12, in the Grace Pavilion at the Sonoma County Fairgrounds, 1450 Bennett Valley Rd., Santa Rosa. Tickets are $80 and include parking. harvestfair.org.

Burning Man Refreshes Spirit

I am not sure how exactly this happened, but it seems I’ve become a Burning Man person. I just crawled back to Healdsburg last week from my fourth Burn; my Prius is still caked in telltale white dust. Everyone has been asking me what it was like out there. I’ll try my best to explain.

Living for 10 days this summer in the pop-up desert community of approximately 70,000 that is Black Rock City, Nevada—a.k.a. Burning Man—felt like snipping the mental constructs that tie down my everyday reality and entering a dream world. It left me spiritually refreshed and physically spent.

The first step involved letting my phone die in the corner of my tent. Elon Musk’s Starlink internet hubs have made wifi more accessible at the Burn in recent years, especially in the fancy camps with lots of amenities—but I didn’t come across any of them this year and wasn’t really looking. So, within a couple of days, I already felt high off the simple act of disconnecting.

The news cycle melted away. A steady flow of fascinating humans replaced my social-media feeds. Whatever was in front of me at any given moment came into rich focus.

It felt like new synapses began to form. I would run into an acquaintance or hear a name or find a flier that would lead me down another rabbit hole. Walk into any of the 1,500-plus theme camps dotting the Black Rock City grid, and one is swept into another mini-universe, filled with its own set of games and shticks and nooks.

SANCTUARY Healdsburg native Luke Wilson, the writer’s brother, is part of the team that built this freestanding “treehouse” near the Burning Man temple this year. They named it “Sonapse.” Photo by Sarah Gold

For instance, at the camp I call home—a Western saloon named “Desperados”—we construct a Deadwood-esque outpost each year where we serve up whiskey and pickles, dance on the bar, throw people out the saloon doors and orchestrate other debauchery. In 2024, we also added an Old West-style courthouse where townspeople could settle their disputes. The camp takes a ton of manual labor to build and tear down—amid a grueling whiteout dust storm this time, no less—but it’s an absolute riot, and one of my favorite (temporal) places on Earth.

Other fun camps: Dr. Bronner’s spa experience; a massive, gothic “Thunderdome” where fighters face off with foam weapons; Naked Heart, which hosts dozens of therapeutic workshops per day, including breathwork, tantra and more; Golden Guy, an elaborate Tokyo street scene lined with hole-in-the-wall bars; and myriad more spaces to lounge, eat, dance and be merry. One of the most freeing moves at the Burn is to hop onto an art car and see where it leads.

The other major zone of play is a vast, open area beyond the city grid, called “deep playa.” This is where Burning Man’s two most classic structures—a huge statue of a man, and a stunning wooden “temple” for mourning loved ones—are burned at week’s end, during two nights of catharsis. Deep playa is also where artists install their large, interactive sculptures. My brother, Luke Wilson, who co-leads Desperados, helped build a freestanding treehouse of sorts this year with his colleagues from O2 Treehouse, a Petaluma-based startup. They fashioned a light-and-sound installation inside the treehouse that mimicked brain synapses.

The whole premise of Black Rock City is exploration, so the potential for serendipity skyrockets. In fact, the theme this year was “Curious and Curiouser”—a nod to Lewis Carroll’s Alice in Wonderland, which organizers describe as a “topsy-turvy world immune to the laws of common sense.” Sounds about right.

Comedian Brian Regan at LBC

‘Loudermilk star’ Brings Tour to Santa Rosa

Brian Regan, known for his sharp observational humor and role as Mugsy on Peter Farrelly’s hit series Loudermilk, will bring his national stand-up tour to Santa Rosa’s Luther Burbank Center on Sept. 19. 

Fresh off the show’s recent move to Netflix, where it’s been among the Top 10 TV Shows for three consecutive weeks, Regan’s performance promises a night of laughs from one of comedy’s most seasoned talents.

In Loudermilk, Regan showcases his range beyond stand-up, playing a recovering addict estranged from his family—a role that earned him critical acclaim alongside co-stars Ron Livingston and Will Sasso. 

With eight stand-up specials under his belt, including Brian Regan: On the Rocks (2021) streaming on Netflix, Regan’s blend of clean humor and relatable wit has cemented him as one of the most respected comedians in the industry.

We traded emails with Regan ahead of his upcoming show to talk about the tour, his experience on Loudermilk, and what fans can expect from his latest material.

Bohemian: Your comedy is often described as clean yet universally hilarious. What was the calculus behind this decision?

