FRIDAY, MARCH 21 

Good Friday Witness at Livermore Nuclear Weapons Lab at 6:45 a.m. at Vasco & Patterson Pass Rd. , Livermore Nuclear Weapons Lab. Prayer service and nonviolent civil disobedience action with Father Louie Vitale. Following the action, there will be a community gathering in Livermore, to share our concerns and work. Sponsored by Ecumenical Peace Institute & Livermore Conversion Project. 655-1162. www.epicalc.org 

Support the Iraq Moratorium! Demonstrate against the war! From 2 to 4 p.m. at Acton and University Aves. Bring your signs and determination. Sponsored by the Strawberry Creek Tenants Ass’n., Berkeley Gray Panthers and Iraq Moratorium. 841-4143. 

City Commons Club Noon Luncheon with Dr. Georgia Wright on “Using Nuclear Technology to Analyze Medieval Sculpture” Luncheon at 11:45 a.m. for $14.50, speech at 12:30 p.m., at the Berkeley City Club, 2315 Durant St. For information and reservations call 526-2925.  

Berkeley Women in Black weekly vigil from noon to 1 p.m. at Bancroft and Telegraph. Our focus is human rights in Palestine. 548-6310. 

Circle Dancing, simple folk dancing with instruction at 7:30 p.m. at Finnish Brotherhood Hall, 1970 Chestnut St at University. Donation of $5 requested. 528-4253. www.circledancing.com 

SATURDAY, MARCH 22 

Rainbow Ramblers Hike in Wildcat Canyon Led by naturalist Bethany Facendini, from 10 a.m. to 3p.m. Explore nature’s diversity during this invigorating 5-miler over varied terrain especially for the gay, lesbian, bisexual, transgender, and queer community. Everybody is welcome! Meet at the Rifle Range Road trailhead. Bring water and lunch. Call 525-2233. 

Spring Egg Hunt for ages 1-7 and treasure hunt for ages 8-10, from 10 a.m. to 1 p.m. at Willard Park, corner of Hillegass and Derby. There will also be a petting zoo, and arts and crafts. Cost is $5. 981-5140. 

GPS Scavenger Hunt Follow the directions on the GPS for clues along the trails, from 9 a.m. to noon at Pt. Pinole, Richmond. GPS units and instruction provided. Cost is $12-$14. Registration required. Class #17385. 1-888-EBPARKS. 

Ferment Change! A Benefit for West Oakland’s City Slicker Farms Come join us for a fermented food feast and celebration of urban agriculture at 7 p.m. at Ecology Center, 2530 San Pablo Ave., near Dwight Way. Donation of $10-$30 requested, no one turned away due to lack of funds.. 548-2220, ext. 233. max@ecologycenter.org 

Volunteer to Help Remove Non-native Plants Help remove non-native vegetation and promote the health of our recently planted native plants like sticky gumplant, California sagebrush, and marsh coyote bush. Other activities include planting native plants, shoreline cleanup, and work in our native plant nursery. From 9 am. to noon at Martin Luther King, Jr. Regional Shoreline, Oakland. 452-9261, ext. 119. www.savesfbay.org/bayevents 

Plant Portraits and Garden Images Learn how to take better plant and flower photographs. Class designed for beginning photographers with digital cmaeras capable of close-up imaging. From 9 a.m. to 4:30 p.m. at Tilden Park Botanic Garden. Cost is $50-$55. Registration required. 841-8732. www.nativeplanets.org 

Safe Routes to Schools Bike Workshop for children and parents at 9:30 a.m. at Washington School. Bring your bike and helmet. Cost is $10. Space limited, reservations required. RSVP to 740-3150, ext. 332. 

Workshop for Children: Naturally Dyed Easter Eggs A hands-on workshop using natural dyes to careate Easter eggs. From 2 to 3 p.m. at UC Botanical Garden, 200 Centennial Dr. Cost is $15 for one adult and one child, $8 for each additional child. 643-2755, ext. 03. http://botanicalgarden.berkeley.edu . 

“Womens’ Power” A video by Max Danshu at 7 p.m. at Redwood Gardens Community Room, 2951 Derby St. Donations welcome. www.suppressedhistories.net/womanspowerdvd.html 

Re-envisioning Revolution and Communism: What is Bob Avakian’s New Synthesis? A presentation followed by discussion at 2 p.m. at Black Repertory Theater, 3201 Adeline St. Cost is $10, sliding scale. 848-1196. www.revolutionbooks.org 

Free Garden Tours at Regional Parks Botanic Garden Sat. and Sun. at 2 pm. Regional Parks Botanic Garden, Tilden Park. Call to confirm. 841-8732.  

Around the World Tour of Plants at 1:30 p.m., Thurs., Sat. and Sun. at UC Botanical Garden, 200 Centennial Drive. 643-2755.  

The Berkeley Lawn Bowling Club provides free instruction every Wed. and Sat. at 10:30 a.m. at 2270 Acton St. 841-2174.  

Oakland Artisans Marketplace Sat. from 11 a.m. to 6 p.m. and Sun. from 10 a.m. to 4 p.m. at Jack London Square. 238-4948. 

SUNDAY, MARCH 23 

Berkeley City Club Tour of the “Little Castle” designed by Julia Morgan at 1:15, 2:15 and 3:15 p.m. at 2315 Durant Ave. 883-9710. 

“Cooking for Peace” Food Not Bombs co-founder Keith McHenry will talk about the history, principles and future of Food Not Bombs’ gobal work at 7 p.m. at the Long Haul, 3124 Shattuck Ave. 540-0751. 

Philosophers: G.E.M. Anscombe & Celia Green for Women’s History Month A lecture by H. D. Moe at 3 p.m. at Humanist Hall 390 27th St., Oakland. Donations welcome. 528-8713, 451-5818. 

Easter Egg Hunt for children under 10 at 1:30 p.m. at Elephant Pharmacy, 1607 Shattuck Ave. 549-9200. 

Youth Musical Theater Auditions for “Into the Woods” for students in grades 7-12. Appointments required. 595-5514. infor@ymtcberkeley.org 

Free Garden Tours at Regional Parks Botanic Garden in Tilden Park Sat. and Sun. at 2 p.m. Call to confirm. 841-8732.  

Lake Merritt Neighbors Organized for Peace Peace walk around the lake every Sun. Meet at 3 p.m. at the colonnade at the NE end of the lake. 763-8712. lmno4p.org 

Berkeley Chess Club meets every Sun. at 7 p.m. at the Hillside School, 1581 Le Roy Ave. 843-0150. 

Tibetan Buddhism with Betty Cook on “Awakening to Freedom and Good Fortune” at 6 p.m. at the Tibetan Nyingma Institute, 1815 Highland Pl. 809-1000 www.nyingmainstitute.com 

Sew Your Own Open Studio Come learn to use our industrial and domestic machines, or work on your own projects, from 4 to 8 p.m. at 84 Bolivar Dr., Aquatic Park. Also on Fri. from 10 a.m. to 2 p.m. Cost is $5 per hour. 644-2577. www.watersideworkshops.org 

MONDAY, MARCH 24 

Three Mile Monday A hike along Sobrante Ridge to search for the rare Alameda manzanita, from 9:30 a.m. to 12:30 p.m. Bring poles, as portions of the hike are steep, water and lunch. For information on meeting place call 525-2233. 

Leah Garchick in Conversation with Jon Carroll on Garchick’s new book “Real Life Romance: Everyday Wisdom on Love, Sex, and Relationships” at 7 p.m. at Berkeley Rep’s Trust Stage, 2025 Addison St. Fundraiser for Park Day School Tickets are $18-$25. www.parkdayschool.org 

Berkeley CopWatch organizational meeting at 8 p.m. at 2022 Blake St. Volunteers needed. 548-0425. 

