Moving to Santa Cruz for an Affordable Home

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Kate Downing’s letter on housing affordability was the shot heard around the Bay Area.
In a post that went viral, the Palo Alto Planning and Transportation Commissioner resigned this month because she and her husband, a software engineer, couldn’t afford to buy a decent home in Palo Alto. Instead, to save a little money, Downing, a tech lawyer, announced that she would be moving to … Santa Cruz?
Seriously, like, for a cheap house?
In the days following her Aug. 9 resignation from the planning commission, Downing has given several interviews to Bay Area news outlets and gotten a huge response, including from residents here.
“I’ve gotten a lot of letters from people in Santa Cruz, actually,” Downing says. “They say something along the lines of, ‘Hey, I don’t know if you know this, but we have a housing crisis here, too.’”
“I definitely do get the sense that Santa Cruz used to be the kind of place that, if you had a minimum wage job, that was enough to get by and go surfing and enjoy life,” she adds. “It sounds like that’s really not the case anymore. Those people are really struggling now.”
For as much as we stress out about housing costs here in Santa Cruz, the crisis in Palo Alto is just as bad. According to Zillow, the median home price in Palo Alto is $2,514,700, compared to $801,000 in Santa Cruz.
That discrepancy isn’t quite as wide as it first seems, because wages here are less than half of what they are in Palo Alto, according to census data. In Palo Alto, the median household income is 5 percent of the median home price, compared to 7.7 percent in Santa Cruz, which routinely gets listed as one of the least affordable markets in the country.
To make matters worse, affordable housing statewide has been stymied by the fact that local governments all over California are strapped for cash. Most notably, the state government ended redevelopment agency funding in 2011—25 percent of which went toward affordable housing. And a recent court ruling undid “inclusionary housing” rules, like Santa Cruz’s, which for decades required developers to make 15 percent of their units affordable or pay a small fee. Also, some of the city’s affordable housing will expire soon.
Both the city of Santa Cruz and the state legislature have been working on possible fixes, but small governments often struggle to compete with metropolitan areas like Los Angeles for state dollars, says Carol Berg, the housing and community development manager.
“Affordable housing costs money, but it’s all about—are we either able to bring that money or generate that money in the community?” says Berg, who leads periodic tours of the city’s affordable housing developments.
Downing’s letter was a referendum on a city council in Palo Alto that she feels has been, intentionally or not, squeezing people out of town.
In conversation, Downing sounds almost embarrassed that her letter made such an impact when people have been coming to Palo Alto public meetings for months and saying the same things. The point her letter makes convincingly, though, is that if she and her husband can’t afford to make it there, how can workers in lower-paying sectors?
“We are acutely aware of the fact that the housing shortage in Palo Alto and the surrounding region is affecting places that aren’t even in the Bay Area,” says Downing, who has bought a home on Santa Cruz’s Westside. “We know that people are commuting in from Gilroy and from Tracy and from Sac and from Santa Cruz [to Palo Alto]. We know that’s happening.”
What cities need to do, Downing believes, is adjust zoning requirements and height restrictions to make it less cumbersome for developers to build housing—a viewpoint that has traction among economists nationally.
Enrico Moretti, an economist at UC Berkeley who has been studying the issue, has opined that, in repressing new housing, restrictive zoning laws inhibit growth. More experts have been signing on to that idea, including economists as prominent and far left as Paul Krugman. Even if all of the housing isn’t affordable, they argue, the new developments still help soak up demand and help keep prices realistic.
Although Downing isn’t yet familiar with Santa Cruz planning, this is a movement that dovetails with the city of Santa Cruz’s 2030 General Plan, a document the City Council approved four years ago that—among other things—calls for increased density on the city’s thoroughfares, like Mission Street and Soquel Avenue. It’s a vision that has begun to take shape in the corridor plan meetings, where community and city leaders have discussed raising height limits and rezoning on certain streets.
Some lifelong Santa Cruz residents, like Sharon Pini of the Branciforte neighborhood, worry about the impact that corridor developments might have on traffic and parking. Many of the tiny studios, she adds, aren’t anywhere near the price range of most people working in Santa Cruz. “They’re packing us in like sardines,” Pini says.
In a side-by-side comparison, the communities of Palo Alto and Santa Cruz don’t match up perfectly, anyway. Home prices and salaries aside, there’s a number of differences between the two cities. At 2.8 percent, unemployment in Palo Alto is much less than half what it is here, for instance. And Santa Cruz is already denser than Palo Alto and has grown more than twice as fast since 2010.
Berg says there are plenty of factors driving up Santa Cruz rents and home prices, including a tourist economy rife with vacation homes, students at UCSC, and, of course, a decades-old trend of locals commuting out of the county for work.
“It’s one of many factors, including that we live in a beautiful place,” Berg says. “And then you add in the jobs in Silicon Valley.”

