Pair of sax stars hit SFJAZZ

Two fantastic saxophonists — Tia Fuller and Grace Kelly — are combining forces for one night in San Francisco.

The two talented musicians, who are also accomplished composers and bandleaders, perform a co-headlining show tonight at SFJAZZ Center.

Fuller is an award-winning instrumentalist whose many accolades include having earned the title of best alto saxophonist in the 2018 JazzTimes Jazz Critics Poll. That very same year, she was the Artist-in-Residence at the Monterey Jazz Festival.

She’s released a number of recordings as a bandleader and has played alongside such talents as Nancy Wilson, Dianne Reeves, Chaka Khan, Ledisi, Kelly Rowland, Dionne Warwick, Janelle Monáe, Aretha Franklin and Beyonce.

Kelly got a early start in the industry, having written her first tune at age 7 and then released her full-length debut, 2005’s “Dreaming,” at 12.

Since then, the saxophonist — who is also a gifted vocalist — has become a very recognizable name in the jazz world, thanks to a steady stream of well-received albums like 2009’s “Mood Changes” and 2011’s “Man with the Hat.”

Details: Showtime is 7:30 p.m.; $25-$85; sfjazz.org.

— Jim Harrington, Staff

‘Remembrance’ of colonialism

Evidence of Mumbai’s colonial past can be found in the city’s chawls, rickety tenement flats stacked upon each other like depressing LEGO blocks. The structures sprung up around the city to house the poor working class, such as the laborers who toiled for the success of the East India Company through the 1800s. Chawls were typically crowded, unsanitary and structurally perilous — of course, the British merchants themselves lived in huge bungalows out of sight of such things.

Today in Mumbai you can still find chawls in poorer areas of the city. You can also find their influence in “A Forest of Remembrance,” Amol K. Patil’s fascinating new exhibit at the Berkeley Art Museum and Pacific Film Archive. India-born artist Patil has altered the museum walls to look rough and weathered, mimicking the layers of old paint in chawls. Hanging throughout are paintings and strange sculptures of blobby, organic masses, made from clay cast in bronze, with hands and feet jutting out as if in protest.

Through such alien yet familiar art, the museum writes, Patil “shines light on the social and political injustices these communities face and the dignity, creativity and resourcefulness with which they continue to fight for their rights.”

Details: Show is open 11 a.m.-7 p.m. Wednesday-Sunday from Saturday through April 27 at 2155 Center St., Berkeley; $18 general admission, bampfa.org

— John Metcalfe, Staff

Classical picks: New Adams work; NCCO

The Bay Area’s classical music scene never seems to rest, and having put away December’s holiday treats, we once again have a full schedule before us. This week’s highlights include a new work by composer John Adams, and pianist Inon Barnatan featured in a program by the New Century Chamber Orchestra.

“After the Fall”: That’s the title of John Adams’ new piano concerto, receiving its world premiere at the San Francisco Symphony at Davies Symphony Hall this week in three performances featuring soloist Vikingur Ólafsson. A SF Symphony commission, the concerto is inspired by Ólafsson’s Bach performances; David Robertson, a new music specialist, will conduct. The program also includes Carl Orff’s “Carmina Burana,” with soprano Susanna Phillips, tenor Arnold Livingston Geis, and baritone Will Liverman as soloists, joined by the combined power of the S.F. Symphony Chorus and S.F. Girls Chorus. Details: 7:30 p.m. today and Saturday, 2 p.m. Sunday; Davies Symphony Hall, San Francisco; $125-$250; sfsymphony.org.

“Musical Diversions”: Aptly titled, the New Century Chamber Orchestra has an engaging program on the calendar. Pianist Inon Barnatan joins the ensemble in C.P.E. Bach’s dynamic Third Keyboard Concerto; also on the program are Bartok’s “Divertimento,” filled with the composer’s beloved Hungarian folk rhythms; and Shostakovich’s first piano concerto, with the work’s trumpet solos provided by guest artist Brandon Ridenour of the American Brass Quintet. Details: 7:30 p.m. Friday at First Congregational Church, Berkeley, 3 p.m. Saturday at Green Music Center, Sonoma, and 2 p.m. Sunday at Presidio Theater, San Francisco; $35-$100; ncco.org.

— Georgia Rowe, Correspondent

The evolution of Robbie Williams

The monkey’s out of the bag, so to speak. Paramount Pictures now fully embraces the central conceit of “The Greatest Showman” director Michael Gracey’s biopic on British pop star/bad boy Robbie Williams — that a CGI chimp portrays him.

However you might feel about the idea, I am wholeheartedly in love with this energetic, anything-goes musical about Williams’ life and troubles. Gracey entertains the hell out of us throughout this cold-water-to-the-face honest overview of Williams’ skyrocketing ascension to stardom (an aspiration instilled in him by his father, played robustly by Steve Pemberton) in the boy-band Take That and on to his drug-fueled rants and escapades, his elusive loves, his dust-ups with other artists and his solo career. “Better Man” stocks itself fully with priceless, surprisingly tender moments along with numerous telling concert scenes (the Take That re-creations are outstanding; one sequence using Williams’ “Angels” will make you misty-eyed). Best of all is a grand, show-stopping number set around “Rock DJ” that sprawls out all over London’s Regent Street and will go down as one of the most effervescent, toe-tapping sequences in any film this past decade.

There’s also the dexterity and impressiveness of the actor behind the computerized monkey suit — Jonno Davies. The 32-year-old English actor’s performance is a fleet-footed feat of physical and emotional acting — similar to what Andy Serkis did playing Caesar in “War for the Planet of the Apes” — that manages to bring us to tears and to care about the person inside.

Details: Rated R (drug use, pervasive language, sexual content, nudity, some violence); 2 hours, 15 minutes; now playing in Bay Area theaters.

— Randy Myers, Correspondent

Game on in San Jose

City Lights Theater Company in San Jose kicks off 2025 with “In Love and Warcraft,” Madhuri Shekar’s R-rated rom-com that explores a variety of hot-button topics — especially the challenges of experiencing real-life intimacy in a world dominated by digital communications.

The action centers on Evie (played by Anna Kosiarek), a college student who is a fierce gamer and expert at online role playing. Meanwhile, she quietly runs a side-business immersed in the old-school practice of helping the romantically challenged write love letters. Of course, everything changes when she begins to fall in love for real.

South Bay native Shekar’s other stage works include “House of Joy,” “Queen,” “A Nice Indian Boy” and “Bucket of Blessings.” She’s also written for the Netflix show “Three Body Problem” and HBO’s fantasy series “The Nevers.”

American Conservatory Theater’s MFA program staged “In Love and Warcraft” in 2020, now it’s City Lights Theater’s turn.

Details: In previews today and Friday; main run is Saturday through Feb. 9; City Lights Theater, San Jose; $31-$70; cltc.org.

— Randy McMullen, Staff