Free Boatbuilding Classes for Youth Mon.-Wed. from 3 to 7 p.m. at Berkeley Boathouse, 84 Bolivar Dr., Aquatic Park. Classes cover woodworking, boatbuilding, and boat repair. 644-2577. www.watersideworkshops.org 

TUESDAY, MARCH 25 

Tuesdays for the Birds Tranquil bird walks in local parklands, led by Bethany Facendini, from 7 to 9:30 a.m. Today we will visit the Eastshore State Park, Berkeley Meadow. Call for meeting place and if you need to borrow binoculars. 525-2233. 

National Nutrition Month, with cooking demonstrations, free samples and free recipes, at the Berkeley Farmers’ Market from 2 to 6 p.m. at Derby St. and Martin Luther King Jr. Way. 548-3333. www.ecologycenter.org 

El Cerrito Democratic Club Meet the Candidates Night with candidates for Assembly District 14, State Senate Districts 7 and 9, at 7:30 p.m. at El Cerrito United Methodist Church, 6830 Stockton St., near Richmond Ave. Childcare provided, call 375-5647. www.ecsclub.org 

“Adventuring Around the World on a Budget” with Dan and Emily Schaffer-Kling, at 7 p.m. at REI, 1338 San Pablo Ave. 527-4140. 

Docent Training for Tilden Nature Area Learn to assist the naturalists in providing interpretive programs at the Little Farm and nature area gardens, from 9:30 a.m. to 12:30 p.m. Fee is $35. Application required. For information call 544-3260. 

Seniors Against Investment Fraud A free workshop to help older adults avoid fraud, identity theft, and questionable investment offers, at 12:15 p.m. at St. Jarlath's Catholic Church, 2620 Pleasant St., corner of Fruitvale, Oakland. 452-0868.  

“Speed of Flight” A workshop for children to make parachutes, paper airplanes and kites from noon to 2 p.m. at Lawrence Hall of Science, Centennial Drive. Cost is $6-$9. 642-5132. 

Community Conversation on CEDAW/CERD: The United Nations Convention on the Elimination of All Forms of Discrimination Against Women and the Convention on the Elimination of All Forms of Racial Discrimination, from 6 to 8 p.m. at the Berkeley City Club, 2315 Durant Ave. 259-3871. 

Parents’ Book Discussion Group on Frances O’Roark Dowell’s “Chicken Boy” at 6 p.m. at the Family Resource Center, 435 Goodling Way, Bldg. 123, Apt. 456, University Village, Albany. Sponsored by the Albany Library. 526-3720, ext. 17. 

Tuesday Tilden Walkers Join a few slowpoke seniors at 9:30 a.m. in the parking lot near the Little Farm for an hour or two walk. 215-7672, 524-9992. 

Berkeley School Volunteers Orientation from 4 to 5 p.m. at 1835 Allston Way. Come learn about volunteer opportunities. 644-8833. 

End the Occupation Vigil every Tues. at noon at Oakland Federal Bldg., 1301 Clay St. www.epicalc.org 

Family Storytime at 7 p.m. at Kensington Library, 61 Arlington Ave. 524-3043.  

Sing-A-Long Group from 2 to 3 p.m. at the Albany Senior Center, 846 Masoni Ave., Albany. 524-9122. 

Street Level Cycles Community Bike Program Come use our tools as well as receive help with performing repairs free of charge. Youth classes available. Tues., Thurs., and Sat. from 2 to 6 p.m. at at 84 Bolivar Dr., Aquatic Park. 644-2577. www.watersideworkshops.org 

Berkeley PC Users Group meets at 7 p.m. at 1145 Walnut St. 527-2177. 

Berkeley Camera Club meets at 7:30 p.m., at the Northbrae Community Church, 941 The Alameda. Share your digital images, slides and prints and learn what other photographers are doing. Monthly field trips. 548-3991.  

St. John’s Prime Timers meets at 9:30 a.m. at St. John’s Presbyterian Church, 2727 College Ave. We offer ongoing classes in exercise and creative arts, and always welcome new members over 50. 845-6830. 

WEDNESDAY, MARCH 26 

“Getting Rich off War: Blackwater and Halliburton” with Nancy Mencias of Global Exchange and Mary Magill, Gray Panther at the Berkeley-East Bay Gray Panthers meeting at 1:30 p.m. at the North Berkeley Senior Center, 1901 Hearst, corner of MLK. 527-0659. 

Radical Movie Night: “Bandit Queen” A film biography of Phoolan Devi at 8:30 p.m. at the Long Haul, 3124 Shattuck Ave. 540-0751. 

“Bush Family Fortunes” A documentary by Greg Palast on the connections between the Bush family and the Saudi Royal family at 7:30 p.m. at Humanist Hall, 390 27th St., Oakland. Donation $5. www.Humanist Hall.org 

Walk Berkeley for Seniors meets every Wednesday at 9:30 a.m. at the Sea Breeze Market, just west of the I-80 overpass. Everyone is welcome, wear comfortable shoes and a warm hat. Heavy rain cancels. 548-9840. 

Berkeley Peace Walk and Vigil at the Berkeley BART Station, corner of Shattuck and Center. Sing for Peace at 6:30 p.m. followed by Peace Walk at 7 p.m. www. 

geocities.com/vigil4peace/vigil 

Teen Chess Club from 3:30 to 5:30 p.m. at the North Branch Library, 1170 The Alameda at Hopkins. 981-6133. 

Theraputic Recreation at the Berkeley Warm Pool, Wed. at 3:30 p.m. and Sat. at 10 a.m. at the Berkeley Warm Pool, 2245 Milvia St. Cost is $4-$5. Bring a towel. 632-9369. 

Morning Meditation Every Mon., Wed., and Fri. at 7:45 a.m. at Rudramandir, 830 Bancroft Way at 6th. 486-8700. 

After-School Program Homework help, drama and music for children ages 8 to 18, every Wed. from 4 to 7:15 p.m. at St. John’s Presbyterian Church, 2727 College Ave. Cost is $5 per week. 845-6830. 

Stitch ‘n Bitch at 6:30 p.m. at Caffe Trieste, 2500 San Pablo Ave., at Dwight. 548-5198.  

THURSDAY, MARCH 27 

“Sustainable Stewardship: Historic Preservation’s Essential Role in Fighting Climate Change” with Richard Moe, President of the National Trust for Historic Preservation, at 7:30 p.m. at First Church of Christ, Scientist, 2619 Dwight Way. Jon Carroll, San Francisco Chronicle columnist, will also speak. Suggested donation $20; free admission for students with ID. A reception will follow the address. Proceeds go to the preservation work at the Church. For further information, contact Berkeley Architectural Heritage Association at 841-2242. http://berkeleyheritage.com 

Tilden Explorers An after-school nature adventure program for 5-7 year olds. We will hunt for amphibians from 3:15 to 4:15 p.m. Cost is $6-$8. Registration required. 1-888-327-2757. 

Tilden Tots Join a nature adventure program for 3 and 4 year olds, each accompanied by an adult (grandparents welcome)! We’ll look for amphibians from 10 to 11:30 a.m. at Tilden Nature Center, Tilden Park. Cost is $6-$8. Registration required. 1-888-EBPARKS. 

“Under the Sea” A workshop for children to learn about how animals adapt to waves and predators, and how tide pool animals survive, from noon to 2 p.m. at Lawrence Hall of Science, Centennial Drive. Cost is $6-$9. 642-5132. 

Immigration Forum: A discussion on issues and implications for the c/ommunity at 7 p.m. at Richmond Public Library’s Madeline F. Whittlesey Community Room, 325 Civic Center Plaza, Richmond. Sponsored by the Richmond Public Library and the ACLU. 620-6561. 