16 Local Measures Hit Fall Ballots

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While an exhausting fight drags on between two egomaniacs, each beset by one scandal after another, voters are already getting fed up with a 2016 presidential election that’s still more than two and a half months away.
Luckily, voters in Santa Cruz County can now turn their attention to the local ballots, which probably have a greater likelihood to make a noticeable difference in their lives.
The 16 mostly regional measures, which were posted to the county’s election site this month, include four on cannabis, three on schools, three on fire fighting and one for a countywide $500 million 30-year sales-tax measure.
Arguments for and against the measures went up last week, and the deadline to file a rebuttal against any argument is Friday, Aug. 26.
Visit votescount.com for more information. 

Preview: X at Catalyst

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By the 1980s, rock musicians were taking themselves way too seriously when it came to politics. Despite all the excruciating earnestness, the handful of truly great political anthems to come out of that decade were the complete opposite: brutally sarcastic and defiantly hard to categorize, as if subverting musical genres would intensify the message of resistance.
Yet they were all, in one way or another, punk rock: the Dead Kennedy’s “Stars and Stripes of Corruption” (six and a half minutes on a punk record!), Mojo Nixon’s “Burn Down the Malls” (I still am not totally convinced he was joking), Fela Kuti’s “I.T.T. (International Thief Thief)” (his best and most vicious song since 1977’s “Zombie”), and X’s “I Must Not Think Bad Thoughts.”
The latter is almost indescribable, but it’s worth a shot: at the end of side one of the famous Los Angeles punk band’s strangest album, 1983’s More Fun in the New World, the song opens like some kind of lounge number. Lead singers John Doe and Exene Cervenka, who made their reputations shredding their vocal cords on their first two albums of powerful punk rock, 1980’s Los Angeles and 1981’s Wild Gift, harmonize in a near-whisper for the entire first verse, before the song suddenly speeds up and roars through a chorus, then goes quiet-loud-quiet until it ends on what is basically a drum solo. It’s a perfectly disorienting backdrop for lyrics like: “I’m guilty of murder/Of innocent men, innocent women, innocent children/Thousands of them/My planes, my guns, my money, my soul/My blood on my hands/It’s all my fault/I must not think bad thoughts.”
It’s one of X’s best songs; unfortunately, the fact that it doesn’t fit in with the short, propulsive attacks of other fan favorites like “Los Angeles,” “We’re Desperate” and “Johnny Hit and Run Pauline” means it has been left off of their set lists for years.
On this tour, however, that’s going to change, says Doe, who formed the band in 1977 with then-girlfriend Cervenka on shared vocals, rockabilly refugee Billy Zoom on guitar and D.J. Bonebrake on drums. Despite breakups (both the personal and professional kind), temporary departures, hiatuses and two reunions, the original lineup is intact, though it’s been added to for the band’s new experiment.
“We’ve added another member, Craig Packham—he plays acoustic guitar on a couple songs, he plays drums on a few songs. So D.J. will play vibes on a few songs, Billy plays sax on a couple songs. We’re playing numbers that we never played because they were too complicated.”
These deeper cuts include not only “I Must Not Think Bad Thoughts,” but also Leadbelly cover “Dancing With Tears in My Eyes” from the band’s third album, 1982’s Under the Big Black Sun.
“We also do straight-up punk rock like X has always done,” says Doe. “It’s a little bit broader and wider, it’s a little more of a three-dimensional show. We started doing it because we were getting offers to play performing arts centers and things like that, and it just seemed weird to play full-on punk rock at these venues where people were sitting down.”
Opening the show will be longtime X compatriot Mike Watt, whose former band the Minuteman is name-checked in “I Must Not Think Bad Thoughts.”
Watt also participated in Doe’s new book (co-authored with Tom deSavia) Under The Big Black Sun: A Personal History of L.A. Punk. The book’s approach is different than other books on punk rock in that Doe reached out to other figures in the late-’70s, early-’80s scene and asked them to each write a chapter about their experience. People had been telling Doe to write a book for years, but when he and collaborator Tom deSavia got a literary agent, an actual deal was suddenly on the table.
“I thought, ‘holy shit, this is actually going to happen,’” says Doe. “The best idea I had was I started thinking about what was unique about the L.A. scene, and the most unique thing was the collaboration and the community. And so I thought ‘Well, why don’t I just apply that to writing the book?’ Then we made a list of different topics of what was important to the scene.”
So, for instance, Dave Alvin of the Blasters wrote about the influence of roots music on the punk scene, Jane Wiedlin of the Go-Gos wrote about living at the Canturbury, a house that was essential to how the scene came together. Henry Rollins, Robert “El Vez” Lopez of the Zeros, TSOL’s Jack Grisham and several others also contributed their experiences. And, of course, Cervenka, who has published several books of poetry herself. Working with her on the book wasn’t a whole lot different than working with her in the band, Doe says.
“We’re partners, artistic partners. That’s pretty rare, and I think we’re both really grateful for the fact that we like each other still,” he says. “Exene’s was the chapter that I didn’t really need her to expand on, because it was so economical and like a long poem, even though it’s obviously not. It just seemed perfect.”