Brian Regan: When I first started, I wasn’t always clean.  Nor was I universally hilarious.  But I was always mostly clean, even in the beginning.  So, after a short while, I realized the stuff I liked most of mine was the stuff that others might describe as clean.  So, I just decided to do what I liked to do.  I never did it to try to go after a particular audience, but it just so happens that there people who like my comedy the way I do it.  And I think that’s f*****g great! 

B. You’ve been performing stand-up for over three decades, maintaining a reputation as one of the most respected comedians in the industry. What keeps you on the road when others of your generation of comedians have opted out?

BR: I still am amazed that I’m fortunate enough to have a nice following.  I enjoy doing stand-up, and since there are still people out there who want to hear it, I’ll still keep doing it for a bit.  

B. Your routines often delve into everyday situations, turning the mundane into something extraordinary (or making the extraordinary mundane — “Dog on a Zamboni” comes to mind). Can you walk us through your process for identifying and crafting these moments into comedy gold?

BR: I couldn’t tell you how I come up with stuff. I don’t really sit down and try to come up with comedy.  Material just kind of hits me.  It could be from an experience, or from something I’ve read, or from something I’ve heard.  If my brain thinks it’s funny, I’ll try it onstage. If audiences laugh, I’ll work on it until I get the words better and better.    

B. How does working on a scripted show like Loudermilk (congrats!) differ from the spontaneity of stand-up, and do you prefer one over the other?

BR: When I do stand-up, I’m bringing my own words to life onstage.  When I’m acting, I have to take someone else’s words and make them sound like they are my words.  I’m not as good at acting, as others.  I often hear of actors who “don’t take notes.” I would describe myself as an actor who wants “all the notes you can throw my way.” 

B. Comedy is often seen as a reflection of the times. Given the current social and political climate, do you feel any added pressure to address more serious topics in your comedy, or do you prefer to stay in the lane of observational humor?

BR: I don’t let anyone or anything, outside of myself determine what I talk about onstage.  I think freedom of speech means you can talk about, or not talk about, anything you want.  I’m glad there are comedians who like to hit on different things, including politics.  But, I also like comedy that addresses other stuff. I wish I could write more, but I have to go hit a political rally…

It’s Alive! ‘Young Frankenstein’ musical charms in Sonoma

Mel Brooks followed up his incredibly successful Broadway adaptation of his film The Producers with a musical adaptation of what he considers his finest film, Young Frankenstein. Not nearly as successful with audiences or critics as The Producers, it’s still a solid show for fans of the film and others looking for light amusement. Sonoma Arts Live has a production running on the Rotary Stage at the Sonoma Community Center through September 22.

The plot basics remain the same. Young Frederick Frankenstein (Michaee Bauer) returns to his ancestral castle to find Ygor (Pat Barr) and buxom lab assistant Inga (Emma Sutherland), ready to assist in continuing his father’s experiments. Frau Blucher (Kim Williams) (cue horse whinny) also wants him to proceed. Soon, the monster (Todd Krish) runs amok and kidnaps Frederick’s fiancé, Elizabeth (Joanna Lynn Bert). It’s up to Inspector Kemp (Bruce Vieira) and the villagers to rid their community of the Frankenstein curse.

Doing a large-scale Broadway musical on a community theatre budget and on a small community theatre stage can create numerous challenges. Director Larry Williams used lighting (by Frank Sarubbi) and projections (by Chris Schloemp) to give a sense of the real scale of the show, with mixed results. Scene changes led to the lush theatre curtain being drawn as many times as I can remember the curtain ever being drawn at a SAL show with musical tracks filling the change time. The cast scurried to make these changes quickly, but the show’s momentum occasionally slowed.  

Newcomers to SAL Bauer and Bert acquit themselves well in their roles and possess fine singing voices. Barr’s Ygor was very representative of Marty Feldman’s (minus the googly eyes), and it worked, as did Williams’ Blucher and Vieira’s Inspector Kemp.  Sutherland makes for a bouncy Inga, and Krish does a good job channeling Peter Boyle’s original take on the monster, albeit with a fuller head of hair. The ensemble (and choreographer Liz Andrews) got to shine in the larger musical numbers like “Join the Family Business” and “Puttin’ on the Ritz.”   

But some of the film’s funniest scenes failed to ignite on the small SAL stage. The “Put the candle back!” and blind hermit scenes just didn’t work. The bookshelf was clearly being manipulated by Bauer and Sutherland, while the hermit scene cried out for something other than a young man in a fake beard (Kevin Allen) and invisible hot soup. It’s as if the production was relying on audiences’ memories of the scenes rather than the execution of the scenes themselves to generate laughs.