Berkeley Democratic Club’s Endorsement Meeting for State Senate (9th SD) and for the 14th Assembly District at 7 p.m. at Northbrae Community Church, 941 The Alameda. 

East Bay Association for Women in Science “Careers in Clinical Research and Regulatory Affairs” with Gladys Ingle, Clinical Regulatory Associate at Genentech; Miki Yamamoto, Regulatory Affairs Associate at Genentec, and Peih F. Chiang Inc, Clinical Research Consultant, at 7 p.m., light supper at 6:30 p.m. at Novartis, Building 4, Room 104, 5300 Chiron Way, Emeryville. Check-in at the guard station on 53rd St. at Chiron Way prior to parking. Suggested donations of $5-$10. ebawis_secretary@yahoo.com 

Easy Does It Board of Directors’ Meeting at 6:30 p.m. at 1636 University Ave. 845-5513. edi@easyland.org  

Jim Hightower “Swim Against the Current: Even a Dead Fish Can Go with the Flow” at 7:30 p.m. at First Congregational Church of Berkeley, 2345 Channing Way. Tickets are $12-$15. www.brownpapertickets.com  

Teen Book Club meets to discuss poetry at 4 p.m. at Claremont Branch Library, 2940 Benvenue. 981-6121. 

Fitness Class for 55+ at 9:15 a.m. at Jewish Community Center, 1414 Walnut St. 848-0237. 

Babies & Toddlers Storytime at 10:15 and 11:15 a.m. at Kensington Library, 61 Arlington Ave. 524-3043.  

World of Plants Tours Thurs., Sat. and Sun. at 1:30 p.m. at the UC Botanical Garden, 200 Centennial Drive. Cost is $5. 643-2755. http://botanicalgarden.berkeley.edu 

ONGOING 

Find a Loving Animal Companion at the Berkeley-East Bay Humane Society Adoption Center (open from 11 a.m. - 7 p.m. Tuesday through Sunday). 2700 Ninth St. 845-7735. www.berkeleyhumane.org  

E-Waste Recycling St. Vincent de Paul of Alameda County accepts electronic waste including computers, dvd players, cell phones, fax machines and many other ewaste products for disposal free of charge at many of its locations throughout Alameda County. Free bulk pick-up available. 638-7600.  

Free Tax Help If your 2007 household income was less than $42,000, you are eligible for free tax preparation from United Way's Earn it! Keep It! Save It! Sites are open now through April 15 in Alameda and Contra Costa counties. To find a site near you, call 800-358-8832. www.EarnItKeepItSaveIt.org 

CITY MEETINGS 

Parks and Recreation Commission meets Mon., Mar. 24, at 7 p.m., at the North Berkeley Senior Center. 981-5158.  

Zero Waste Commission Mon., Mar. 24, at 7 p.m., at 1201 Second St. 981-6368.  

City Council meets Tues., Mar. 25, at 7 p.m in City Council Chambers. 981-6900. www.ci. 

berkeley.ca.us/citycouncil 

Civic Arts Commission meets Wed., Mar. 26, at 6:30 p.m. at the North Berkeley Senior Center. 981-7533.  

Energy Commission meets Wed., Mar. 26, at 6:30 p.m., at the North Berkeley Senior Center. 981-5434.  

Planning Commission meets Wed., Mar. 26, at 7 p.m., at the North Berkeley Senior Center. 981-7484. 

Police Review Commission meets Wed., Mar. 26, at 7 p.m. at the South Berkeley Senior Center. 981-4950.  

Mental Health Commission meets Thurs., Mar. 27, at 5 p.m. at 2640 MLK Jr. Way, at Derby. 981-5213.  

Zoning Adjustments Board meets Thurs., Mar. 27, at 7 p.m., in City Council Chambers. 981-7410.

FRIDAY, MARCH 21 

THEATER 

Altarena Playhouse “Chicago” Fri. and Sat. at 8 p.m., Sun. at 2 p.m. at Altarena Playhouse, 1409 High St., Alameda, through April 12. Tickets are $17-$20. 523-1553. www.altarena.org 

Berkeley Rep ”Wishful Drinking” with Carrie Fisher, at the Roda Theater, 2015 Addison St., through March 30. Tickets are $33-$69. 647-2949. 

Central Works “Wakefield; or Hello Sophia” Thurs.-Sat. at 8 p.m., Sun. at 5 p.m. at Berkeley City Club, 2315 Durant Ave., through March 23.Tickets are $14-$25. 558-1381. 

Impact Theatre “Jukebox Stories: The Case of the Creamy Foam” Thurs.-Sat. at 8 p.m. at La Val’s Subterranean, 1834 Euclid Ave., through March 22. Tickets are $10-$15. 464-4468. http://impacttheatre.com 

Masquers Playhouse “Tartuffe” Fri.-Sat. at 8 p.m., some Sun. matinees at 2:30 p.m. at 105 Park Place, Pt. Richmond, through April 26. Tickets are $18. 232-4031. www.masquers.org 

Shotgun Players “Mrs. Warren’s Profession” by George Bernard Shaw. Thurs.-Sat. at 8 p.m., Sun. at 5 p.m., through April 27, at The Ashby Stage, 1901 Ashby Ave. Tickets are $17-$25. 841-6500. www.shotgunplayers.org 

FILM 

“The Invisible Forest” A film by Antero Alli, with teh filmaker in person, at 8 p.m. at Grace North Sanctuary, 2138 Cedar St. Cost is $10. 548-2153.  

READINGS AND LECTURES 

David Hajdu reads from “The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America” at 7 p.m. at Cody’s Books at 2201 Shattuck, next to the almost open new store. 559-9500.  

Linh Dinh with Marisa Libbon, poets, as part of The Holloway Series in Poetry, at 6:30 p.m. at 315 Wheeler Hall, The Maude Fife Room, UC Campus. 642-3467.  

Norman Woods & Band, aazz poetry, followed by open mic at 7 p.m. at Expressions Gallery, 2035 Ashby Ave. www.expressionsgallery.org 

MUSIC AND DANCE 

Junior Bach Festival, featuring young performers, at 7:30 p.m. at Berkeley Piano Club, 2724 Haste St. 843-2224.  

Faik Ibragim olgy Chelebi, Azerbaijani classical music at 8 p.m. at The Berkeley Hillside Club, 2286 Cedar St. Cost is $10-$15. 845-1350. 

Vox Flores “Pope Marcellus Mass” at 7 p.m. at Arlington Community Church, 52 Arlington Ave., in Kensington. Free.  

“Songs of Spirit” Candlelight Meditation Concert with Norma Gentile at 7:30 p.m. at Unity of Berkely, 2075 Eunice St. Tickets are $15. www.healingchants.com 

Becca Burrington, soprano, Kymry Esainko , piano, perform works of Debussy Faure, Copland, Rorem and more at 8 p.m. at Giorgi Gallery 2911 Claremont Ave. Cost is $10. 648-1228. giorgigallery.com 

Los Materos, Latin American fusion, at 8 p.m. at La Peña Cultural Center. Cost is $12-$14. 849-2568. www.lapena.org 

Danny Caron Quartet at 8 p.m. at Anna’s Jazz Island, 2120 Allston Way. Cost is $12. 841-JAZZ. www.AnnasJazzIsland.com 

Stomp the Stumps Benefit for Bay Area Coalition for the Headwaters and Earth First with Grapefruit Ed, The Funky Nixons and The Gary Gates Band at 8:30 p.m. at Ashkenaz. Cost is $12-$15. 525-5054.  

Pam & Jeri Show, from Blame Sally, at 8 p.m. at Caffe Trieste, 2500 San Pablo Ave. 548-5198.  

