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 email@example.com. For further information on how to submit items for the listings, see Picks.
Asteroids: Live! Dark Room Theater, 2263 Mission, SF; (415) 401-7987. $20. Opens Fri/7, 8pm. Runs Fri-Sat, 8pm. Through Sept 29. Interstellar comedy “based very, very loosely on the arcade game.”
Kiss of the Spider Woman Phoenix Theatre, 414 Mason, SF; secondwind.8m.com. $15-35. Opens Fri/7, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Sept 29. Second Wind presents Manuel Puig’s acclaimed drama about cellmates in a Buenos Aires jail.
Placas Lorraine Hansberry Theater, 450 Post, SF; www.sfiaf.org. $13-35. Opens Thu/6, 8pm. Runs Thu-Sat, 8pm; Sun, 3pm. Through Sept 16. San Francisco International Arts Festival, Central American Resource Center, and the Mission Cultural Center for Latino Arts present Paul S. Flores’ world premiere drama, starring Ric Salinas as a former gang member who tries to mend fences with his family when he gets out of prison.
Port Out, Starboard Home Z Space, 450 Florida, SF; www.foolsfury.org. $12-35. Previews Fri/7-Sat/8, 8pm. Opens Mon/10, 8pm. Runs Thu-Sat and Sept 19, 8pm; Sept 23, 2pm. Through Sept 23. foolsFURY performs the world premiere of Sheila Callaghan’s black comedy.
The Real Americans Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $25-50. Opens Fri/7, 8pm. Runs Fri, 8pm; Sat, 8:30pm. Through Sept 29. Dan Hoyle’s hit show about his trip across America returns.
“San Francisco Fringe Festival” Exit Theatreplex, 156 Eddy, SF; www.sffringe.org. Most shows $10 or less (five-show pass, $40; ten-show pass, $75). Sept 5-16. The 21st annual fest of unconventional, raw theater presents over 200 performances of 42 shows in 12 days.
Strange Travel Suggestions MainStage, Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $20-50. Opens Sat/8, 8:30pm. Runs Sat, 8:30pm. Through Sept 29. Author and Ethical Traveler founder Jeff Greenwald (Shopping for Buddhas, Snake Lake) has done his solo show Strange Travel Suggestions dozens if not hundreds of times and still has no idea where it’s going. No wonder he and his audience keep coming back for more. The unknown, an aphrodisiac to the traveler, also makes great catnip for the storyteller. Still, there are consistent elements. There is no need to reinvent the wheel — or the impressive Wheel of Fortune that sits just off center stage, painted with a map of the globe and ringed with symbols abstract and evocative enough to conjure up myriad adventures, peak experiences, and humbling encounters from the vivid grab-bag memory of an accomplished travel writer and inveterate globetrotter. There’s also a real grab bag, just in case, and an oversize tarot card, a sort of visual aid cum talisman sporting a classic image of the Fool, patron saint of the traveler’s heedless leaps of faith. Greenwald’s stories possess a fine sense of humor and a knack for the shrewd detail and telling observation. They also contain a Zen-inflected homespun wisdom no doubt born of leaving home on a regular basis. If slightly self-conscious at times, these tales are always genuine and appealing. In the end, Greenwald’s show, as reliable as it is unpredictable, mimics a genie-from-a-bottle experience: What you get is three spins, three stories, and a lot of unexpected truth. Note: capsule condensed from 2008 feature review of this production. (Avila)
Tripping on the Tipping Point Stagewerx, 446 Valencia, SF; (707) 322-5731. $15-20. Opens Thu/6, 8pm. Runs Thu-Sat, 8pm. Through Sept 29. Human Nature performs a new comedy about global warming.
Henry V Presidio of San Francisco, Main Post Parade Ground Lawn, SF; www.sfshakes.org. Free. Sat-Sun, 2pm. Through Sept 23. The San Francisco Shakespeare Festival celebrates the 30th anniversary of Free Shakespeare in the Park with this history play.