Info: 8 p.m., Aug. 28 at the Catalyst; $25/$30.

Preview: Universal Language at Moe’s Alley

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In the mid-2000s, world-beat ensemble Universal Language ruled the local scene. In 2005, they were headlining major local venues, released their sole album, Revolución, and had a feature headlining spot on Reggae On The River. They were spontaneously joined on stage at that festival by rapper/reggae artist Michael Franti, who freestyled with them for ten minutes.
“I didn’t see him on the side or anything. He was just there. I had never met him in person till I was on stage with him. That was awesome,” recalls singer Moshe Vilozny.
But not long after this incredible moment, Universal Language splintered, with some members moving out of town, and others moving on to other projects. The band never broke up, but they stopped playing.
This Friday, the original seven-piece takes the stage for one show at Moe’s. It’ll be the first show Universal Language has played in eight years, and the first time the original seven have shared the stage in ten.
“It’s special and it’s a big deal, and we’re only doing it for one show. That’s the only event to catch us at,” Vilozny says.
Excitement among the members is high—Universal Language was a fun band for not just the audience, but also for the band members themselves. The group fused many elements together into one big dance explosion: Latin, reggae, funk, rap and Afro-cuban. They were all over the map, and even sang in three languages: English, Spanish, and Hebrew. There wasn’t anything like it in Santa Cruz’s thriving live scene at the time.
“It’s a fun band to play in because we’re not pigeonholed into a certain category where people expect just one thing. We can do whatever we want, have fun and nobody’s bored or feels like they have to do just this one thing,” Vilozny says.
In addition to the strong Latin rhythms, and a fun party vibe, Universal Language sang songs with strong political messages. Some, like “Baila,” were lighthearted dance tunes, but others addressed serious political issues. What made them truly unique is that they address very specific global political issues. “It was world music for world peace,” Vilozny says.
Since everyone brought their own background into the band, there was a lot of ground to cover. For instance, David “El Pacha” Alvarez, who was from San Cristobal, Mexico, discussed the Zapatista movement on “Revolución,” which he co-wrote with Vilozny. “Colorblind,” which was written by Vilozny, discusses the tension between Israelis and Palestinians—an important issue for him, as his family is Israeli.
The group formed in 2003, originally just Vilozny and Alvarez. The two met in Santa Cruz, shortly after Alvarez moved up from Mexico. Soon Vilozny invited longtime friend Ethan Sanchez to join on the upright bass. The first gigs were acoustic and intimate. The rest of the band built up over the course of about six months. By the end of 2003, they were a full world-beat explosion of a live band, and drawing well in town.
“Even when it was a small band, people were dancing. It was on the same train. It just kind of got thicker and thicker over the years,” Vilozny says.
By the time the group stopped playing, they were still top draws in the area. Vilozny has been clear the past decade that Universal Language didn’t break up, but were on the back burner. “We did a lot of good stuff. It got to a certain point, I felt satisfied. I felt like this is what this experience is. I could get my music out to people and have it appreciated. I felt satisfied, and ready to focus on my family,” Vilozny says.  
These days, folks can see little pieces of Universal Language all over Santa Cruz’s music scene. Vilozny has a solo act. Pianist Gianni Staiano plays in 7 Come 11. Guitarist Renzo Staiano is in LeVice. Trumpet player Jon Cavanaugh plays in Flor De Caña. The show this Friday is a rare step back into their glory days of the mid-2000s, but hopefully it won’t be the last time they get together.