Pierre Bensusan, Bob Giles at 8 p.m. at Freight and Salvage. Cost is $20.50-$21.50. 548-1761.  

Carla Kaufman Trio at 9 p.m. at Downtown. 649-3810.  

The Mundaze at 10 p.m. at Beckett’s Irish Pub, 2271 Shattuck Ave. 647-1790.  

Amanda Abizaid, Walty at 7:30 p.m. at Nomad Cafe, 6500 Shattuck Ave. 595-5344.  

Dave Matthews BLUES Band at 8 p.m. at the Warehouse Bar and Grill, 402 Webster St., Oakland. 451-3161. 

Darondo & Nino Moschella, soul, r&b, funk, at 9:30 p.m. at Shattuck Down Low, 2284 Shattuck Ave. Cost is $5-$7. 548-1159.  

Little Muddy at 8 p.m. at Jupiter. 843-8277. 

Jon Bibbs, Shadia P, R&B, at 9 p.m. at Maxwell’s Lounge, 341 13th St., Oakland. Cost is $10-$15. 839-6169. 

Kenny Garrett Quartet at 8 and 10 p.m., through Sat. at Yoshi’s at Jack London Square. Cost is $12-$22. 238-9200.  

SATURDAY, MARCH 22 

CHILDREN  

Los Amiguitos de La Peña with Uncle Eye and The Strange Change Machine, interactive songs, at 10:30 a.m. at La Peña. Cost is $5 for adults, $4 for children. 849-2568.  

THEATER 

Playback Theatre “In Celebration of Women” Personal stories about women shared by audience members will be transformed by the ensemble into improvised theatre pieces, at 8 p.m. at Laney College Theater, 900 Fallon St., Oakland. Tickets are $12-$18. 595-5500, ext. 25. 

EXHIBITIONS 

“Tonal Words” Photographs by Misako Akimoto. Reception at 2 p.m. at Berkeley Public Library, Central Catalog Lobby, 2090 Kittredge St. 981-6100. 

READINGS AND LECTURES 

Richard Bermack on “The Front Lines of Social Change: Veterans of the Abraham Lincoln Brigade” at 2 p.m. at Alta Galleria, 2980 College Ave., Suite 4. 421-1255.  

MUSIC AND DANCE 

23rd Jewish Music Festival “A Night in the Old Marketplace” Jewish, jazz, rock, and world beats with a dose of Kurt Weill and Tom Waits, composed by Frank London, at 8 p.m. at Berkeley Repertory Theater, Roda Stage, 2025 Addison St. Tickets are $24-$28. 848-0237. www.jewishmusicfestival.org  

Junior Bach Festival, featuring young performers, at 3 and 7:30 p.m. at St. John’s Presbyterian Church, 2723 College Ave. 843-2224. www.juniorbach.org 

Rhythm & Muse Music & spoken word open mic series featuring Tracy Koretsky, spoken word, with Eliza Shefler, piano, at 7 p.m. at Berkeley Art Center, 1275 Walnut St., between Eunice & Rose Sts., behind Live Oak Park. Free. 644-6893.  

Tommy Dorsey Orchestra at 8 p.m. aboard the USS Hornet. Tickets are $45-$95, benefits the USS HornetMuseum. 521-8448, ext. 282. 

Moment’s Notice Improvised music, dance and theater at 8 p.m. at Western Sky Studio, 2525 8th St. Cost is $8-$15, sliding scale. momentsnoticeinfo@gmail.com  

Peking Acrobats at 2 and 8 p.m. at Zellerbach Hall, UC Campus. Tickets are $24-$46. 642-9988.  

Rudolf Buchbinder, piano, at 8 p.m. at Hertz Hall, UC Campus. Tickets are $42. 642-9988. www.calperformances.net 

Think Outside the Box: Clitoris Celebration at 8 p.m. at La Peña Cultural Center. Cost is $15-$20. 849-2568.  

Bayside Jazz with Dan Hicks at 8 p.m. at Anna’s Jazz Island, 2120 Allston Way. Cost is $12. 841-JAZZ.  

Itals, reggae, at 9:30 p.m. at Ashkenaz. Cost is $15. 525-5054. 

Randy Moss & Friends at 7:30 p.m. at Nomad Cafe, 6500 Shattuck Ave. 595-5344.  

Mucho Axé at 8 p.m. at Jupiter. 843-8277. 

Nell Robinson & Red Level, Matt Dudman & Richard Brandenburg at 8 p.m. at Freight and Salvage. Cost is $18.50-$19.50. 548-1761.  

Five Cent Coffee, junkyard blues, at 9 p.m. at Downtown. 649-3810.  

Steve Carter, jazz, at 9:30 p.m. at Albatross, 1822 San Pablo Ave. Cost is $3. 843-2473. www.albatrosspub.com 

The American Economy at 10 p.m. at Beckett’s Irish Pub, 2271 Shattuck Ave. 647-1790.  

Despise You, Lack of Interest, Pretty Little Flower at 8 p.m. at 924 Gilman St., an all-ages, member-run, no alcohol, no drugs, no violence club. Cost is $8. 525-9926. 

SUNDAY, MARCH 23 

CHILDREN 

Oakland Hebrew Day School “The Music Man” at 1 p.. at Julia Morgan Center for the Arts, 2640 College Ave. Tickets rea $5-$7 at the door.  

READINGS AND LECTURES 

“Philosophers: G.E.M. Anscombe & Celia Green for Women’s History Month” A lecture by H. D. Moe at 3 p.m. at Humanist Hall 390 27th St., Oakland. 528-8713, 451-5818. 

MUSIC AND DANCE 

Junior Bach Festival, featuring young performers, at 7:30 p.m. at Berkeley Piano Club, 2724 Haste St. 843-2224. www.juniorbach.org 

Jewish Music Festival with Benzion Miller, Hasidic cantor, at 7:30 p.m. at Netviot Shalom, 1316 University Ave. Tickets are $21-$25. 848-0237. www.jewishmusicfestival.org  

Rudolf Buchbinder, piano, at 3 p.m. at Hertz Hall, UC Campus. Tickets are $42. 642-9988. www.calperformances.net 

Peking Acrobats at 3 p.m. at Zellerbach Hall, UC Campus. Tickets are $24-$46. 642-9988.  

Judy Fjell & Nancy Schimmel “Malvina Reynolds Songs & Stories” at 8 p.m. at Freight and Salvage. Cost is $18.50-$19.50. 548-1761.  

Oakland Interfaith Gospel Choir at 7 and 9 p.m., through Sat. at Yoshi’s at Jack London Square. Cost is $10-$16. 238-9200. www.yoshis.com 

MONDAY, MARCH 24 

READINGS AND LECTURES 

Leah Garchick in Conversation with Jon Carroll on Garchick’s new book “Real Life Romance: Everyday Wisdom on Love, Sex, and Relationships” at 7 p.m. at Berkeley Rep’s Trust Stage, 2025 Addison St. Fundraiser for Park Day School Tickets are $18-$25. www.parkdayschool.org 

Rick Dakan, Jen Angel and Josh McPhee read at 7:30 p.m. at Moe’s Books, 2476 Telegraph Ave. 849-2087. 

Poetry Express with Tom Odeard at 7 p.m. at Priya Restaurant, 2072 San Pablo Ave. 644-3977. 

MUSIC AND DANCE 

Musica ha Disconnesso at 7 p.m. 7 p.m. at Caffe Trieste, 2500 San Pablo Ave. 548-5198.  

West Coast Songwriters Competition at 8 p.m. at Freight and Salvage Coffee House. Cost is $20.50-$21.50. 548-1761. 

Benefit for Christopher Rodriguez with John Santos, Kai Eckhardt, Roger Glenn and many others at 8 and 10 p.m. at Yoshi’s at Jack London Square. Cost is $18-$25. 238-9200.  