The vocal work (under the musical direction of Justin Pyne) was fine, but I missed the presence of live music. The orchestral needs for this score were no doubt beyond this company’s means, let alone space. The music is all typical Mel Brooks material. Some songs work (“He Vas My Boyfriend”), others don’t (“Transylvania Mania”) despite the energetic dancing.

There’s also loads of crude and crass Brooks humor, so while it may go over their heads, it’s not a show for younger kids.

I’ve loved the original film since seeing it with my parents in 1974 (they also let me see Blazing Saddles earlier that year, but that’s a whole other story). I’ve seen a number of local theatrical productions, but my fondness for the material and appreciation of companies willing to take on the challenge of mounting it remain.

Who wouldn’t like a show that takes a garage dish heater, adorns it with Christmas lights, and calls it a brain transference machine?

Sonoma Arts Live presents ‘Young Frankenstein’ through September 22 on the Rotary Stage at Andrews Hall in the Sonoma Community Center, 276 E. Napa St., Sonoma. Thurs – Sat, 7:30 pm; Sun, 2 pm. $25 -$42. 707-484-4874. sonomaartslive.org.

Petaluma Poetry Walk Returns

Let’s be clear—the Petaluma Poetry Walk isn’t offering “pedestrian poetry.” Quite the contrary. Featuring a lineup of local laureates and more literati than can fit in a bookstore poetry section, the stroll-friendly literary event returns for its 27th year this Sunday, Sept. 15.

The walk promises a variety of verse stylings from 25 notable poets, all of whom will perform their work aloud throughout the city.

“It’s a rare chance to hear prominent writers read their own work,” said Kary Hess, one of three co-producers putting together this year’s Petaluma Poetry Walk (and a Bohemian contributor). “And if you are ‘poetry-curious,’ this event is a great way to test the waters. There is such variety among the 25 poets this year, including poetry that incorporates a dance performance by Maxine Flasher-Düzgüneş at the Phoenix Theater, and poets from the Sonoma Writers’ Workshop reading at Keller Street CoWork accompanied by music.”

“There are eight separate events throughout the town,” continued Hess. “You can attend all or just some of them. Go to the website and decide which ones look interesting. Since it’s all over downtown Petaluma, you can make a day of it, meet friends, have lunch and enjoy a variety of places you may not have been to before. There will be wine and cheese at the cheese shop and dinner options at Aqus Cafe.”

Dave Seter, co-producer of the walk and Sonoma County’s poet laureate for 2024 through 2026, concurs. “There’s something for everyone [at the Petaluma Poetry Walk],” he said.

Alongside Sonoma’s own poet laureate, this year’s Petaluma Poetry Walk will welcome several other accomplished, laurel-crowned poets, such as California poet laureate Lee Herrick and San Francisco poet laureate Genny Lim.

“It’s a rare opportunity to hear these two accomplished poets read together,” noted Seter.

As Hess pointed out, “Bay Area poets from San Francisco, Oakland, Marin and Sonoma counties, and even Raleigh Review’s Geri Digiorno Prize winner Emily Schulten from Florida will all be [at the walk].” She added, “It’s an amazing opportunity to hear poets from the contemporary poetry world all in one place. And if you are part of the poetry community already, it’s a bit like a reunion.”

Festivities for the Poetry Walk begin at 11am in the upstairs ballroom of Hotel Petaluma. The 16 Rivers Press Poets, Christina Lloyd, Alice Templeton, Murray Silverstein and event presenter Terry Ehret will regale early birds with their fine collections of words.

Soon after, at noon in the Petaluma Cheese Shop’s tasting room, the event will continue with three other poets. This lineup includes Emily Schulten, the aforementioned winner of the Geri Digiorno Prize from the Raleigh Review. Then there’s Lynn Watson and Gene Berson, and let’s not forget Bill Vartnaw, the event presenter and a Petaluma Poetry Walk co-producer too.

At 1pm, the event will transition to the main lounge of Keller Street CoWork, where the Sonoma Writers’ Workshop Poets await. There, local filmmaker, wordsmith and Bohemian editor Daedalus Howell will introduce the event and its performers and wordsmiths as well: Jonah Raskin, Lisa Summers, Stacey Tuel and Steve Shain, who manifests poetry via his standup bass.

After that, Petaluma’s poetic pilgrims will flock to The Phoenix Theater at 2pm to take in The Performance Poets, Avotcja, Maxine Flasher-Düzgüneş and Nancy Miller Gomez, all presented by Elizabeth Herron.

The laurel-wreathed crowning glory of the event begins at 3pm in Copperfield’s Books, where The Poets Laureate will perform. Iris Jamahl Dunkle is set to present Lee Herrick, California’s poet laureate, and Genny Lim, the new San Francisco poet laureate.