INFO: 9 p.m., Aug. 26, Moe’s Alley, 1535 Commercial Way, Santa Cruz. $9/adv, $12/door. 479-1854.

Music Picks Aug 24—30

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WEDNESDAY 8/24

BLUEGRASS

DAVE HOLODILOFF BAND

A hot-picking bluegrass mandolin player and composer, Dave Holodiloff is one of a new breed of roots musicians moving traditional roots sounds into new realms, including jazz, rock, experimental, Gypsy swing, reggae and jam. The genre-bending mastery of Holodiloff and his ace sidemen is paired with a playfulness that is lighthearted and disarming. Called the “hardest working musician in Monterey” by the Monterey County Weekly, Holodiloff is one of the understated musical gems of the area. CAT JOHNSON
INFO: 7:30 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $12/adv, $15/door. 335-2800.

INDIE-JAZZ

LEFTOVER CUTIES

On Leftover Cuties’ website there’s a photo that depicts the quartet walking away from the camera with dramatic flair, armed with instruments: trumpet, ukulele, banjo, etc. It’s kind of funny, and it really sums them up—there is something incredibly whimsical about Leftover Cuties, and the band’s throwback to the golden age of old-timey jazz. But man, do they have some melancholy lyrics. Nowhere else is this better exemplified than on the song they’re best known for, “Game Called Life,” which was the theme song to Showtime’s The Big C. “Is this some kind of a joke, will someone wake me up soon? And tell me this was just a game we played, called life?” AARON CARNES
INFO: 9 p.m. Crepe Place, 1134 Soquel Ave., Santa Cruz. $10. 429-6994.
 

THURSDAY 8/25

ROOTS/ROCK

WAYBACKS

Bay Area band the Waybacks has a long tradition of filtering classic rock albums through progressive bluegrass—where they are smoothed out, twanged up, sometimes slowed down, and given a deep roots groove. And their fans love them for it. We get to hear songs by the Rolling Stones, Eagles and the like—that have become bland due to overexposure—with fresh ears. We get to chill out and relax in our chairs rather than rocking and rolling our heads off down in front, and we get to trip down Memory Lane accompanied by sweet melodies, eclectic instrumentation and tight musicianship. And that’s just the cover songs. The band also has a deep catalog of original roots jams that span genres and styles. CJ
INFO: 7:30 p.m. Don Quixote’s, 6275 Hwy. 9, Felton. $15. 335-2800.
 

FRIDAY 8/26

WORLD BRASS

RED BARAAT

A unique blend of jazz, Indian Bhangra music, go-go beats, hip-hop, funk and traces of cumbia, Red Baraat is an eight-piece brass band from Brooklyn. The group’s intense, energetic live shows have earned it the title “best party band in years” from NPR. The collective’s signature instruments include two full drum kits, the double-headed South Asian dhol drum and a sousaphone. In 2012, the band’s second album debuted at #1 on the Billboard World Music charts, propelling the members onto a nonstop three-year world tour that included performances at Bonnaroo, Austin City Limits, Monterey Jazz Festival, and appearances made on behalf of the White House, TED and the Olympic Games. KATIE SMALL
INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $15/adv, $20/door. 429-4135.
 

SATURDAY 8/27

POP

MEDFLYS

In the 1980s, a Monterey-based band called the Medflys was one of the biggest names on the Central Coast music scene. Blending the era’s trademark synth-pop sound with ska, New Wave and a healthy dose of silliness, the Medflys held “Best Local Band” honors for years, regularly toured with the Tubes, and shared stages with some of the biggest bands of the day, including Joan Jett, the Red Hot Chili Peppers, Oingo Boingo and the Violent Femmes. Their standout track was “Don’t Mess With The Mayor,” a spaghetti-Western-inspired tribute to Clint Eastwood’s 1986 mayoral stint in Carmel. On Saturday, the band hits Moe’s for a rare reunion performance. CJ
INFO: 9 p.m. Moe’s Alley, 1535 Commercial Way, Santa Cruz. $12/adv, $15/door. 479-1854.
 

SUNDAY 8/28

SOUL

OTIS

Otis is no tribute band. It’s inspired by the dynamic sounds of Stax, and, more generally, the soulful sound of Memphis in the 1960s. Even their name is a nod to the great Otis Redding. But they do their own tunes, and they do them well. This San Francisco four-piece is comprised of seasoned musicians; sometimes the group plays as an instrumental soul outfit, other times they are the backing band for whatever soul singer they bring with them. This Sunday, they bring singer Miss Nickki with them. She can really cut loose. AC
INFO: 9 p.m. Crepe Place, 1134 Soquel Ave., Santa Cruz. $8. 429-6994.

