ODC

Stream of movement

Leo Herrera
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Stream of movement

arts@sfbg.com

DANCE Liss Fain borrowed the title of her most recent installation — the wondrous The Imperfect is Our Paradise, Sept. 11-14 at ODC Theater — from Wallace Stevens. But the work’s inspiration was William Faulkner’s 1929 novel The Sound and the Fury, an often stream-of-consciousness study of the Compson family in Jefferson, Miss. She employed fragments of the text, not unlike previous works in which she explored the words of Jamaica Kincaid, Virginia Woolf, and Lydia Davis.

For Imperfect, Fain turned again to previous collaborators Matthew Antaky (installation design), Frédéric Boulay (projection design), and Mary Domenico (costume design — great, ratty overalls), as well as composer Dan Wool, who has a lovely habit of including into his own scores a quote from classical music. They feel like nods to another world.

Fain now also has a fine, stable ensemble that beautifully realizes her strong, formally contained choreography. Returning dancers Jeremiah Crank, Katharine Hawthorne, sisters Megan and Shannon Kurashige, and Carson Stein were joined by Gregory DeSantis and Aidan DeYoung. They lent a workmanlike, stoic sense of inevitability to their performances, whether staring into the void or ensnaring partners every which way. This was true ensemble work.

Imperfect communicates with its intelligence, clarity of purpose, and rich, tight choreography. Antaky added his magic by designing 12 panels that hung high above the audience on all four sides. They first suggested a sense of enclosure with brick walls, then threats from nature, stockade-like fences, and finally a dead house on a hill. The stage floor looked like dry dirt, or as if covered with leaves. It made me think of Benjy, the Compsons’ disabled son, who loved the smell of trees.

About the use of Faulkner’s text, I am of two minds. In voiceover, it was often more difficult to decipher than, for instance, actor Val Sinckler’s live performance in the Kincaid-inspired work. If text is used, it should be comprehensible. That’s why it’s there. At the same time, those fragments I did catch — primarily those from Quentin, the book’s most contemporary and most tragic character — pulled me away from Fain toward Faulkner’s narrative, such as it is. I thought it distracting rather then illuminating.

Since Fain encourages audiences to walk around the perimeter of the stage, though few people do, she meticulously designed her choreography from the periphery, into and out of the center space. In the beginning, the dancers stood immobile, staring into the void, before slowly coming to life and offering us different perspectives of themselves. I expected characters to emerge, but they didn’t.

With the exception of Hawthorne, who throughout remained something of a wild card, this was a homogenous group that was caught in what was perhaps a common dilemma. The title’s slippery Imperfect refers to something flawed, but grammatically, it also references past actions that are finished in some languages; in others, they project into the present. If Fain had overreaching themes in mind, they might have been time and memory, past and present.

The choreography asks for strength with lots of elaborate partnering — mostly male to female, yet without a trace of romantic intent. These dancers engage each other almost impersonally as something that is inevitable and that will be repeated for who knows how long. Despite the few unisons — some triple duets, a few one-on-ones — Imperfect has a churning sense of commonality about it. An arabesque can turn into a backward somersault and end between a partner’s leg. The dancers engage each other by rearranging body parts — an elbow here, a foot there — and flipping in every direction. They entangle their bodies, lift and drop them. Often they sink to the floor but pneumatically rise again.

As she has in the past, Fain makes prominent use of the arms. People yank and pull at them like tug of wars. But they also lock elbows, as if going for a stroll, but then immediately slip out of this companionship into more robust moves, becoming burdens which can be dropped or gently let go.

When Wool introduces Bach, the tall and elegant Hawthorne and Crank look like they remember the ballroom decorum of an earlier era. If there is one “character” it is Hawthorne, an astoundingly versatile and detailed dancer. She can stand on the sidelines as if watching for a prey, with a single gesture break up a couple, and again and again tear across the space sweeping the floor clean with her tornado-like whipping turns, pleading arms reaching for the light.

With Hawthorne in control, you get the sense that Imperfect contemplates time — past and time as it is passing. It may all stem from Faulkner, and the watch that the Compson family patriarch gives to Quentin, his oldest son. *

www.lissfaindance.org

Local movers

Leo Herrera
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Local movers

arts@sfbg.com

FALL ARTS I wish somebody could come up with a better word than the ugly “locavore,” particularly since it was originally used for cattle. But the idea of eating locally-grown food is fabulous: it’s good for the environment, the wallet, and the state of one’s psyche. The same approach also rings true for the way we feed our spirits. Local artists seed, tend, and harvest a crop that needs and deserves our attention. The sheer variety of Bay Area-cultivated dance offerings this fall could make gluttons out of many of us. Here is a baker’s dozen to whet your appetite. All but a few are world premieres.

For The Imperfect is Our Paradise, Liss Fain Dance’s Liss Fain fashioned her choreography from the cadences of William Faulkner’s prose in The Sound and the Fury. Imperfect promises to be another of her translucently intelligent dances, here performed in designer Matthew Antaky’s reconfigured ODC Theater. Sept. 11-14, ODC Theater, SF; www.lissfaindance.org.