TUESDAY, MARCH 25 

READINGS AND LECTURES 

Ed Coletti and Lynne Knight read their poetry at 7:30 p.m. at Moe’s Books, 2476 Telegraph Ave. 849-2087. 

Eric Alterman describes “Why We Are Liberals: A Political Handbook for Post-Bush America” at 7:30 p.m. at First Congregational Church of Berkeley, 2345 Channing Way. 559-9500. 

MUSIC AND DANCE 

Kaspar/Sherman Jazz Quartet at 7 p.m. at the Berkeley Public Library, 2090 Kittredge St. 981-6241. 

Jewish Music Festival “Ladder of Gold” with Kaila Flexer and Gari Hegedus, at 7:30 p.m. at First Unitarian Church, 684 14th St., Oakland. 848-0237. www.jewishmusicfestival.org  

Gerard Landry & The Lariats at 8:30 p.m. at Ashkenaz. Cajun dance lesson at 8 p.m. Cost is $10. 525-5054.  

Singers’ Open Mic with Kelly Park at 8 p.m. at Anna’s Jazz Island, 2120 Allston Way. Cost is $5. 841-JAZZ. www.AnnasJazzIsland.com 

Randy Craig Trio at 7 p.m. at Caffe Trieste, 2500 San Pablo Ave., at Dwight. 548-5198.  

Sasha Dobson at 8 and 10 p.m. at Yoshi’s at Jack London Square. Cost is $10-$16. 238-9200. www.yoshis.com 

Jazzschool Tuesdays at 8 p.m. at Jupiter. 843-8277. 

WEDNESDAY, MARCH 26 

READINGS AND LECTURES 

Richard Price introduces “Lush Life” a new novel, at 7 p.m. at Cody’s Books at 2201 Shattuck, next to the almost open new store. 559-9500.  

Writing Teachers Write at 5 p.m. at Nomad Cafe, 6500 Shattuck Ave. 595-5344.  

MUSIC AND DANCE 

Music for the Spirit with Ron McKean on harpsichord at 12:15 p.m. at First Presbyterian Church of Oakland, 2619 Broadway. 444-3555. 

Five Play at 8 p.m. at Anna’s Jazz Island, 2120 Allston Way. Cost is $8. 841-JAZZ.  

Grooveyard at 8 p.m. at Jupiter. 843-8277. 

Karabali at 9:30 p.m. at Shattuck Down Low, 2284 Shattuck Ave. Salsa dance lessons at 8:30 p.m. Cost is $5-$10. 548-1159.  

Mikie Lee and Amber at 10 p.m. at Beckett’s Irish Pub, 2271 Shattuck Ave. 647-1790.  

Audrey Auld Mezera & Andrew Hardin at 8 p.m. at Freight and Salvage. Cost is $17.50-$18.50. 548-1761.  

David Sanborn at 8 and 10 p.m. at Yoshi’s at Jack London Square, through Sun. Cost is $35-$40. 238-9200.  

THURSDAY, MARCH 27 

THEATER 

“Amor Cubano” Written and performed by Maceo Cabrera Estevez at 8 p.m. through Sat. at La Peña Cultural Center. Cost is $5-$20. 849-2568.  

READINGS AND LECTURES 

“Sustainable Stewardship: Historic Preservation’s Essential Role in Fighting Climate Change” with Richard Moe, President of the National Trust for Historic Preservation, at 7:30 p.m. at First Church of Christ, Scientist, 2619 Dwight Way. Jon Carroll, San Francisco Chronicle columnist, will also speak. Suggested donation $20; free admission for students with ID. A reception will follow the address. Proceeds go to the preservation work at the Church. For further information, contact Berkeley Architectural Heritage Association at 841-2242.  

Jim Hightower “Swim Against the Current: Even a Dead Fish Can Go with the Flow” at 7:30 p.m. at First Congregational Church of Berkeley, 2345 Channing Way. Tickets are $12-$15. www.brownpapertickets.com  

Daniel P. Gregory, lecture and slideshow on “Cliff May and the Modern Ranch House”at 7:30 p.m. at Mrs. Dalloways, 2904 College Ave. 704-8222. 

MUSIC AND DANCE 

Jewish Music Festival “Chen Zimbalista and Friends” percussion at 7:30 p.m. at St. John’s Presbyterian Church: 2727 College Ave. Tickets are $20-$24. 848-0237.  

Jeffrey Foucault at 8 p.m. at Freight and Salvage. Cost is $18.50-$19.50. 548-1761.  

Rick Vandevivier Trio at 8 p.m. at Anna’s Jazz Island, 2120 Allston Way. Cost is $10. 841-JAZZ.  

Talking Wood, Afro roots, at 7 p.m. at Caffe Trieste, 2500 San Pablo Ave. 548-5198.  

Fred O’dell and the Broken Arrows at 10 p.m. at Beckett’s Irish Pub, 2271 Shattuck Ave. 647-1790.  

FRIDAY, MARCH 28 

THEATER 

Altarena Playhouse “Chicago” Fri. and Sat. at 8 p.m., Sun. at 2 p.m. at Altarena Playhouse, 1409 High St., Alameda, through April 12. Tickets are $17-$20. 523-1553.  

“Amor Cubano” Written and performed by Maceo Cabrera Estevez at 8 p.m. through Sat. at La Peña Cultural Center. Cost is $5-$20. 849-2568.  

Berkeley Rep ”Wishful Drinking” with Carrie Fisher, at the Roda Theater, 2015 Addison St., through March 30. Tickets are $33-$69. 647-2949. 

Masquers Playhouse “Tartuffe” Fri.-Sat. at 8 p.m., some Sun. matinees at 2:30 p.m. at 105 Park Place, Pt. Richmond, through April 26. Tickets are $18. 232-4031. www.masquers.org 

Shotgun Players “Mrs. Warren’s Profession” by George Bernard Shaw. Thurs.-Sat. at 8 p.m., Sun. at 5 p.m., through April 27, at The Ashby Stage, 1901 Ashby Ave. Tickets are $17-$25. 841-6500.  

EXHIBITIONS 

“My Sister, My Sister” A personal response to homelessness, poetry by Zelma Brown, Photography by Meredith Stout. Opening reception at 7 p.m. at the Women’s Cancer Resource Center, 5741 Telegraph Ave., Oakland. Screening of “Walking in My Shoes” at 8 p.m. Show runs to April 25. 601-4040, ext. 111. 

“Peace is Possible” Works by artists who are changing the world through creativity, Wavy Gravy and Carolyna Marks. Reception at 7 p.m. at 4th Street Studio, 1717d 4th St. 527-0600. 

“Pet Art” from Expressions Gallery on display at Just Pet Me Country Club, 2545 Broadway, Oakland to June 30. A portion of the proceeds from art sales with be donated to the Berkeley Humane Society. 500-5595. 

READINGS AND LECTURES 

Richard Silberg and Thomas Centolella, poets, at 7:30 p.m. at Pegasus Books Downtown, 2349 Shattuck Ave. 649-1320. 

David King Dunaway reads from the revised edition “How Can I Keep From Singing? The Ballad of Pete Seeger” at 7:30 p.m. at Mrs. Dalloways, 2904 College Ave. 704-8222. 

R.Black discusses his art and new book “Futura: L’Art de R.Black” at 7:30 p.m. at Book Zoo 6395 Telegraph Ave., Oakland. 654-BOOK. 

Morton Felix and Stanford Rose, followed by open mic at 7 p.m. at Expressions Gallery, 2035 Ashby Ave. www.expressionsgallery.org 

MUSIC AND DANCE 

Berkeley Opera “L’Elisir d’Amore” at 8 p.m. at Julia Morgan center for the Arts, 2640 College Ave. Tickets are $10-$44. 925-798-1300.  