JAZZ

TAMMY SCHIFFER & ELSA NILSSON

Tammy Schiffer and Elsa Nilsson are both gifted cutting-edge performers in the outer realms of modern jazz. Schiffer is a composer and vocalist, Nilsson is a flutist and also a composer. When either is leading their own group, it’s a unique musical exploration. Now they are embarking on a short Northern California tour together, and Santa Cruz is fortunate enough to be the final stop on this short little jaunt. They plan to rework some Joni Mitchell and Jimi Hendrix tunes, and play some of their original songs. Expect them to take you to new heights with the creative use of looping pedals. AC
INFO: 8 p.m. Bocci’s Cellar, 140 Encinal St., Santa Cruz. Free. 427-1795.
 

MONDAY 8/29

JAZZ VOCALS

PAULA WEST

Bob Dylan and David Bowie, Irving Berlin and Kurt Weill, Papa Charlie Jackson and Hank Williams—they’re all grist for the velvety mill of Paula West’s sumptuous voice. A jazz singer who makes an eclectic repertoire sound like each disparate song was written with her in mind, West is at her best using sly phrasing to reveal unexpected depths and intimations in a lyric. In a region brimming with exceptional singers, she continues to stand out as one of the very best. She’s joined by her stellar Bay Area band featuring pianist/arranger (and UCSC alum) Adam Shulman, veteran bassist John Wiitala, and drummer Greg Wyser-Pratte. ANDREW GILBERT
INFO: 7 p.m. Kuumbwa Jazz, 320-2 Cedar St., Santa Cruz. $27/adv, $32/door. 427-2227.
 

TUESDAY 8/30

GARAGE SOUL

BLACK JOE LEWIS & THE HONEYBEARS

Rumor has it that Joe Lewis first picked up a guitar 10 years ago while working at a pawnshop in Austin, Texas. That was after a string of dead-end jobs, including a stint as a truck driver for a fish delivery service that paid $9 an hour. After discovering guitar, he immediately formed the Honeybears, where bluesy funk, gritty soul and garage rock collide with vocals reminiscent of Howlin’ Wolf. Lewis’ bold, urgent voice is offset by distorted guitar, a powerhouse brass ensemble and pocket rhythm section. The band’s impassioned, frenetic live shows and dangerous stage antics are causing a stir—Lewis told Spin Magazine, “I just wanna keep it real; I don’t want to sit back when I’m 40, working at fucking Sonic, and be like, ‘Damn, I should’ve paid attention in class.’” KS
INFO: 9 p.m. Catalyst, 1011 Pacific Ave., Santa Cruz. $15/adv, $17/door. 429-4135.


IN THE QUEUE

GOLD PANDA

British electronica producer and performer. Wednesday at Catalyst. Read our interview with the artist on SantaCruz.com.

RED ELVISES

Russian-American rockabilly, surf, funk, rock mashup. Thursday at Moe’s Alley

LITTLE JONNY AND THE GIANTS

Bay Area blues outfit. Friday at Pocket

MARK O’CONNOR

Standout fiddler and roots composer. Friday at Kuumbwa

BLACK UHURU

Legendary Jamaican reggae group. Saturday at Catalyst

Be Our Guest: Mole & Mariachi Festival

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The Mole & Mariachi Festival is a family-friendly celebration of food, music, dance, culture, piñatas and community. And it benefits a good cause: the Santa Cruz Mission State Historic Park. So if mole is your thing, head to Mission Adobe in downtown Santa Cruz to experience the creations of local chefs at the fourth annual festival. Proceeds support educational programs, visitor services and restoration at the Mission.


INFO: 11 a.m. Saturday, Sept. 10. Santa Cruz Mission State Historic Park, 144 School St., Santa Cruz. Free/$10 tasting kits. 429-1840. WANT TO GO? Go to santacruz.com/giveaways before 11 a.m. on Tuesday, Sept. 6 to find out how you could win a pair of festival tasting kits.

