For nearly two decades, Bernard Weiner served as the influential voice of San Francisco theatre, shaping the critical conversation and championing a generation of experimental artists. His tenure as a critic for the San Francisco Chronicle, beginning in 1974, coincided with a period of explosive creativity and social change in the Bay Area, and Weiner proved uniquely equipped to document and interpret the era’s theatrical innovations. He didn’t simply review plays. he sought to understand how theatre reflected and engaged with the broader cultural landscape.
Weiner’s path to becoming a leading theatre critic was unconventional. Initially hired in 1971 for the Chronicle’s copy desk, working the late shift, he began submitting unsolicited reviews of both movies and plays. These contributions, filling editorial gaps, ultimately paved the way for him to assume the role of chief theatre critic following the retirement of Paine Knickerbocker, a reviewer representing a more traditional style of criticism. This transition marked a shift in the Chronicle’s approach to theatre coverage, embracing a more contemporary and engaged perspective.
Born in Miami, Weiner earned a PhD in political science from Claremont College in 1966. He initially intended to pursue a career in teaching, but the burgeoning countercultural movement led him to journalism. In 1968, he joined The Northwest Passage, a left-wing alternative paper in Bellingham, Washington, as an editor and writer, honing his skills in critical analysis and cultural commentary. This early experience shaped his approach to theatre, grounding it in a political and social awareness.
A Champion of the Experimental
Weiner’s 2020 memoir, Little Man Clapping, a title referencing the Chronicle’s rating system, encapsulates his dedication to understanding the “cultural explosions” of the Bay Area. He consistently sought to explore the connection between theatre and the larger social context, reviewing a diverse range of productions, from the politically charged works of the San Francisco Mime Troupe to the abstract performances of SOON 3 and the delicate puppet plays of Winston Tong. In a 1978 review of a Winston Tong production, he succinctly articulated his critical philosophy: “Great art is a secret universe that goes public.”
Larry Eilenberg, former artistic director of the Magic Theatre and a longtime theatre professor at San Francisco State University, described Weiner as being “in the thick of” a formative artistic identity. “Maybe that wasn’t the purest critical stance to take,” Eilenberg noted, “But he was more than a critic. He was part of a community trying to find its coherence.” Misha Berson, a colleague and friend, writing in the Cambridge Guide to American Theatre, observed that Weiner’s work “encouraged an explosion of new fringe theatre activity” in the region.
Weiner’s enthusiasm was evident in his coverage of unconventional productions like Snake Theater’s 1979 Auto, staged in a vacant Sausalito gas station, and Nightfire Theater’s 1980 Surface Tension, performed en route to a statewide tour of swimming pools. While he didn’t shy away from traditional realism, his true passion lay in exploring the boundaries of theatrical expression.
Beyond Interpretation: Embracing the Experience
Weiner wasn’t simply interested in deciphering meaning; he valued the experience of theatre itself. He wasn’t afraid to admit confusion or perplexity, recognizing that compelling theatre often resides in ambiguity. This approach is exemplified in a 1987 column about George Coates Performance Works’ abstract opera, Actual Sho, where he recounted a conversation with a frustrated audience member who asked, “But what does it mean?” Weiner’s response – “What do you mean by mean?” – initiated a Socratic dialogue that ultimately underscored his belief that art shouldn’t always be explicitly explained. He argued that celebrating an artist’s willingness to leave interpretation open to the audience was a valid and enriching experience.
After nine years working alongside Weiner, Steven Winn, a former San Francisco Chronicle staffer, noted that Weiner retired in 1990, sensing a shift in the experimental theatre scene. “It’s truly a turnover in generations,” Weiner told the Los Angeles Times. Described as “somewhat owlish” with a salt-and-pepper beard and a quiet demeanor, Weiner possessed a “twinkle” that could ignite into “a sunburst” when witnessing truly captivating performances. He was known to laugh and cry openly in response to the art he encountered, and his reviews often included memorable flourishes, such as cautioning readers to “Miss it at your aesthetic peril.”
Following his retirement from the Chronicle, Weiner continued to engage with the political and cultural landscape, co-founding and writing for The Crisis Papers, a progressive online publication, in 2002. The site remained active until Donald Trump’s first election. This return to political writing demonstrated a lifelong commitment to using his voice to address social issues.
While the experimental theatre movement of the 1970s and 80s may have evolved, the spirit of innovation that Weiner championed continues to thrive in companies like We Players, known for staging immersive performances in unique locations such as parks, decommissioned forts, and Alcatraz. His legacy endures in the ongoing pursuit of boundary-pushing theatre in the Bay Area and beyond.
The impact of Bernard Weiner’s critical voice continues to resonate within the American theatre landscape. His dedication to fostering a vibrant and challenging artistic community serves as an inspiration for critics and theatre-makers alike. As new generations of artists continue to explore the possibilities of performance, the questions Weiner raised about the relationship between art, society, and individual experience remain profoundly relevant.
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