At 4pm, it’s time to migrate to the Usher Gallery, where Francesca Bell will present the Marin Poetry Center Poets, Ellery Akers and Lee Rossi. Soon after, at 5pm, The Library Poets will gather (unsurprisingly) at The Petaluma Historical Library and Museum. There, event presenters Sabine Wolpert, Lisa Zheng and John Johnson will help to highlight The Library Poets: Georgina Marie Guardado, Jodi Hottel and Elizabeth Jiménez Montelongo.

And then, at 6pm, attention will turn to Aqus Café, with The Grand Finale, which will last until 8pm. Poets Emilie Lygren, Kirk Lumpkin, Chris Olander, Lin Marie deVincent and Fran Carbonaro will perform. And Gwynn O’Gara is set to present not only them but also Sonoma’s new poet laureate, a name most readers will hopefully find familiar (hint: he’s a Petaluma Poetry Walk co-producer)—that’s right; Dave Seter himself.

“I’ve been attending the Poetry Walk on and off since the ’90s when it began,” said Hess. “It’s always been a wonderful event, pulling from the best of Bay Area poets. This year is no exception, with so many poet laureates reading…”

The Petaluma Poetry Walk was founded in the 1990s by Geri Digiorno. She moved to the Bay Area with her family when she was only two during the Great Depression. As an adult, she developed her poetic style after the historical Beat movement in San Francisco. Digiorno’s work helped shape the North Bay’s literary culture, and her efforts are still reflected today. One ripple effect of her poetic pioneering efforts can be seen and heard in the upcoming Petaluma Poetry Walk.

“I have many standout memories [of the Petaluma Poetry Walk], but the formative one was in 1998, seeing poet Patti Trimble reading with guitar accompaniment at Andresen’s,” said co-producer Bill Vartnaw. “It was wonderful, and I couldn’t believe it was happening in my hometown.”

Vartnaw’s involvement in the Petaluma Poetry Walk spans over a decade. This rendition of the event marks his last year as an active planner, after which he will leave its legacy in the capable hands of Hess and Seter.

The event is free. For a complete list of poets, times and venue locations, visit petalumapoetrywalk.org.

Book Look: Local Author Offerings

It was Labor Day in Petaluma. And while some were charring meat over fire, others were at a bustling Copperfield’s Books downtown. No judgment—but it bodes well for the survival of our culture and civilization that so many were keeping literature alive where free speech, community and capitalism collide—the local bookstore.

Duly inspired, what follows is a random round-up of recently published local works that reached my inbox (and, therefore, my awareness). To inform me of your upcoming literary release, email dh*****@*****ys.com.

Dark Stars

The Philosophy of Style author and Bohemian contributor Christian Chensvold recently released a handsome hardback volume dubbed Dark Star. “When his civilization falls into decadence and barbarians encroach, Theodore, last scion of his family, leaves his ancestral estate and sets out to answer a divine call,” reads the book’s description. “Along the way, he encounters a series of archetypal characters who offer instruction in metaphysics, esotericism, and the Mystery Tradition.”

In a recent email, Chensvold, a recently repatriated Santa Rosan, offered that “This is the journey of Parsifal, Perseus, and a certain farm boy named Luke who lived long ago in a galaxy far away and sought to learn the way of the divine force when no one believed in it anymore.” He also reminds us that Dark Stars is inspired by the 19th-century French occult revival, which sought to reconcile Catholicism with such ancient doctrines as magic, alchemy, Hermeticism, Kabbalah and Tarot.

Transmissions From a Restless Soul

Petaluman Matt Reischling returns with a fresh collection of personal essays, reflecting on his restless search for spiritual truth, a life in transit and the quirks of growing up in a basketball-obsessed family. He shares memories of his time in San Diego chasing music and love, as well as some colorful stints in short-term gigs, all while capturing the essence of his hometown before and after returning to it.

With humor, heart and sharp observational skills, this follow-up to Almost Weightless explores the universal in the personal and celebrates the beauty of life’s messier moments.

The Secret War of Julia Child

Sebastopol’s own Diana R. Chambers is set to make waves this October with her upcoming historical suspense novel, The Secret War of Julia Child. Already named one of People magazine’s Best Books of Fall 2024 and a top pick by Library Journal, this gripping tale dives into Child’s secret life as a spy during World War II, long before her culinary fame.