Tchaikovsky Perm Ballet and Orchestra “Swan Lake” at 8 p.m. at Zellerbach Hall, UC Campus. Tickets are $34-$90. 642-9988.  

Bay Area Classical Harmonies “David Rogers: Guitar and Lute” at 7:30 p.m. at The Pro Arts Gallery, 550 Second St., Oakland. Tickets are $12-$18. 868-0695.  

Thomas Pandolfi, pianist, at 8 p.m. at The Berkeley Hillside Club, 2286 Cedar St. Cost is $10-$15. 845-1350. 

Lisa B Quintet at 8 p.m. at Anna’s Jazz Island, 2120 Allston Way. Cost is $12. 841-JAZZ.  

Sambada, Afro, Brazilian, funk, at 9 p.m. at Ashkenaz. Cost is $10-$13. 525-5054.  

Beth Waters at 8 p.m. at Caffe Trieste, 2500 San Pablo Ave., at Dwight. 548-5198.  

House Jacks at 8 p.m. at Freight and Salvage. Cost is $19.50-$20.50. 548-1761.  

Jessica Rice, Sacred Profanities at 7:30 p.m. at Nomad Cafe. 595-5344. 

The Dave Stein Bubhub at 10 p.m. at Beckett’s Irish Pub, 2271 Shattuck Ave. 647-1790.  

Slydini at 8 p.m. at Jupiter. 843-8277. 

Julie Dexter, Jordana, R&B, at 8 p.m. at Maxwell’s Lounge, 341 13th St., Oakland. Cost is $10-$15. 839-6169. 

David Sanborn at 8 and 10 p.m. at Yoshi’s at Jack London Square, through Sun. Cost is $35-$40. 238-9200. 

The village flirt tosses aside the book of the romance of Tristan and Isolde she has been reading aloud, flippantly singing, “If only I knew that recipe” for the famous love potion, as the chorus of peasants idling in the piazza picks up the refrain—and her forlorn, would-be suitor Nemorino, who’s caught the storybook as if it was the garter flung after a wedding, finds himself in the same predicament.  

Spurned by Adina the flirt, outrivalled by the bellicose sergeant of the local garrison, with no money or position, what can he do to win her fickle heart besides wish for the impossible? Is there an elixir of love that can revitalize his suit? 

Berkeley Opera’s sprightly staging of Donizetti’s L’Elisir D’amore at the Julia Morgan Center takes off from there and tells the musical tale with both insouciant zest and quiet sensitivity, firmly on opera’s original ground, a divertissement for all the sensibilities. This “Elixir” also tests the ever-famous placebo effect, when snake-oil Doctor Dulcamara shows up and sells Nemorino a ceramic flask of Bordeaux as his surefire romantic philtre, giving the young man a big shot of hope and confidence in exchange for his last coin. It also involves dubious practices in military recruitment—so it’s a timely springtime show for Berkeley, indeed. 

The complications of the plot unfold felicitously, without the usual turgid, often boffo, vertiginous operatic reversals, due to its origin in a work by Eugene Scribe, the accredited father of the “well-wrought play,” the three-to-five act predecessor to all the great commercial vehicles of the West End and of Broadway, and of the better Hollywood movie scripts, sporting that dramatic or comic “arc” reviewers talk about. (“Send your hero up a tree, throw rocks at him, then get him back on the ground again,” as George M. Cohan memorably summarized a three-act’s plot).  

But every bit as much, felicity comes from the fine acting of the singers and the exemplary stage direction by Robert Weinapple. Never static, the scenes are filled with a vigorous counterpoint in movement and gesture that’s not just an illustration of the feeling of the music or of the words of the libretto. 

The lighting design by Cameron Mock is as fluid and accurate as the performers’ style, showing the contrast between the scenes with the whole company and the smaller groups, the duets and solos, playing over a set (by Lili Smith and Kevin Keul) of the village that’s simple yet flexible, an evocative backdrop for every mood. 

Tammy Berlin’s costuming also reflects contrast, from the rustic simplicity of the peasants to the cock-of-the-walk martial dandyism of the sergeant, and the gaudy display of the montebank that the locals take for gentility. “He must be a senator at least,” the bumpkins intone as the illustrious Professor steps forward to bark in his reddish top-hat and sash. 

Elisir is a romantic comedy, containing its own burlesque, so in some respects the palms go to the buffo villain and the comic schemer, sergeant-rival and medicine show star. Torlef Borsting is an admirably smarmy Sgt. Belcore, puffed up with himself, and Paul Cheak even better, finding so many funny and sympathetic nuances playing and singing the fly-by-night Dottore Dulcamare. 

But the moods are modulated so well that the success of the comedy never blurs the romantic emotions. Angela Cadelago as Adina and Andrew Truett as Nemorino have their own, well-played and sung comic moments, coming forward more and more in the pathetic and romantic vignettes, the braver vocals saved for the arias and duets at the climax and near the happy end.  

The five principals (including a charming Elena Krell as Gianetta, “a peasant girl” who is in some ways the leader of the village chorus) and 19 chorines, both peasants and soldiers, interact well, both vocally and theatrically, often overlapping and sometimes serving as counterpoint to each other. 

Throughout, Donato Cabrera, associate conductor with the San Francisco Opera and music director for the American Contemporary Music Ensemble, presides over the orchestra of 19 with grace and alacrity.  

L’ELISIR D’AMORE 

Presented by Berkeley Opera at 8 p.m. Friday March 28, and at 2 p.m. Sunday, March 30 at the Julia Morgan Center, 2640 College Ave. $10-$44. (925) 798-1300.

Helvetica—a Greek tragedy? No, a typeface. Who would think of making a documentary film about a typeface? And who would attribute political significance to a font? Well, the writers of this 80-minute film did.  

The film was originally released in September for the font’s 50th anniversary. In the aftermath of World War II and the dull 1950s, two Swiss typographers decided that big corporations needed a shot in the arm to fit their efficient, go-getter, modern hype, and what better way than a typeface that represented all of those characteristics, a typeface that every consumer would glom on to without even knowing that they were being hypnotized to consume all those major products that have used Helvetica—3M, American Airlines, American Apparel, Crate & Barrel, Energizer batteries, Greyhound Lines, Jeep, Lufthansa, Marks & Spencer, Microsoft, National Car Rental, Panasonic, and Target Corporation, and many more. 

For example, Apple’s Mac OS X uses Helvetica as its default font for numerous applications, and the interface for the iPhone and newer iPods uses Helvetica almost exclusively. New York City’s Metropolitan Transportation Authority (MTA) uses Helvetica for all of its subway signs. And versions exist for the Latin, Cyrillic, Hebrew, and Greek alphabets. There are even special characters and accents for Hindi, Urdu, Khmer, Vietnamese, Chinese, Japanese, and Korean. 

Canada’s federal government uses Helvetica as its identifying typographic voice, and encourages its use in all federal agencies and websites. Helvetica is also used in the U.S. television rating system, in federal income tax forms, and even on the Space Shuttle. 

Until the ’60s and ’70s, that is, when a new generation of post-modernist designers and other counterculture people grew to detest Helvetica as a symbol of corporate and government power, the Vietnam War, etc. They wanted something more humane and emotional, more individual, in other words, more postmodern—wild. Thus, we get irregular typefaces, even handwriting “type.” 

I found the film engaging both because it was framed in this political context, but also because it was fascinating to catch up on all this manipulation that managed to pass me by. 

By the way, Helvetica is part of the Latin name for Confoederatio Helvetica, that spawned the two co-creators of this ubiquitous advertising fascism. 

Helvetica is currently available on DVD. A Blu-Ray edition will be released May 6.  