My Fair Lady SF Playhouse, 533 Sutter, SF; www.sfplayhouse.org. $30-70. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through Sept 29. SF Playhouse and artistic director Bill English (who helms) offer a swift, agreeable production of the Alan Jay Lerner and Frederick Loewe musical, based on George Bernard Shaw’s Pygmalion. The iconic class-conscious storyline revolves around a cocky linguist named Higgins (Johnny Moreno) who bets colleague Colonel Pickering (Richard Frederick) he can transform an irritable flower girl, Eliza Doolittle (Monique Hafen), into a “lady” and pass her off in high society. A battle of wills and wits ensues — interlarded with the “tragedy” of Alfred Doolittle (a shrewd and gleaming Charles Dean) and his reluctant upward fall into respectability — and love (at least in the musical version) triumphs. The songs (“Wouldn’t It Be Loverly,” “I Could Have Danced All Night,” “Get Me to the Church on Time,” and the rest) remain evergreen in the cast’s spirited performances, supported by two offstage pianos (brought to life by David Dobrusky and musical director Greg Mason) and nimble choreography from Kimberly Richards. Hafen’s Eliza is especially admirable, projecting in dialogue and song a winning combination of childlike innocence and feminine potency. Moreno’s Higgins is also good, unusually virile yet heady too, a convincingly flawed if charming egotist. And Frederick, who adds a passing hint of homoerotic energy to his portrayal of the devoted Pickering, is gently funny and wholly sympathetic. (Avila)
Rights of Passage New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Sept 16. New Conservatory Theatre Center presents the world premiere of Ed Decker and Robert Leone’s multimedia play, inspired by global human rights laws in relation to sexual orientation.
Vital Signs Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Sun, 7pm. Extended through Sept 16. The Marsh San Francisco presents Alison Whittaker’s behind-the-scenes look at nursing in America.
Twelfth Night San Francisco Maritime National Historic Park, Hyde Street Pier, 2905 Hyde, SF; www.weplayers.org. $30-80. Opens Fri/7, 5:30pm. Runs Fri-Sun, 5:30pm (also Sat-Sun, noon; matinee only Sept 22; no performances Sept 29; evening performances only Oct 6-7). Through Oct 7. We Players board the Balclutha and the Eureka for this jazzy take on Shakespeare’s romance.
The Waiting Period MainStage, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. $15-50. Thu-Fri, 8pm; Sat, 5pm. Extended through Sept 29. 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)
War Horse Curran Theatre, 445 Geary, SF; www.shnsf.com. $31-300. Wed/5-Sat/8, 8pm (also Wed/5 and Sat/8, 2pm); Sun/9, 2pm. The juggernaut from the National Theatre of Great Britain, via Broadway and the Tony Awards, has pulled into the Curran for its Bay Area bow. The life-sized puppets are indeed all they’re cracked up to be; and the story of a 16-year-old English farm boy (Andrew Veenstra) who searches for his beloved horse through the trenches of the Somme Valley during World War I, while peppered with much elementary humor too, is a good cry for those so inclined. The claim to being an antiwar play is only true to the extent that any war-is-hell backdrop and a plea for tolerance count a melodrama as “antiwar,” but this is not Mother Courage and no serious attempt is made to investigate the subject. Closer to say it’s Lassie Come Home where Lassie is a horse — very ably brought to life by Handspring Puppet Company’s ingenious puppeteers and designers, and amid a transporting and generally riveting mise-en-scène (complete with pointedly stirring live and recorded music). But the simplistic storyline and its obvious, somewhat ham-fisted resolution (adapted by Nick Stafford from Michael Morpurgo’s novel) are too formulaic to be taken that seriously. And at two-and-a-half-hours, it’s a long time coming. A shorter war, the Falklands say, would have done just as well and gotten people out before the ride began to chafe. (Avila)
Chinglish Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-99. Tue and Thu-Sat, 8pm (also Sat, 2pm; no show Oct 5; no 2pm show Sat/8; additional 2pm shows Thu/6 and Oct 4); Wed and Sun, 7pm (also Sun, 2pm). Through Oct 7. Berkeley Rep presents the West Coast premiere of David Henry Hwang’s Broadway comedy.
