Stage Listings

Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at For further information on how to submit items for the listings, see Picks.



5 Lesbians Eating a Quiche Phoenix Theatre, 414 Mason, SF; $20-38. Opens Fri/15, 8pm. Runs Thu-Sat, 8pm (also Sat, 10pm). Through July 21. Tides Theatre performs Evan Linder and Andrew Hobgood’s comedy about five women forced into a bomb shelter during a mid-breakfast nuke attack.


Emotional Creature Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; $14.50-73. Previews Thu/14-Sat/16 and June 19-21, 8pm; Sun/17, 7pm. Opens June 22, 8pm. Runs Tue and Thu-Sat, 8pm (also Sat, 2pm; no show July 13); Wed, 7pm (no show July 4); Sun, 2 and 7pm. Through July 15. Berkeley Rep presents Eve Ensler’s world premiere, based on her best-seller I Am an Emotional Creature: The Secret Life of Girls Around the World.

Salomania Aurora Theatre, 2081 Addison, Berk; $30-55. Previews Fri/15-Sat/16 and June 20, 8pm; Sun/17, 2pm; June 19, 7pm. Opens June 21, 8pm. Runs Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Throgh July 22. Aurora Theatre Company closes its 20th season with writer-director Mark Jackson’s world premiere, commissioned especially for the company, about a San Francisco-born dancer notorious for her take on the "Dance of the Seven Veils."


Aftermath Stagewerx, 446 Valencia, SF; $25. Thu-Sat, 8pm. Through June 30. Theatre, Period presents Jessica Blank and Erik Jenson’s docu-drama, based on interviews with Iraqi civilians forced to flee after the US military’s arrival in 2003.

A Behanding in Spokane SF Playhouse, 533 Sutter, SF; $20-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through June 30. If Garth Ennis had been asked to write a comic book about a one-handed sociopath with a dark obsession, he might well have written something similar to Martin McDonagh’s A Behanding in Spokane. And admittedly, approached from that angle, a lot of the script’s dramatic flaws are more easily forgiven. There’s not a whole lot of subtle context or languid metaphor to be found in McDonagh’s criminal caper about the little-known "hand-dealing" trade, but as in Ennis’ best known work, Preacher, the pretty girl (Melissa Quine) is the smartest one in the room; the sociopath (Rod Gnapp) is interested in enacting as vicious a revenge on all humanity while spewing as many blatantly offensive invectives as possible; the boyfriend (Daveed Diggs) has some arrested development issues to work out; and the receptionist (Alex Hurt) takes the caricature of man-child to a whole new level. In fact, while all four actors deliver rock-solid performances of their mostly unsympathetic characters, it’s Hurt’s that impresses most. His spooky intensity and goofily tone-deaf determination plays like a combination of Adam Sandler and Arno Frisch, and if there’s a real sociopath in the room, the evidence suggests it’s probably him. Ultimately though the piece relies too heavily on hollow one-liners to remain interesting — a 20-minute farce stretched to 90 minutes — and quite unlike an Ennis comic, it does not leave one wanting more. (Gluckstern)

The Full Monty Eureka Theatre, 215 Jackson, SF; $25-36. Thu-Sat, 8pm (also Sat, 2pm); Sun, 2pm. Through June 30. In desperate times, how far would you go to turn a buck? The central premise of the 1997 movie and its namesake musical comedy The Full Monty, the answer to this question is right in the title, which limits the suspense, but amps up the expectations. Set not in Sheffield, England as in the movie, but the similarly economically challenged climate of Buffalo, New York circa the late nineties, the comical romp follows a group of unemployed steel workers who decide, rather optimistically, that spending one night as exotic dancers will solve their immediate financial woes. Banish all notions of a Hot Chocolate sing-along; the soundtrack of the stage musical has little in common with its cinematic predecessor, but there are a couple of toe-tappers, particularly the songs writ for the ladies: a belter’s anthem for their spry but elderly accompanist Jeanette (Cami Thompson), a snarky commentary on male beauty, "The Goods," for the ensemble. On opening night, Ray of Light’s production ran about 15 minutes long after a late start, and the tempo seemed sluggish in parts, but once it hits its stride, The Full Monty should provide a welcome antidote to the ongoing, we’re-still-in-a-recession blues, red leather g-strings and all. (Gluckstern)
Fwd: Life Gone Viral Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, $20-50. Sat, 8:30pm; Sun, 7pm (June 24, show at 2pm; July 15, show at 7:30pm). Extended through July 22. The internet becomes comic fodder for creator-performers Charlie Varon and Jeri Lynn Cohen, and creator-director David Ford.