—E.C. Jeline  

Antonio Gaudi 

Antonio Gaudi is a cinematic poem, a patient, hushed appreciation of a visionary architect. Japanese director Hiroshi Teshigahara glides his camera around the sensuous curves of Gaudi’s structures, wanders throughout the asymmetric interiors, traces the spiraling spires of his churches and roams across each textured surface of his elaborate facades.  

The film is interrupted on a few occasions by spoken word, by the voices of Gaudi connoisseurs and historians. These intrusions may be useful in explaining some of the principles and facts behind these unique buildings, including his unfinished masterpiece, the Sagrada Familia cathedral in Barcelona, but they interfere with our languorous absorption of Gaudi’s sculptural art.  

The two-disc set from Criterion includes a new transfer of the film and a wealth of bonus material, including the director’s own 16mm footage from his first encounter with Gaudi’s work as a young man on a trip to Spain with his father, as well as documentaries about the filmmaker and the architect.  

—Justin DeFreitas 

Forbidden Hollywood, Volume II 

Warner Bros. has released the second in its Forbidden Hollywood DVD series, an collection of Pre-Code films from the early 1930s. The first set included Baby Face, perhaps the most outrageous film of the era, while the new collection includes some of the most influential Pre-Code films and certainly its most influential actress, Norma Shearer.  

The set starts off with two Shearer vehicles. The first, The Divorceé (1930), tells the story of a woman who responds to her husband’s infidelity with a pledge to live as a man lives, and thus begins a string of extramarital dalliances that the enforcement of the Code would crack down on in just a few years. Not for decades would women on screen be able to live and love as freely. Also featured is Shearer’s follow-up, A Free Soul (1931) 

Ruth Chatterton runs an automobile factory in Female (1933), taking and casting aside lovers from her stable of employees at will and transferring them to a Canadian subsidiary if they get too attached. Eventually she meets her match, and from there things go down hill a bit in the feminism department until finally crashlanding in the end with a severe cop-out in which she transfers control of the firm to her husband while setting out on her new goal of producing as many as nine children.  

Three on a Match (1933) shows Bette Davis, Joan Blondell and Ann Dvorak as they grow from children to adults, Dvorak along the way slipping into a life of drug addiction. Humphrey Bogart plays a small role as a gangster thug. 

Last is Night Nurse (1931), a strange story in which Barbara Stanwyck and Blondell do battle with an evil chauffeur (Clark Gable) in an effort to prevent a case of child abuse. The film is a mix of brash comedy, torrid melodrama and frolicking cheesecake as numerous pretenses are found for Stanwyck and Blondell to repeatedly strip off their clothing. 

Also included is a documentary, Thou Shalt Not: Sex, Sin and Censorship in Pre-Code Hollywood, that puts these films in historical context, sketching out the scandals that led to Hollywood’s first tepid and later strident efforts at self-censorship.  

—Justin DeFreitas 

HELVETICA 

(2007) 

80 minutes. $34.99. 

www.helveticafilm.com. 

ANTONIO GAUDI (1984) 

72 minutes. $39.95. 

www.criterion.com. 

FORBIDDEN 

HOLLYWOOD 

(1930s) 

$49.99.  

www.whvdvd-collections.com. 

With just a few exceptions, when we talk about an Orson Welles film we talk about a tangled mess of topics all at once. We talk about the film as it exists and the film as it might have been; we talk about intentions and motivations, disagreements and compromises, edits and changes; we talk about artistic integrity versus commercial considerations, about the rights of the artist contrasted with the rights of studios, stockholders, producers and distributors.  

When left to his own devices—or, more accurately, the devices of himself and his chosen collaborators—Welles created great cinema. Yet Citizen Kane is perhaps the only one of his films to reach theaters entirely without compromise. A couple of others survived with only compromised production values as opposed to compromised content, but most of the Welles filmography is the story of films that are at best approximations, and at worst mere remnants, of the dreams that gave birth to them.  

The Orson Welles of caricature—of bloated budgets and extended, meandering production schedules—would come later. In the 1940s his films were produced in the same manner in which he had produced his stage and radio projects. Budgets were relatively small, schedules were adhered to (though always pushed to the last second); planning and rehearsals were thorough but open to last-minute changes and improvisations. And in this climate he produced two of his greatest works: Kane and The Magnificent Ambersons.  

After Kane nearly brought down RKO studios in 1941 by taking on William Randolph Hearst, the most powerful media mogul of his day, Welles’ career took an unexpected turn. Though RKO and Welles survived the battle with Hearst, the studio became wary of its star director. But it was ultimately the gloom of Ambersons and the freewheeling experimentalism of Welles’ South American documentary project It’s All True that finally derailed Welles, and he spent the next few years struggling to win back the trust of his benefactors.  

His reputation—some say justly, some unjustly—became that of a troublemaker, an arrogant, budget-busting, non-commercial maverick. Having conquered Broadway at 20, radio at 21 and film at 24, he was not used to failure, or to playing the supplicant. And he must have found it galling that he, whose genius had always included the successful marriage of commercial entertainment with high art, should be branded an unbankable risk.  

The Stranger (1944) was a purely commercial product, delivered on time and under budget for International Pictures. With the exception of a few flourishes here and there, it is the least Wellesian of his films and thus the least interesting. Lady From Shanghai (1947) was begun as payback for a loan that Columbia Studios chief Harry Cohn had given Welles for one of his stage productions. Shanghai too was a commercial film, with a few twists. But it was those unwanted twists that angered Cohn, who re-edited much of it and added a cheap score. 

It was at this time that Welles, looking to find a studio that would back him as RKO had with Kane, joined Republic Studios, a low-budget producer of B movies, mostly westerns. Republic was willing to support a pet project of his: a stark, spare adaptation of Macbeth. Shakespeare was his foundation as an artist: As a teenager he had published a series of guidebooks for adapting the works of the Bard to the modern stage, and as a young man he had made his reputation with the so-called “voodoo Macbeth,” a Roosevelt-era public works project in which he staged a sensational Haitian version of the play in Harlem with an all-black cast consisting mostly of first-time actors. Shakespearian tragedy underlies much of Welles’ self-written dramas, and he would return to the plays themselves on stage, radio and screen for much of his life. 

Welles concocted a multi-faceted approach to the new Macbeth that would hold down expenses while maximizing rehearsal. He took a cast consisting largely of players from his own Mercury Theater on the road to Salt Lake City, where they would stage the play three times a day for four days as part of the Utah Centennial Festival. The festival would pick up the tab for the costumes, Republic would pay for the sets. When the theatrical run was over, the company would adjourn to the studio where, with three cameras operating at all times, shooting several scenes simultanously, with the actors miming to a pre-recorded soundtrack, they would shoot the film in just three weeks. It would be a semi-radical but inexpensive experiment in stripped-down, streamlined filmmaking. (This is in marked contrast to his next project, the nomadic, globe-trotting four-year odyssey that would become Othello.)  

Welles first adapted Macbeth to a screenplay, using his own guidebooks to fashion a dramatic restructuring of the play, emphasizing the witchcraft and heightening the horror and melodrama in the creation of a sort of high-art B picture. It is not so much an adaptation as a re-imagining, for Welles had no interest in simply filming the play; his goal was to rediscover much of the brash, barnstorming fun and frolic of Shakespeare, qualities he felt had been lost over decades of stuffy academization of the Bard. His intent was to use Macbeth as a starting point for something quite different, for something purely cinematic. He then adapted the screenplay to the stage for the Utah performances.  