Inspired by true events, the novel follows a 30-year-old, six-foot-tall Child as she serves with the OSS in the China-Burma-India theater, navigating espionage, new cultures and the occasional bullet. As New York Times bestselling author Rhys Bowen attests, Chambers’ book is “An exciting, little-known reveal of the story behind Julia Child’s WWII service, showing her resilience and bravery. A must-read.”

Over the Edge

Sonoma’s Kathleen Bryant takes readers deep into Arizona’s red rock country with her mystery, Over the Edge, released this past June. The story follows a former reporter-turned-Jeep tour guide (not unlike the author herself) as she races to piece together her fragmented memories and stop a killer.

Drawing on two decades of life in Sedona, Bryant blends fact with fiction, weaving in her own experiences as a journo, hiking guide and forest service volunteer. With ancient sites, hidden trails and small-town secrets, Over the Edge promises a thrilling ride through Arizona’s rugged, mysterious landscape.

All of these titles are available wherever quality books are sold. Pro tip: For a comprehensive list of area literary news events, visit the ‘Sonoma County Literary Update,’ the literary newsletter and calendar for Sonoma County, and sign up for the newsletter. socolitupdate.com.

Mild Move: Latin musical at 6th St.

When choosing which plays to produce, theater companies tend to forget that a lot can change in 24 years.

For example, no one would watch Death of a Salesman and think, “This is current American culture.” Sure, it’s part of the American cultural collective, but it doesn’t represent contemporary society.

Why, then, when choosing a play to “recognize National Hispanic Heritage Month…celebrating Latin music and culture,” as 6th Street Playhouse’s marketing states for their season-opening jukebox musical, 4 Guys Named José… And Una Mujer Named María, would one choose a play that is 24 years old?

The show, conceived by David Coffman and Dolores Prida and featuring book and song selections by Prida, is an important play in Latino-American history. One of the first all-Latine musicals, it helped pave the way for shows like In the Heights.

Four men, Jose Cubano (Maick Poroj), Jose Dominicano (Jonathen Blue), Jose Boricua (Ben Roots) and Jose Mexicano (Ismael Armando Ramos), are all in Omaha, Nebraska, for… reasons? They meet in a restaurant called “Burrito World.” The men decide that since they are homesick, they should put on a show at the local VFW hall to share their cultures with the community.

Boricua also recruits his next-door neighbor, Maria. But on the day of the show, Maria sends her roommate, also named Maria (Reilly Milton), to fill in for her. Unfortunately for the men, this recently dumped Maria has no plans to be the submissive Spanish senorita and quickly throws their show off track.

While Blue, Roots and Ramos give subdued performances, Poroj and Milton have charisma and energy to spare. The cast was at their best when the plot was forgotten. Dances were well choreographed (director/choreographer Erin Rose Solorio), though the group work was sometimes sloppy. The songs were performed well, especially Ramos’ moving solo during “Mi Tierra.”

The set by Christine Vondralee-Sternhill was jarring until one realized the play was taking place in an old VFW hall. With that knowledge, the faux wood trim, fake ficus and garish decor do a fantastic job of replicating those funky old stages found in town halls nationwide. The costumes, by Adrianna Gutierrez, were an odd mishmash that read as though the production team was unsure if they should look professional or if four guys pulled things from their closets.

This is a hard show to review. If audiences don’t see shows by and about people of color, then theaters won’t produce them. I cannot stress enough how much the community needs to support theaters doing these shows. For my fellow Latines, there are some funny digs at the stereotypes we’ve all dealt with (hello, Burrito World). But if one is looking for currently relevant Latine culture, this isn’t it.

As my Gen Z Latine niece said, “It was good but kinda bland.” Good but bland is an accurate description or, as my family might say, “It’s gringo-spicy.”

‘4 Guys Named José… And Una Mujer Named María’ runs through Sept. 22 in the GK Hardt Theatre at 6th Street Playhouse, 52 W. 6th Street, Santa Rosa. Thurs-Sat., 7:30pm; Sat-Sun, 2pm. $29–$45. 707.523.4185. 6thstreeetplayhouse.com.

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Book Look: Local Author Offerings

It was Labor Day in Petaluma. And while some were charring meat over fire, others were at a bustling Copperfield’s Books downtown. No judgment—but it bodes well for the survival of our culture and civilization that so many were keeping literature alive where free speech, community and capitalism collide—the local bookstore. Duly inspired, what follows is a random round-up of...

Mild Move: Latin musical at 6th St.

When choosing which plays to produce, theater companies tend to forget that a lot can change in 24 years. For example, no one would watch Death of a Salesman and think, “This is current American culture.” Sure, it’s part of the American cultural collective, but it doesn’t represent contemporary society. Why, then, when choosing a play to “recognize National Hispanic Heritage...
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