HeyJaredCharles Lewis III
- Indexed articles, last 90 days
- 4
- Latest publication
- Sep 29, 2026
- Outlet visibility, for mercurynews.com
- Top 100K sites
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- Jul 24, 2026
Latest articles
Review: Revolution brings a rude awakening in ‘The Cook’ at Berkeley Rep (opens the original)
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When countries go to war, each side tries to present itself as representing “the greater good.” When the U.S. and Israel attacked Iran this past March, each country’s government claimed they were acting on behalf of all the nameless people in the region, if not the world. The people of Iran thought differently. Caught between a local dictatorship and imperialist Western superpowers, Iranians themselves have been quite clear when they said “You’re all worse than each other!” Like Iran, the people
Review: Shotgun Players reinvent Trojan War story with ‘Iphigenia in Splott’ (opens the original)
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If you’re a student of Greek mythology, you may have trouble drawing one-to-one parallels with the title character of “Iphigenia in Splott,” running through Aug. 29 at the Ashby Stage in Berkeley. As written by Gary Owen, the eponymous Iphigenia/“Effie” (Alicia Mason) bares little resemblance to the Trojan War’s mild-mannered sacrificial lamb. Then again, should one need a more devout adaptation, San Francisco’s Z Space will be staging one in October. Until then, there’s this. Effie’s spent her
Review: ‘The Prince’ returns for ‘Part 2’ — it didn’t need to (opens the original)
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Central Works regulars will notice something familiar about their final production. It’s not just that the company’s 81st world premiere brings over characters from its predecessor, with which it runs in rep through Sept. 6 at the Berkeley City Club. No, the sense of déjà vu that comes with “The Prince Part 2” comes from Gary Graves recycling a previous script. The entire first act of this play is an abridged version of “The Contest,” Graves’ 2024 Central Works show dramatizing the Machiavelli-i
Machiavellian ‘The Prince’ launches Central Works 2-part swan song (opens the original)
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In the five centuries since his death, Niccolò Machiavelli’s name has become synonymous with super-villainy. Fair or not, the Florentine’s legacy is less about complex ideology and more about diabolical machinations. His posthumous work, “The Prince,” continues to spark debate about what should and shouldn’t be done in pursuit of “the greater good.” Is it the late author’s fault that the text may have influenced every heel from Prof. Moriarty to Sideshow Bob? It’s safe to say John Kennedy Toole
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