In This is the Girl, Christy Funsch of Funsch Dance Experience reaches out — big time. Known for her exquisite solos, Funsch steps back into ensemble work, with seven dancers, six taiko drummers, and a chorus of singers. Never fear, the core of this look at womanhood is still that wondrous partnership between Funsch and Nol Simonse. Sept. 12-14, Dance Mission Theater, SF; www.funschdance.org.

The world premiere of Multiple Mary and Invisible Jane, by Jo Kreiter’s Flyaway Productions, takes place on the exterior wall of the UC Hastings College of the Law in San Francisco’s Tenderloin. The work gives voice to the homeless women who live in the surrounding neighborhood, whose lives have become even more difficult because of San Francisco rapid gentrification. Multiple is another of Kreiter’s finely crafted, emotionally resonant choreographies that also serves the political and social aspirations so basic to her artistry. Sept. 12-20, 333 Golden Gate, SF; http://flyawayproductions.com.

Jose Navarrete and Debbie Kajiyama’s NAKA honors the late Anastasio Hernandez-Rojas with The Anastasio Project. Mexican citizen Hernandez-Rojas, a longtime US resident, died in 2010 after being taken into custody by the US Border Patrol after re-entering the country. For the multidisciplinary Anastasio, NAKA collaborated with the Oakland Eastside Arts Alliance, whose youth are subjected disproportionally to violence and discrimination — and sometimes lose their lives — in conflicts with authority. Two years in the making, NAKA’s project aimed to help these artists develop their own voices. Sept. 19-21, Eastside Arts Alliance, Oakl; http://nkdancetheater.com/anastasio.

Now with a permanent home at Kunst-Stoff, the Mark Foehringer Dance Project/SF has taken on its most ambitious project yet. Besides choreography, Dances of the Sacred and Profane inspired contributions from motion-capture and digital artists and electronic musicians. Dances offers a high-tech encounter with the French Impressionists — radicals in their own days. Sept. 13-14 and 19-21, Cowell Theater, SF; http://www.mfdpsf.org.

Besides being a choreographer for her own Push Dance Company, Raissa Simpson has also a well-defined entrepreneurial spirit. Following the adage that if you want something done, ask a busy person, Simpson put together a two-program “PUSHfest,” spotlighting artists she thought would mesh well together. The idea is to establish cross-cultural communication in a field where too often, you only go and see what you already know. Sept. 19-21, ODC Theater, SF; www.pushdance.org.

Joe Goode Performance Group is bringing back two radically different works that complement each other poignantly. What do they have in common? They speak of vulnerability, self-awareness, and longing. The 2008 Wonderboy, a collaboration with puppeteer Basil Twist, is tender, poetic, and musical. Goode’s solo 29 Effeminate Gestures, now performed by Melecio Estrella, dates back to 1987; it is fierce, proud, and angry. Sept. 25-Oct. 4, Z Space, SF; http://joegoode.org.

A few years ago kathak master Chitresh Das teamed very successfully with tap virtuoso Jason Samuel Smith. Watching and listening to them, you felt dance approaching a state of pure music. Now, in Yatra: Masters of Kathak and Flamenco, Das has perhaps found an even closer spirit in Antonio Hidalgo Paz, whose flamenco ancestors came to Europe from northern India. Sept. 27-28, Palace of Fine Arts, SF; www.kathak.org.

With Jenny McAllister’s 13th Floor Dance Theater, you never know what you’ll get — except that it’ll be wacky, with a skewed sense of humor. For A Wake, the company’s latest excursion into absurdity, McAllister draws inspiration from James Joyce’s Finnegans Wake. I have always been told that the book is a comedy, and perhaps now we’ll find out why. Oct. 16-19, ODC Theater, SF; www.13thfloordance.org.

Dohee Lee is a phenomenon unto herself. Steeped in Korean shamanistic traditions, masked and contemporary dancing, Korean-style drumming, and extended vocal techniques, she brings all of these into play in MAGO, an installation piece in which she looks at the upheaval created by developer of her home island, Jeju. Nov. 14-15, Yerba Buena Center for the Arts, SF; www.doheelee.com.

Both a scientist and a dancer, Katharine Hawthorne asks questions about time — via clocks geological, chronological, biological, and mythic — and the way it manifests itself in our physical bodies. For the intimate Pulse, she recorded her dancers’ heartbeats to explore how their internal senses of time related to external clock time. In The Escapement, she looks at the history of time-keeping, and the way it affects our sense of darkness and light. Nov. 20-23, ODC Theater, SF; www.khawthorne.net.

In its 40th year of teaching and performing, Diamano Coura West African Dance Company reminds us of Oakland’s importance as one of the country’s pre-eminent preservers of deeply held African and Pan-African cultural values. This year’s annual repertory concert includes a piece called M’Balsanney. Nov. 29-30, Laney College, Oakl; www.diamanocoura.org.