Lips Together, Teeth Apart New Conservatory Theatre Center, 25 Van Ness, SF; $25-45. Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Terrence McNally’s play about two straight couples spending July 4 amid Fire Island’s gay community.

100 Saints You Should Know Thick House, 1695 18th St, SF; $10-30. Wed-Thu, 7:30pm; Fri-Sat, 8pm; Sun, 3pm; starting June 22, runs Fri-Sat, 8pm; Sun, 3pm. Extended through July 1. Homespun scenic design notwithstanding, Theatre Rhinoceros and artistic director John Fisher offer a fine, engrossing production of this 2007 play by Kate Fodor (Hannah and Martin, RX), a sturdy comedy-drama about two fractured families colliding awkwardly in a sort of spiritual vacuum. Matthew (an intriguingly restrained Wiley Herman) is a desolate but forbearing Catholic priest sent on a leave of absence after a venial transgression involving some artful nude male photographs. Returning home, he endures a pained relationship with his devout, passively domineering Irish mother (Tamar Cohn, channeling a nicely measured mixture of stony discipline and childlike vulnerability). Soon Matthew gets an unexpected visit from single mom Theresa (a bright but shrewdly self-possessed Ann Lawler), a former Deadhead who now cleans the rectory and finds herself overcome with an urge to ask the gentle priest about prayer — just at the moment his faith seems to have left him. Meanwhile, Theresa’s too-cool-for-school teenager, Abby (a deft and hilarious Kim Stephenson), waits outside and does some preying of her own on a slower-witted but game young man from the neighborhood (a charmingly quirky Michael Rosen), both of them roiling with confused yearnings. The appealing characters and unexpected storyline come supported by some excellent dialogue, developing a searching theme that ultimately has less to do with formal religion than the ordinary but ineffable need it promises (problematically) to meet. "I think I could be religious or whatever if it made any sense," notes Abby, "but it doesn’t make any sense." It’s easy to agree with the teenager on this one. 100 Saints is a genuinely funny and compassionate play discerning enough to avoid naming the depths it sounds. (Avila)

Reunion SF Playhouse, Stage Two, 533 Sutter, SF; (415) 677-9596, $20. Wed-Thu, 7pm; Fri-Sat, 8pm. Through June 30. SF Playhouse presents a world premiere drama by local playwright Kenn Rabin.

"Risk Is This…The Cutting Ball New Experimental Plays Festival" Exit on Taylor, 277 Taylor, SF; (415) 525-1205, Free ($20 donation for reserved seating; $50 donation for five-play reserved seating pass). Fri-Sat, 8pm. Through July 14. Cutting Ball’s annual fest of experimental plays features two new works and five new translations in staged readings.

Slipping New Conservatory Theatre Center, 25 Van Ness, SF; $25-45. Wed-Sat, 8pm; Sun, 2pm. Through July 1. New Conservatory Theatre Center performs Daniel Talbott’s drama about a gay teen who finds new hope after a traumatic breakup.

Tenderloin Exit on Taylor, 277 Taylor, SF; (415) 525-1205, $10-50. Extended run: Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Extended through June 24. Annie Elias and Cutting Ball Theater artists present a world premiere "documentary theater" piece looking at the people and places in the Cutting Ball Theater’s own ‘hood.

Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, $15-50. Previews Fri/15, 8pm. Opens Sat/16, 8:30pm. Runs Sat, 8:30pm; June 22, 8pm. Through July 21. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.

The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, $15-50. Fri, 8pm; Sat, 5pm. Extended through July 7. Brian Copeland (comedian, TV and radio personality, and creator-performer of the long-running solo play Not a Genuine Black Man) returns to the Marsh with a new solo, this one based on more recent and messier events in Copeland’s life. The play concerns an episode of severe depression in which he considered suicide, going so far as to purchase a handgun — the title coming from the legally mandatory 10-day period between purchasing and picking up the weapon, which leaves time for reflections and circumstances that ultimately prevent Copeland from pulling the trigger. A grim subject, but Copeland (with co-developer and director David Ford) ensures there’s plenty of humor as well as frank sentiment along the way. The actor peoples the opening scene in the gun store with a comically if somewhat stereotypically rugged representative of the Second Amendment, for instance, as well as an equally familiar "doood" dude at the service counter. Afterward, we follow Copeland, a just barely coping dad, home to the house recently abandoned by his wife, and through the ordinary routines that become unbearable to the clinically depressed. Copeland also recreates interviews he’s made with other survivors of suicidal depression. Telling someone about such things is vital to preventing their worst outcomes, says Copeland, and telling his own story is meant to encourage others. It’s a worthy aim but only a fitfully engaging piece, since as drama it remains thin, standing at perhaps too respectful a distance from the convoluted torment and alienation at its center. (Avila)


Black n Blue Boys/Broken Men Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; $14.50-73. Tue, Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 7pm). Through June 24. Berkeley Rep presents a world premiere from writer-performer Dael Orlandersmith (a Pulitzer finalist for 2002’s Yellowman).