Love You Local Band: SambaD

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Local Afro-Brazilian collective SambaDá is known for its captivating music and magnetic energy. The group has performed all over the country, from the Kennedy Center to Soledad State Prison. At a recent festival in Carson City, for example, they had a crowd of thousands dancing from the first song.
“Whatever I asked them to do, they did it,” recalls lead singer Dandha Da Hora. “You know, ‘Put your hands in the air, get low to the ground, cross back and forth sideways.”
Eliciting audience participation through communal choreography is typical SambaDá style. “The audience may not understand the [Portuguese] lyrics, but the beat touches them,” Da Hora said. “We feel the reaction of our audience, the human connection. When we perform, we have this amazing possibility to offer healing through music. Music is universal, a tool for communication and for transformation.”
The band strives to share a message of “social justice, peace, and the respect of all cultures and peoples” at every performance, says Da Hora. Anyone who has seen the group live knows that they accomplish this by engaging with their audience, creating an open and accepting atmosphere that allows listeners to let loose. While on the road, SambaDá offers free dance and drum workshops prior to every performance, another way to connect with their community.
In light of the current political and social climate, the band feels that spreading their message is more important than ever: “A lot of the music we play is rooted in black culture, whether it’s Afro-Brazilian culture or African American culture or Senegalese music,” explains multi-instrumentalist Anne Stafford. “During our shows, Dandha always says something about the Black Lives Matter movement. Music can open people’s hearts in a different way than words can. It breaks down barriers. So when we talk about the issues, we’ve already got people in this open space, where they’re not as defensive.” 


INFO: 5:30 p.m. Thursday, Aug. 25. Crow’s Nest, 2218 East Cliff Drive, Santa Cruz. Free. 476-4560.

Review: Santa Cruz Shakespeare’s ‘Orlando’

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A love letter to the reinvention of the Self—Orlando—tops off the inaugural season of Santa Cruz Shakespeare. Oh, the cunning of this choice to run alongside the gossamer mindgames of A Midsummer Night’s Dream and the gender transformations of Hamlet’s  newly feminized leading role. In a parallel universe with Kate Eastwood Norris’ evolving Hamlet, Orlando scampered its opening-night way across a brisk two and-a-half hours of playful questioning and time tripping.
Tempting as it might be to describe this frisky entertainment as a funny feminist fable, it is much more. Peering into the cultural future, Virginia Woolf (and her accomplice playwright Sarah Ruhl) envisioned nothing less than the permeability of all genders and  species, mutually inflecting each other. Even for those who haven’t read the great and funny bio-novel by Woolf, the play is legible throughout. The young and talented troop of SCS interns moves us swiftly through five centuries of musings and wildly romantic wanderings on the part of a young aristocrat who finds himself swept through time. An actor’s dream! Orlando’s progress is tracked by the gleeful actors—having fun changing costumes, accents, and genders throughout the fast-paced production. Never was cross-dressing so justified, nay required!

Every player is terrific, as is the mutating “set” constructed by the actors’ bodies and a few props here and there. But, for my money, the major duomo of the play is the delectable Daniel Fenton Anderson.

In her adaptation of the book, Ruhl has plucked key scenes from each of the centuries propelling Orlando ever forward toward “the present moment.” Each of the five short episodes evokes the spirit of its own age, and at breakneck speed.
In the 16th century, young Orlando is chosen—for his shapely legs—to be the favorite of Queen Elizabeth I, played with disco drag flourish (and a costume to match) by a confident Carson McCalley.
In the next century Orlando falls for mercurial Russian tomboy Sasha, played with scene-chewing swagger by Mayadevi Ross. Next comes an odyssey to Persia to forget love gone wrong, during which our hero wakes from a deep sleep only to discover that he has become … a she! So it is as a blushing socialite in ruffled skirts that Orlando greets the 18th century. Epiphanies follow. Orlando still possesses the memories and behavior of her time as a man, yet fleshed out in an emotionally ripe woman’s body.
It is in the 19th century that she falls in love with her true soul mate, the deliciously named Marmaduke Bonthrop Shelmerdine (Christian Strange), a sea captain unafraid to weep. All is as incomprehensible as it is spellbinding. Virginia Woolf peels away the binary stereotypes of male/female and then, as the play plunges into the 20th century, uncovers the myriad identities we each enact throughout our lives. Brilliant insights—we are many selves, and they are many gendered to boot—hang lightly on the shoulders of these hard-working actors.
Every player is terrific, as is the mutating “set” constructed by the actors’ bodies and a few props here and there. But, for my money, the major duomo of the play is the delectable Daniel Fenton Anderson, whose substantive body English and impeccable timing keep everything moving, everything crisp. Remarkable chops.
The lion’s share of the movement fell to the lovely/handsome Sarah Pidgeon as Orlando, who is called to stomp, flail, coo, storm, flirt, skate, and swoon her way through five centuries’ worth of revelations, personal as well as cultural. As the fluctuating “chorus,” the entire company takes turns narrating, as well as performing, the action we watch and hear.
With over-the-top wordplay and inventive DIY costuming, the actors move the fantasy in and out of dreaminess and slapstick. Ruhl uses this technique masterfully and we feel as if we are both reading, watching, and joining the action Woolf imagines. If Ruhl’s adaptation captures the feistiness but just misses the deep magic, well, for that, we have Virginia Woolf’s book itself.
I can think of no more perfect finale for this season’s suite of plays than the all-too-short Fringe run of Orlando. The final performance is Wednesday, Aug. 24, and if you can’t find a ticket then read the book with Norris’ Hamlet in mind. santacruzshakespeare.org.