Much of Welles’ vaunted innovation throughout his career stemmed from necessity, from improvisation in the face of less than perfect circumstances. His radio shows conjured whole worlds on a merciless weekly deadline; the shadowy photography of Kane was conceived primarily as a method of concealing the lack of sets; and the staging of a famous scene in Othello amid the swirling steam of a Turkish bath was another inspired bit of improvisation, compensating for the fact that Welles’ supplier failed to deliver the costumes. Macbeth was essentially built from the start on a framework of improvisation amid low-budget circumstances, its design consisting of papier-maché sets rising above a bare soundstage, its staging and photographic angles organized around the necessities of the quick three-camera shooting schedule. 

Republic released the film in Europe to good reviews, but tested it only in select cities in America. They had already required Welles to cut about 20 minutes from it, but now they cut still more and insisted that as much of the dialogue as possible be re-recorded without the Scottish accents. (Welles had sought to return the play to its roots by abandoning the hybrid English accents that had become standard for interpretations of Shakespeare with a Scottish burr.) When this highly compromised version was finally officially released in the States after a lengthy delay, critical reception was largely hostile. While some of the footage has been replaced since then, and the Scottish-accent soundtrack restored, the film, like so many other Welles films, is still not quite the film he intended.  

The film still draws mixed reviews. Joseph McBride, one of Welles’ most sympathetic biographers, bemoans the lack of subtlety of Welles in the title role, the weakness of Jeanette Nolan as Lady Macbeth, and what he considers the budget-hampered photographic style, in which the actors move more than the camera. Meanwhile, David Thomson, generally one of Welles’ more critical biographers, describes the acting as “heartfelt and liberated” and flatly states that “no film since Kane had had so profoundly organized or expressive a photographic style.” 

Welles’ films, like the man himself, retain the power to polarize his most ardent fans, even after 60 years. 

MACBETH (1948) 

119 minutes. 2 p.m. Sunday. 

OTHELLO (1948-52) 

91 minutes. 4:30 p.m. Sunday. 

Pacific Film Archive. 2575 Bancroft Way. www.bampfa.berkeley.edu.

"What Orson always said about his career,” Richard Connema reminisced about working on Macbeth with Orson Welles at Republic Studios in 1946, “was that when he came out with Citizen Kane, he was a big shot and everybody gave him Christmas presents. During the making of The Magnificent Ambersons, they still gave him presents. But the next year, after he got back from Brazil and with all the problems with the release of Ambersons, nobody gave him presents.” 

Connema, a lively reviewer for the national website Talkin’ Broadway and a member of the Bay Area Theater Critics Circle, is a familiar face at local opening nights (he covers over 200 shows annually). He started as “camera assistant,” as he carefully spelled it out (“or chief flunky”) at Republic, after World War II. “John Russell was chief photographer. Nobody was called cinematographer in those days. And during the halcyon days of Hollywood, nobody got credit either. Nowadays, you sit for 10 minutes after a film is over, and they list whoever drove the honeybucket wagon.” 

He detailed his advent in the Dream Factory. An Air Force cameraman in the Philippines, a service buddy who had worked for Republic before getting drafted, had made a pact with Connema to get him a studio job after discharge at Travis Air Force Base. But first he decided to go back home, to see family in Dayton, Ohio.  

“Of course, it was deadly dull,” he said. “I was thinking, ‘What am I doing here?’ when I got a telegram from my friend in Hollywood. It was just like in the movies. I was even waiting for the chorus girls when I got off the train with the suitcase in my hand. I guess I should’ve burst out with ‘Hooray for Hollywood!’” 

Connema started out as an apprentice, first on a Roy Rogers Western, “making sure the horses were moving, not shitting in front of the camera.”  

When he heard Welles would be directing Macbeth, he begged his friend to get him on the 23-day shoot.  

“When I was introduced to Orson, he gave me a weak handshake,” recalled Connema. “You know, like ‘Who are you?’ His ego was bouncing around the studio. I immediately told him I thought Citizen Kane was probably the best movie ever made—not to butter him up; I felt that way. Immediately, we became friends. Not buddy-buddy, but we did have lunch together a few times during production, and that’s what we mostly talked about, Citizen Kane.” 

Connema also heard Orson’s woes over the stringent budget Republic gave him, and the cutting that studio head Herbert Yates later demanded. 

“Orson desperately wanted to do Macbeth, but no one would touch it,” he said. “None of the studios wanted anything to do with Shakespeare, who they thought wouldn’t be box office in America. But Herbert Yates wanted to make Republic a first-rate studio and thought Orson’s name would help.” 

Connema continued: “It was really from Poverty Row. [Yates] tried art films, like Specter of the Rose, that went over like a lead balloon. He did make The Quiet Man in ’52. And The Red Pony. But they only lasted a few years trying to get into the majors, then went belly up, with Yates throwing money into films and nothing coming from it. With films like Wake of the Red Witch, they at least knew what the hell they were doing. That, and 55-minute musicals were the breadwinners, the B pictures that would go to Ohio, Illinois, down south...they’d eat it up there. Five lots, and only hillbillies on them, mountain views, god only knows what. And Republic relied on United Artists for distribution; Yates was irritated because they didn’t even use Republic’s eagle on them. Later, Jack Webb took over, and they shot Dragnet there. Now it’s used for sound.” 

The low production values in the film pushed Welles.  

“He had his fingers into everything, the costume design with Fred Ritter, he and Dan O’Herlihy doing the sets,” Connema said. “We all got into that, doing it as a lark. And the Republic people just didn’t know what to do. Thank god we had a western outfit when it came for the army in the Birnam Wood battle scene. They saved going into the extras pool and paying everyone $25, $30 a day by stopping a Roy Rogers film and sending me to the Western slots to go over to a bunch of cowboys in chaps, throw Scottish outfits that were more like sacks over their heads and give each a pike. ‘Cowboys for Scottish raiders?’ Orson said, and didn’t even have them muttering in Scottish as he had intended. They told me not to keep the guys very long—they had to get back to work with Roy Rogers—so those rags went right over the chaps. And they sent me running around looking for trees for Birnam Wood. On another lot I found sagebrush! They spray-painted it or something and had every cowboy handle a branch and walk towards the camera.” 

Seeing the papier-maché sets and hearing the pre-recorded Scottish voices coming over a speaker “for a lip-sync” made it “funny to be on the set. It looked like a high school play. We used to break up. Paper crowns on the heads. Orson using those shadowy, oblique camera angles of his, no full shots so you couldn’t see the phoniness of it.”  

Connema recalled a lunch with Welles and leading lady Jeanette Nolan, “a good actress, but not a good Lady Macbeth. Orson’s first choice was Vivien Leigh, but Laurence Olivier said, ‘No way you’re going to work with Orson Welles!’ [Nolan] joined us at the table, bitching about her outfit, asking why she had to climb the stairs, mouthing her lines—at the same time stumbling—and can’t we get more light in here? And I’d just listen, wet behind the ears, wondering if this is what every movie would be like.” 

The studio didn’t release Macbeth immediately. It would be the last Hollywood directorial credit for Welles for a decade, until Touch of Evil, his last studio film.  

“They had him cut out quite a lot,” Connema said. “At the first preview, Yates had a fit and walked out. He wouldn’t release it. Orson said he’d buy it, but didn’t have the $700,000. Yates made him take out the Scottish accents, and had a hard time getting actors to remouth it. Finally Orson didn’t want to either, and they had to tempt him to come back—with 50 grand. There’s a lot of narration where scenes are cut out. It only played the big cities, and the critics jumped all over it.” 

Connema later saw Welles’ stage production of Around the World in 80 Days, and spoke with Welles another time.  

“I remember him calling Republic a shit house, how he would’ve made a masterpiece if he’d been given a budget,” he said. “And I remember, too, during production, Roddy McDowell, who played Malcolm, had his camera with him, but no way, Orson told him not to bring it on set. He didn’t want photos of him directing in those cheap outfits to show up in one of Roddy’s gallery shows.”