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The San Jose Sharks have fired coach Bob Boughner and his staff two months after the regular season ended.

The team confirmed the moves Friday, after reports surfaced Boughner and assistants John MacLean and John Madden were informed Thursday night they were being let go. Video coach Dan Darrow also was fired, and the Sharks said no replacements were immediately named.

The organization is still in the middle of a lengthy search for a general manager after Doug Wilson stepped down after nearly two decades on the job. Interim GM Joe Will made these moves.

Boughner, 51, coached the Sharks for the past 2 1/2 seasons after replacing Peter DeBoer in December 2019. They missed out on the playoffs each of the last three years following a run of 14 playoff appearances in 15 seasons, including a trip to the 2016 Stanley Cup Final.

“It has become apparent that the organization is in the process of an evolution,” Will said in a statement. “The bottom line is we have missed the playoffs for the past three seasons, which isn’t acceptable to our owner, our organization, or to our fans. As part of this evolution and evaluation, we felt it was in the best interest of the club to allow the next Sharks general manager to have full autonomy related to the make-up of the on-ice coaching staff moving ahead.”

Boughner had one year remaining on his contract at $1.5 million. There is just one NHL head-coaching vacancy left in the league with the Winnipeg Jets.

“The past two-plus seasons have been extremely challenging — on and off the ice — and Bob and his staff worked admirably under some very difficult circumstances,” Will said. “This change is not an indictment of their performance as much as it is a recognition of the complete organizational reset that we feel is in the best interest of the team at this point.”


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Things To Do | Review: Controversial Yiddish drama makes waves anew at SF Playhouse

Making its much-anticipated Bay Area premiere at San Francisco Playhouse, Paula Vogel’s “Indecent” is a play within a play about another play.

It explores the journey of Sholem Asch’s controversial 1906 Yiddish drama “God of Vengeance” from early success all over Europe to its 1923 English-language Broadway premiere that got the entire cast arrested for obscenity due to its depiction of brothels and a lesbian relationship, including the first kiss between women on a Broadway stage.

Permeating “Indecent” from beginning to end is the tension between those who find Asch’s play a beautiful, righteous masterpiece that allows them to speak their truth onstage and those who find it to be dangerous filth that could only feed into anti-Semitic sentiments and stereotypes. Vogel omits another aspect of “God of Vengeance” that sparked outrage at the time: its depiction of rabbis willing to overlook scandalous offenses in exchange for generous contributions.

Kicking off SF Playhouse’s 20th anniversary season, “Indecent” is a coproduction with Berkeley’s Yiddish Theatre Ensemble, which did an online production of “God of Vengeance” last year that’s available for viewing during this run.

Co-commissioned by Yale Rep (where it premiered in 2015) and the Oregon Shakespeare Festival as part of the latter’s American Revolutions: The United States History Cycle, “Indecent” gave Vogel her much-belated Broadway debut in 2017, 20 years after the premiere of her Pulitzer Prize-winning “How I Learned to Drive.”

It’s a marvelously compelling, bone-achingly resonant play beautifully staged by Playhouse cofounder and producing director Susi Damilano. Opening with the performers somberly spilling ash on the floor, the play takes the form of a performance that’s been reenacted over and over as a kind of act of remembrance, presided over by an enthusiastic stage manager. As the play goes on, this framing device gains tremendous new layers of poignancy.

Richard Olmsted’s terrific set features a small stage with a freestanding proscenium arch flanked by assorted suitcases, wooden chairs and racks of costumes.

Lemml the stage manager is really the heart and soul of the play. We soon find out he’s been with “God of Vengeance” since its very first reading and was so overwhelmed by it that he decided to devote his life to helping shepherd the play from country to country.

Dean Linnard exudes intensity as Lemml, unfailingly kind, seemingly selfless and quietly zealous about this one particular play. In the company of true believers, he’s the truest of all. Even in his most jubilant moments, there’s a haunted quality about Linnard’s Lemml, a melancholy lurking beneath the surface that foreshadows sorrows to come.

Seven actors play more than 40 roles, and the metatheatrical framing allows them to shift seamlessly from one character to another without leaving the stage. The three musicians also step in from time to time as various nonspeaking characters.

Billy Cohen portrays writer Asch both with youthful passion and with deepening depression over the horrors he’s witnessed in Europe. Malka Wallick deftly shifts between very different characters, such as Asch’s supportive wife, a distressed Yiddish actress held back by shaky English and the green but enthusiastic American gentile who takes over the same role to shock her parents. Rivka Borek is riveting as another performer forced to choose between her heart and her career.

Ted Zoldan memorably plays a pompous colleague and a producer overready to compromise the work for market concerns. Victor Talmadge exudes gravitas as the actors starring in Asch’s play as the father, and Rachel Botchan is a grounding presence as the performer playing the mother.

Played by a violin-clarinet-accordion trio with music direction by Dmitri Gaskin, the music is stirring and omnipresent, with a lot of klezmer, some cabaret and the occasional jazz standard. The performers slip in and out of occasional song-and-dance numbers with lively choreography by Nicole Helfer.

Short sections of “God of Vengeance” are beautifully utilized throughout the show to give tiny tastes of what all the fuss was about. Sometimes funny and sometimes devastating, “Indecent” is the kind of play that sticks with you long after you leave the theater, and really makes you understand how this other play did the same.

Contact Sam Hurwitt at [email protected], and follow him at


By Paula Vogel, presented by San Francisco Playhouse and Yiddish Theatre Ensemble

Through: Nov. 5

Where: San Francisco Playhouse, 450 Post St., San Francisco

Running time: Two hours, no intermission

Tickets: $15-$100; 415-677-9596,

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