Film Review: ‘Indignation’

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What’s a nice Jewish boy doing in a movie like this? The answer is that the often squirm-inducing Indignation is adapted from a novel by Philip Roth, in whose work nice Jewish boys are often cast far out of their comfort zones and into the wide, treacherous world. Roth published the book in 2008, but the story looks back in anguish at the bad old days of social repression and paranoia in 1951.
The movie was written and directed by James Schamus, a veteran screenwriter and producer making his feature directing debut. Schamus is absolutely meticulous in recreating the stifling miasma of conformity closing in on the young protagonist, who leaves his hometown of Newark, New Jersey, for a fearsomely staid and homogenous Midwestern college. The challenges awaiting him there are extreme—sexual, spiritual and intellectual. But there’s nothing transcendent in this familiar story, not enough of a spark that would make it worth the long slog it takes to get where it’s going.
Logan Lerman stars as Marcus Messmer. A college sophomore, straight-A student, and only child who works summers in his father’s kosher butcher shop, Marcus decides to transfer away from home to an idyllic but conservative college in Winesburg (yes, Winesburg, Ohio, American lit fans). His increasingly paranoid dad is convinced his son is hanging out with hoodlums (he’s not), and will come to no good out in the world.
Dorm life is unfortunate for Marcus: one roomie is sort of a lump, the other one keeps making goo-goo eyes at him, and the only campus fraternity that accepts Jews is hounding him to pledge, while Marcus prefers a quiet life of study. Worse, every student, regardless of faith, is required to spend at least 40 Sundays a term at morning chapel as a requirement of graduation—and, yes, roll-call is taken—which Marcus, an avowed atheist, resents.
Pretty soon, smarmy, odious, passive-aggressive Dean Caudwell (Tracy Letts) is literally breathing down his neck, demanding to know why Marcus doesn’t “fit in.” And, the wages of not fitting in are dire indeed: his college deferment is the only thing standing between Marcus and the Korean War. Letts may remind some viewers of the bygone character actor Edward Andrews, and his sense of overpowering menace fills the screen like the Blob—especially in the claustrophobic scene when he interrogates Marcus in his office.
But, like so many of the scenes setting up Marcus in opposition to college life, this one feels interminable, grinding on long past its expiration date. These airless segments are effective at first, but counter-productive as they slide into monotony. That we are made to feel so keenly how completely squelched young Marcus is by the dark forces of repressive conformity doesn’t make it any less grueling to sit through—or any more enlightening.
Meanwhile, Marcus has a close encounter with blonde patrician Olivia (Sarah Gadon), the typically beautiful-but-damaged dream girl of generations of literary male fantasies. Olivia exists in the story to confound Marcus with her sexual experience, sending him into long-winded attempts at psychoanalysis that slow things down even more. They share two or three scenes that are a little embarrassing, not because they’re too erotic (they’re not), but because they’re so stilted, in a weirdly antiseptic way. It doesn’t help that there’s so little genuine feeling generated between the actors or their characters in these supposedly key moments.
This is the final, fatal problem with the movie (beyond the consistently flat dialogue and protracted dramatic set-ups). Despite occasional (brief) flashes of resistance, when a personality threatens to surface, Marcus is so passive, he’s practically inert. Things happen to him, followed by long, navel-gazing monologues or voice-overs about the moral implications. But we never connect to him as an individual to care about; he’s a stick figure created to bear the brunt of all the angst directed at the outsider in an unforgiving social order.
And without that investment in the character, the movie never rises above the level of mere indignity, instead of the tragedy it tries to convey.


INDIGNATION
**1/2
With Logan Lerman, Sarah Gadon, and Tracy Letts. Written and directed by James Schamus. From the novel by Philip Roth. A Roadside Attractions release. Rated R. 110 minutes.