Emilie: La Marquise Du Chatelet Defends Her Life Tonight Berkeley City Club, 2315 Durant, Berk; $18-25. Thu-Sat, 8pm; Sun, 2pm. Through July 1. Symmetry Theatre Company presents Bay Area playwright Lauren Gunderson’s romantic drama centering on the life of 18th-century French physicist and mathematician, Émilie du Châtelet (Danielle Levin) and her (here tempestuous) long-term romance with Voltaire (Robert Parsons). In a familiar conceit left accordingly vague, fate rematerializes Emilie from some hazy afterlife so that she may relive key moments in her life and account for herself. A Cartesian mind/body split rules the replay, with Emilie finding herself painfully attenuated from the world of the senses — her flashback self (played by an impressive Blythe Foster) alone able to enjoy sensual contact with her surroundings. Meanwhile, love and loyalty face the test as Emilie goes head-to-head with a male-dominated scientific establishment over a certain theorem she calls "force vivre" — a formula into which Gunderson cleverly folds theoretical physics and the irrational heart. There’s even a visual aid: a running tally is kept throughout on a screen at the back of the stage, where hash marks appear and disappear under the headings "philosophy" and "love" as the scenes wind their desultory way back toward the moment of her demise. Chloe Bronzan directs a cast of strong actors but their work is uneven. Foster alone is consistently commanding in a part that, while minor, suggests what a more muscular approach overall might have accomplished. The normally formidable Parsons seems uncommitted in the part of Voltaire, admittedly a character too simpering and watery as written to merit much credence. Instead of palpable relationships — whether with lovers or ideas — Emilie deploys self-conscious verbiage, strained repartee and heavy thematic underscoring to churn what amounts to thin drama. (Avila)

God of Carnage Marin Theatre Company, 397 Miller, Mill Valley; $34-55. Wed/13, 7:30pm; Thu/14-Sat/16, 8pm (also Sat/16, 2pm); Sun/17, 2 and 7pm. Marin Theatre Company performs Yasmina Reza’s Tony-winning comedy about two sets of parents who meet after their children get into a schoolyard fight.

The Great Divide Ashby Stage, 1901 Ashby, Berk; $20-30. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through June 24. Shotgun Players performs Adamn Chanzit’s drama about the hot topic of fracking, inspired by Ibsen’s An Enemy of the People.

The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, $20-50. Sat, 8:30pm; Sun, 7pm. Extended through July 15. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

Not Getting Any Younger Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, $15-50. Fri, 8pm; Sat, 5pm. Extended through June 30. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. Note: review from the show’s 2011 run at the Marsh San Francisco. (Avila)

The Odyssey Angel Island; (415) 547-0189, $40-76 (some tickets include ferry passage). Sat-Sun, 10:30am-4pm (does not include travel time to island). Through July 1. We Players present Ava Roy’s adaptation of Homer’s epic poem: an all-day adventure set throughout the nature and buildings of Angel Island State Park.

The Tempest Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda; (510) 809-3290, $35-71. Tue-Thu, 7:30pm; Fri-Sat, 8pm (also June 23, 2pm); Sun, 4pm. Through June 25. California Shakespeare Theater opens its season with this dance-filled interpretation of the Bard’s classic tale.

Wheelhouse TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, $19-69. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2); Sun, 2 and 7pm. Through July 1. TheatreWorks’ 60th world premiere is a musical created by and starring pop-rock trio GrooveLily.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, $8-50. Fri, 6pm; Sat/16, June 24, and 30, 11am. Through June 30. Louis "The Amazing Bubble Man" Pearl returns with this kid-friendly, bubble-tastic comedy.


"The Amen Corner" Lorraine Hansberry Theatre, 450 Post, SF; Mon/18, 7pm. $25. Project1Voice presents this benefit staged reading of James Baldwin’s play, part of a simultaneous staged-reading event with 25 other African American theaters across the country.

"Branded Funny" Purple Onion, 140 Columbus, SF; Thu/14, 8pm. $15. Stand-up with Melanie Bega, Seth Hardiman, and Justin Lucas.