The Death of the Novel San Jose Rep, 101 Paseo de San Antonio, San Jose; www.sjrep.com. $23-69. Opens Wed/5, 7:30pm. Check web site for schedule. Through Sept 23. Vincent Kartheiser (a.k.a. Pete Campbell from Mad Men) stars in Jonathan Marc Feldman’s drama about creativity in post-9/11 America at San Jose Rep.
The Elaborate Entrance of Chad Deity Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $32-60. Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. Through Sept 30. Playwright Kristoffer Diaz, a self-professed fan of the aggressively-theatrical spectacle that is professional wrestling, delivers much more than a “wrestling 101” primer for the uninitiated with The Elaborate Entrance of Chad Deity. Beneath the razzle-dazzle of the arena lighting (Kurt Landisman), the gaudy costuming (Maggie Whitaker) and the giant televised image of a hot bikini babe (Elizabeth Cadd, video by Jim Gross) lies the trampled luster of an American Dream. The dreamer, Macedonio “The Mace” Guerra (Tony Sancho), a wiry fall guy for THE Wrestling, wrestles not for money or glory (he is rarely privy to either), but for his love of the strange ballet that occurs in the ring. Guerra’s job is to make his opponents look good, including the pec-flexing, bling-booted Chad Deity (Beethovan Oden), leaving him to wrestle alone with the identity politics of being a marginalized but fully capable warrior battling perennially stacked odds. Willing suspension of disbelief does get stretched pretty thin when the character Vigneshwar Paduar, a smooth-talking hustler chance-met on the basketball courts of Brooklyn, rises to championship levels in record-breaking time as the truly cringe-worthy persona known as “The Fundamentalist,” but Nasser Khan’s skillfully self-possessed performance as Paduar makes it impossible not to root for him all the way. Rod Gnapp as foul-mouthed bossman “EKO” and fight director Dave Maier as a whole squadron of hapless B-list wrestlers round out the excellent cast. (Gluckstern)
The Fisherman’s Wife La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm. Through Sept 29. The latest from playwright Steve Yockey (Bellwether, Skin) is an exercise in pure pleasure, not least for the devious sea creatures preying lustily and unashamedly on the hapless human flesh of a small coastal town. There, in cracked fairytale fashion, an unsuccessful fisherman named Cooper Minnow (an endearingly nerdy but passionate Maro Guevara) is preparing to set out to sea, leaving at home frustrated wife Vanessa (a wonderfully, volcanically bitchy yet complex Eliza Leoni) and their sinking marriage, when he meets an oddly brazen pair of sexy, sassy bathers in old-fashioned beach attire (the swimmingly synchronized duo of Sarah Coykendall and Roy Landaverde). At more or less the same moment, a devilishly dashing yet prim traveling salesman (poised, nicely offbeat Adrian Anchondo) is offering a clearly aroused Vanessa an erotic woodcut featuring monstrous tentacles groping human victims at a very familiar-looking dock. Will she take the woodcut? Will she ever! And later she’ll defend her husband’s honor and swap places with him too, much to the commercial advantage of the ever-accommodating salesman who — like Yockey’s smart and sure sex farce — has a little something for everyone. Directed with smooth precision by Ben Randle for Berkeley’s Impact Theatre, The Fisherman’s Wife again finds Yockey playing productively with the fine fuzzy line separating human nature from nature at large (as in Large Animal Games, the winning 2009 co-production from Impact and Dad’s Garage). The animals come through for playwright and company once more, with a thoroughly enjoyable comedy whose borrowed maritime mythos has just enough metaphorical pull to lead those so inclined out beyond the shallow waters. (Avila)
Keith Moon/The Real Me TheaterStage at the March Berkeley, 2120 Allston, Berk; www.themarsh.org. $15-50. Sept 13, 20, and 27, 8pm. Mike Berry workshops his new musical, featuring ten classic Who songs performed with a live band.
The Kipling Hotel: True Misadventures of the Electric Pink ’80s Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Extended through Oct 14. 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)
A Midsummer Night’s Dream Forest Meadows Amphitheater, 890 Belle, Dominican University of California, San Rafael; www.marinshakespeare.org. $20-35. Check website for schedule. Through Sept 30. Marin Shakespeare Company performs the Bard’s classic, transported to the shores of Hawaii.