New Owners for the Buttery

I’ve just had the perfect summertime lunch. Always cozy, chic, and brimming with fresh ideas, Gabriella Cafe in downtown Santa Cruz delivered the culinary remedy for a particularly stressful day. Our electronic devices were dysfunctioning, bigtime. Determined to raise our spirits, we gave up and headed for Gabriella, where über host Paul Cocking shared tales of the city (Manhattan) with us while taking our orders. Our moods were lifting already.
The menu included the ultimate grass-fed Gorgonzola cheeseburger, with choices. You can either have your fat beef patty—slathered with bacon, Gorgonzola, and caramelized onions—on a sesame bun or wrapped up in a pale green cloud of butter lettuce ($15). My choice was clear: butter lettuce, please. Brilliant.
My companion ordered the always life-affirming Idaho trout salad ($19), along with a tall glass of soothing ginger green tea. For me, a cafe presse pot of strong coffee. Out came a plate of those addictive spicy Castelvetrano olives and a portion of soft, fragrant focaccia.
Once our huge lunch plates arrived, the morning of computer glitches dissolved entirely to sparkling flavors of fresh trout filet on tender inner leaves of baby romaine, arugula, cucumbers and zest of carrots. Perfumed with tarragon, a vibrant dressing added nuanced zing to the wonderful dish.
My burger reclined on a pillow of butter lettuces. Cooked to my exact specs—between rare and medium rare—the beef was juicyness incarnate, topped with bacon good enough to turn a vegan, a sweet toasty blanket of caramelized onions, and Gorgonzola. With each bite I recalled the best burgers of summer, any summer. Ketchup? Absolutely-Italian Mutti ketchup, which managed to taste exactly like ketchup with an Italian accent. It was a great choice—unbelievably good and so abundant that even after sharing with my companion, I had a healthy portion to take home.
“It seemed like a no-brainer,” was Cocking’s comment when I praised the burger sans bun. Here is the ultimate burger for those who really just want to dive into the meat (if you take my meaning) and leave those filling carbs behind.
The coffee was as bracing as ever. It was a perfect lunch. Iced tea, coffee, sensational olives, trout salad, and a robust designer burger. Electronica be damned, lunch like this is the best revenge. On the spot, we decided to make lunch at Gabriella part of our midday To Do list every week. Gabriella Cafe, 910 Cedar St., Santa Cruz. 457-1677, gabriellacafe.com.


5 O’Clock News

Yes, you can now have a cocktail at Soif. The mighty restaurant and wine emporia has graciously expanded its liquid legacy to include state-of-the-art libations containing spirits. In addition to all of the classics, look forward to artisanal rye, whiskies and gins, plus innovative signature surprises. The expanding wall of rare, aged, and hard-to-pronounce amari liqueurs has already got our number. Go with a spirit of adventure.


Revolving Door

The Buttery Bakery has—gasp—changed hands. Few details, as yet, are verifiable about the low-profile transition, but we are told that expansion of the interior premises is in the works. All I can say is thank you, Janet Platin, for many years of amazing food, sumptuous pastries and exceptional coffee—and the greatest carrot cake cupcake on the planet. Stay tuned.


Mole and Mariachi

The festival returns to the Santa Cruz Mission State Park from 11 a.m.- 5 p.m. on Sept. 10. Free admission; $10 mole tasting kits. Bring the kids for piñata fun, and bring an appetite. Mission Hill Creamery will be there, as well as Discretion Brewing, Santa Cruz Mountain Vineyard wines, Garcia’s Fish Tacos, and lots of other flavors for purchase. Celebrate the 25th year of the Santa Cruz Mission State Historic Park.

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Preview: Universal Language at Moe’s Alley

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Local world-beat ensemble makes a long-overdue return

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Live music in Santa Cruz for the week of August 24, 2016

Be Our Guest: Mole & Mariachi Festival

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Win tickets to the Mole & Mariachi Festival at Santa Cruz Mission State Historic Park on Sept. 10 at SantaCruz.com/giveaways

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Review: Santa Cruz Shakespeare’s ‘Orlando’

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Virginia Woolf’s ‘Orlando’ spans five centuries and shatters gender stereotypes

Film Review: ‘Indignation’

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Airless exposition, lack of resonance, cause dramatic ‘Indignation’

New Owners for the Buttery

Paul Cocking Gabriella Cafe burger
Plus Gabriella Cafe menu addition and cocktails at Soif
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