"The BY Series" ODC Theater, 3153 17th St, SF; Thu/14-Sat/16, 8pm; Sun/17, 2pm. $25. Robert Moses’ Kin Dance Company presents work by guest choreographers Molissa Fenley, Ramon Ramos Alayo, and Sidra Bell, plus the world premiere of Moses’ Scrubbing the Dog.

Alicia Dattner Exit Theatre, 156 Eddy, SF; Fri/15-Sat/16, 8pm. $26. The comedian performs.

"DEEPER, Architectural Meditations at CounterPULSE" CounterPULSE, 1310 Mission, SF; $25. Fri-Sun, 8pm. Through July 1. Lizz Roman and Dancers perform a site-specific work.

"Elect to Laugh" Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, Tue, 8pm. Ongoing through Nov 6. $15-50. Will Durst and friends perform in this weekly political humor show that focuses on the upcoming presidential election.

"Fresh Meat Festival" Brava Theater, 2781 24th St, SF; $15-20. Fri/15-Sat/16, 8pm; Sun/17, 7pm. $15-25. The transgender and queer performance festival celebrates its 11th year with members of Vogue Evolution (America’s Best Dance Crew), Emily Vasquez (American Idol), drag star Miss Barbie-Q, same-sex ballroom champs William DeVries and Kumi Keali’I, and Sean Dorsey Dance.

"hOPPomage" Shotwell Studios, 3252-A 19th St, SF; Fri-Sat, 8pm; Sun/17, 3pm. Through June 23. $10-15. An evening of "mental dance" inspired by artist Dennis Oppenheim with Driveway Dancers.

"Jillarious Tuesdays" Tommy T’s Showroom, 1000 Van Ness, SF; Tue, 7:30. Ongoing. $20. Weekly comedy show with Jill Bourque, Kevin Camia, Justin Lucas, and special guests.

"Kunst-Stoff Arts/Fest 2012" Kunst-Stoff Arts, One Grove, SF; Thu/14-Sat/16, 8:30pm. $15. Bruno Augusto and Meisha Bosma perform.

"Porch Light: I Do: The Wedding Show" Verdi Club, 2424 Mariposa, SF; Mon/18, 8pm. $15. Wedding-themed storytelling with Eugene Ashton-Gonzalez, Barbara Berman, Clint Catalyst, and more.

"Previously Secret Information" Stage Werx Theater, 446 Valencia, SF; Sun/17, 7pm. $15. Comic storytelling with C.W. Nevius, Jack Boulware, and more.

"Qcomedy Showcase" Stage Werx Theater, 446 Valencia, SF; Mon/18, 8pm. $8-20. Special Pride edition with stand-up comedians Julia Jackson, Scott Backman, Enzo Lombard, Justin Simpson, Karen Ripley, and drag performers House of Glitter.

"Queeriosity" San Francisco LGBT Community Center, 1800 Market, SF; Fri/15, 7pm. Free. Youth Speaks hosts this literary arts and performance showcase for LGBTQ youth.

San Francisco Ethnic Dance Festival Novellus Theater, Yerba Buena Center for the Arts, 700 Howard, SF; Sat/16-Sun/17, 3pm (also Sat/16, 3pm). $18-58. This weekend’s program includes dance from China, Cuba, Hawaii, Hungary, India, and more.

Sex and the City: Live!" Rebel, 1760 Market, SF; Tue, 7 and 9pm. Through June 26. $25. Heklina, D’Arcy Drollinger, Lady Bear, Trixxie Carr play the fab four in this drag-tastic homage to the HBO series.

"Two by 24: Love on Loop" UN Plaza, Market between Hyde and Seventh St, SF; Tue/19, 11am-7pm. Free. RAWdance performs an eight-hour contemporary dance installation.

"Voca People" Marines’ Memorial Theatre, 609 Sutter, Second Flr, SF; Wed/13-Fri/15, 8pm; Sat/16, 6:30 and 9:30pm; Sun/17, 3 and 6pm. $49-75. A capella from outer space.

"When We Fall Apart" Z Space, 450 Florida, SF; Thu/14-Sat/16, June 20-21, and 27-28, 7pm; June 22-23 and 29-30, 7 and 9pm. $20-35. Joe Goode Performance Group presents a world premiere, an exploration of "home" with a set designed by architect Cass Calder Smith.

"Wonderland" Circus Center, 755 Frederick, SF; Fri/15-Sat/16, 7pm; Sun/17, 2pm. Free (advance registration recommended). Family-friendly show of aerialists, acrobats, and other circus-style performers. *