Our Country’s Good Redwood Amphiteatre, Marin Art and Garden Center, 30 Sir Francis Drake, Ross; www.porchlight.net. $15-30. Thu/6-Sat/8, 7:30pm. Porchlight Theatre Company presents an outdoor performance of Timberlake Wertenbaker’s play about Royal Marines and prisoners in an 18th century New South Wales prison colony.
Precious Little Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $18-25. Wed-Thu, 7pm; Fri-Sat, 8pm (also Sat/8, 3pm); Sun, 5pm. Through Sept 16. Shotgun Players presents Madeleine George’s new play about an expectant mother who studies near-dead languages and befriends a “talking” gorilla.
Time Stands Still TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro, SF; www.theatreworks.org. $23-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Sept 16. TheatreWorks performs Donald Marguelis’ drama about a couple — one a photojournalist, one a war correspondent — struggling with their recent experiences covering a war.
BATS Improv Bayfront Theater, B350 Fort Mason Center, Marina at Laguna, SF; www.improv.org. Thu-Sat, 8pm. $10-25. This week: “An Improv Team Named Desire and Flux Capacitor” (Thu/6); “25th Annual Gala and Fundraiser” (Fri/7); “BATS Improv SF vs. Impro Theatre LA” (Sat/8).
“Comedy Returns to El Rio!” El Rio, 3158 Mission, SF; www.koshercomedy.com. Mon/10, 8pm. $7-20. Stand-up with Diane Amos, Malcolm Grissom, Jill Bourque, Kevin Young, and host Lisa Geduldig.
“Dancing Poetry Festival” Florence Gould Theater, California Palace of the Legion of Honor, Lincoln Park, SF; www.dancingpoetry.com. Sat/8, noon-4pm. $4-15. The 19th annual fest celebrates poetry and dance as a unified art form.
“Elect to Laugh” Studio Theater, Marsh San Francisco, 1062 Valencia, SF; (415) 282-3055, www.themarsh.org. Tue, 8pm. Through Nov 6. $15-50. Veteran political comedian Will Durst emphasizes he’s watching the news and keeping track of the presidential race “so you don’t have to.” No kidding, it sounds like brutal work for anyone other than a professional comedian — for whom alone it must be Willy Wonka’s edible Eden of delicious material. Durst deserves thanks for ingesting this material and converting it into funny, but between the ingesting and out-jesting there’s the risk of turning too palatable what amounts to a deeply offensive excuse for a democratic process, as we once again hurtle and are herded toward another election-year November, with its attendant massive anticlimax and hangover already so close you can touch them. Durst knows his politics and comedy backwards and forwards, and the evolving show, which pops up at the Marsh every Tuesday in the run-up to election night, offers consistent laughs born on his breezy, infectious delivery. One just wishes there were some alternative political universe that also made itself known alongside the deft two-party sportscasting. (Avila)
“A Funny Night for Comedy” Actors Theater of San Francisco, 855 Bush, SF; www.natashamuse.com. Sun/9, 7pm. $10. Natasha Muse and Ryan Cronin host this comedy show, presented in talk-show format, with guests Caitlin Gill, Kaseem Bentley, and Jesse Fernandez.
“Mary Mack Comedy Show” Gallery and Bar 4N5, 863 Mission, SF; www.brownpapertickets.com. Tue/11, 7:30pm. $15. Mandolin-infused folk comedy with Mary Mack.
“A Pinoy Midsummer” Bindlestiff Studio, 185 Sixth St, SF; www.brownpapertickets.com. Thu-Sat, 8pm (also Sat, 2pm). Through Sept 15. $10-20. A re-imagining of Shakespeare with Philippine folklore, shadow puppets, and other Pinoy elements.
“10 Acrobats in an Amazing Leap of Faith” CounterPULSE, 1310 Mission, SF; www.counterpulse.org. Fri/7-Sat/8, 8pm; Sun/9, 2pm. Yuseff El Guindi’s comedy is about a conflicted Muslim family during the month of Ramadan in post-9/11 America.