ballet slipper / tutu sugar cookies

Gothic tales. Absinthe cocktails. Steampunk creations. What started as a one-night Edwardian ballroom dance has now morphed into the Edwardian World’s Faire, Ball and Vendor Faire — a two-day re-creation of the history, culture, fashion, technology and oddities of that era. San Francisco’s landmark 1909 Regency Ballroom will be transformed into a mystical site for the Jan. 26-27 events, which have received the imprimatur of the Edward Gorey Charitable Trust. A World’s Faire with historical characters, a gaming garden and steam-powered creations will kick off the events at 8 p.m. Jan. 26. From noon to 5 p.m. Jan. 27, a vendor bazaar will showcase artists’ creative riffs on fashion, accessories and oddities. An afternoon tea will take place in the Museum of Wonders. The events will culminate in the Jan. 27 Edwardian Ball, including an original stage performance of a Gorey tale.

Bay Choral Guild, Music for Holy Week, A cappella works composed for the Christian Church’s most sacred liturgies ballet slipper / tutu sugar cookies — Palm Sunday, Maundy Thursday, Good Friday and Easter, 8 p.m, March 13, Campbell United Methodist Church, 1675 Winchester Blvd., Campbell, 8 p.m, March 14, St, Gregory of Nyssa Episcopal Church, 500 De Haro St., San Francisco, 4:30 p.m, March 15, All Saints Episcopal Church, 555 Waverley St., Palo Alto, $5-$25, http://baychoralguild.org/tickets/, MUSIC Series, California Pops Orchestra, All shows begin at 3 p.m, March 29: Swing it!; tribute to the Big Bands, with guests Black Tie Jazz, May 17: Spies, Heroes, Comedy and Mayhem; featuring music from “The Untouchables,” “Mission Impossible,” “The Lone Arranger” (with apology to Rossini) and more, Smithwick Theater, Foothill College, 12345 El Monte Road, Los Altos Hills, $15-$42, Free parking in lots 5 and 6, 650 856-8432 or www.calpops.org..

With her short blond curls, enormous wide eyes, twinkly big smile, skinny long legs and not much to speak of in the way of a figure, Hafen makes the whole package much greater than its parts. She’s perkily perfect. When “Charity” first bounded onto Broadway in 1966, it arrived with pristine credentials: Neil Simon wrote the book, music was by Cy Coleman, lyrics by Dorothy Fields, and the incomparable Bob Fosse diected and choreographed. Though nominated for nine Tony Awards that year, it won only one: for Fosse’s choreography. (Most of the awards that year went to “Man of La Mancha.”).

He says demands for children’s picture books have been on the uptick most recently, “I think that’s because e-readers fail to capture the special parts of the children’s picture book reading experience, It’s about a big, colorful book pulling you in, Opening a new book and seeing what’s inside, turning the pages, being with your family and reading together — these ballet slipper / tutu sugar cookies are all part of a powerful experience.”, Margolin expects that a similar, immersive conversation led by a panel of people who are undeniably passionate about their city offers the same promise of connectivity..

It’s a small miracle — or a sign of the deep conviction that still rumbles from his belly and his words — that McClure didn’t drop public performance. “My first poetry reading was a curious one: There were congo drums and a belly dancer,” he recalls. “There was no poetry reading history.”. Today, while reading (Craig Venter’s “Life at the Speed of Light,” Percy Bysshe Shelley’s “Laon and Cythna,” Science Magazine) and writing (“That’s a given,” he says), McClure claims he’s “no expert on the vast scene” of Bay Area poetry events.