Former ODC dancer Private Freeman, who was a soldier and a dancer, inspired Deborah Slater Dance Theater’s world premiere, Private Life. Now in its 25th year, Slater’s company creates intelligently conceived and thoughtfully realized work that challenges established thinking on stage and off. Dec. 11-14, ODC Theater, SF; www.deborahslater.org. *

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In tune

Leo Herrera
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In tune

arts@sfbg.com

DANCE If you have attended any ODC Theater presentations in the last couple of years, chances are you’ll recognize Christy Bolingbroke. Until recently, she was the ODC Theater director, and the one who welcomed audiences with unmatched enthusiasm. Now that she has added ODC deputy director for advancement to her title, she will be able to pour even more energy into two of her passions: performance and connecting audiences with it.

One of her initiatives, the Walking Distance Dance Festival, has offered double bills on two different ODC stages and allowed audiences to discuss the performances while navigating between the venues. During the festival’s late May run, the 300 block of Shotwell Street never looked more alive. Bolingbroke’s latest project is the ambitious, almost month-long Music Moves Festival (July 31-Aug. 24), which looks at the relationship between dance and music.

The timing of the festival, Bolingbroke explains, is tied to ODC’s first Next Moves Summer Intensive, a two-week residency program for professional and budding dancers which ODC hopes to expand into something larger, not unlike the Jacob’s Pillow Dance Festival in Massachusetts. Music Moves is a way to expose these students — and the audience — to different ways of thinking about looking and listening.

Music and dance, of course, have been connected since time immemorial. Many culturally specific genres, such as African, Hawaiian, Indian, and flamenco, are still unthinkable without this symbiotic relationship. Concert dance, ballet included, however, has developed a more ambiguous association with musical compositions. Think of Merce Cunningham’s works, where the sound simply ran along a parallel track to the dance. Today’s choreographers may choose an existing score, commission one, work in tandem with a composer, forego music entirely, or use it solely in the background like wallpaper.

As marketing director for the Mark Morris Dance Group, Bolingbroke became intimately aware of how dance and music inform each other. But she also realized that dance audiences are much smaller than those for music. “So if I can pull in a few more people to see dance because of the music that was used, that is exciting for me,” she says. “We’re not booking the super stars of contemporary dance. This is really for audiences interested in the creative process, and in being able to think about performance in a different way.”

The festival opens with ODC/Dance’s highly popular “Summer Sampler,” which this year includes Brenda Way’s Breathing Underwater, a collaboration with cellist Zoe Keating; Way’s Life Saving Maneuvers, set to a commissioned score by Jay Cloidt; and KT Nelson’s Scramble, her take on a couple dancing to a Bach cello suite.

The festival’s closing night program highlights alumni of ODC’s Pilot program: deaf dancer Antoine Hunter and ballet-trained Milissa Payne Bradley. Says Bolingbroke, “Antoine has interesting things to say about the fact that we hear music, while he feels it. Milissa challenges herself not to start choreography with music, as she had been trained to do.”

Other programs include “Tuesday is Tunesday” setups, with choreographers like Eric Kupers — who started out in modern dance, but with his Dandelion Dance Theater’s Bandelion Ensemble has increasingly blurred lines between dance, music, and community action (Aug 5). There’s also body music pioneer Keith Terry, making a rare local appearance on his home turf with his Corposonic ensemble (Aug 12).

Bolingbroke is also intrigued by the intersection of concert performance and pop culture, so the idea of having a culturally-rooted form like taiko collaborating with a DJ proved irresistible. So for one night it will be San Jose Taiko x The Bangerz in what the program calls “a musical conversation between taiko and hip-hop” (Aug 17).

Also on the pop side of this festival will be Napita Kappor’s Hindu Swing, her fusion of Bollywood and jazz; she shares an evening with Cuba’s salsa band Rueda Con Ritmo (Aug 22-23). Pearl Marill, who likes to meld theater, modern dance, and comedy, will premiere Some Bodies Confessional (Aug 10-11). Irresistibly Drawn, Joe Goode’s evening of song and dance (Aug 3-4), includes former company member Marit Brook-Kothlow and singer-songwriter Holcombe Waller, who will also have his own show (Aug 19).

Kate Weare is returning one more time to set work on ODC’s dancers. Drop Down is her take on the tango, and Still Life with Avalanche is a collaboration with Brenda Way. The evening also features Rande Paufve’s recent Soil, her musing on aging, set to a live cello and piano score (Aug 14-16).

Finally, the young but already much acclaimed Dance Heginbotham will present three works, including one of the late Remy Charlip’s Air Mail Dances (Aug 7-9). Says Bolingbroke, “I have been interested in them for a while, particularly as a 21st century version [of] Mark Morris,” with whom John Heginbotham danced for 14 years. “So it’s exciting to be able to present the company’s West Coast debut.” *

MUSIC MOVES FESTIVAL

July 31-Aug 24, $25-45

ODC Theater

3153 17th St, SF

www.odctheater.org

Great leaps forward

Leo Herrera
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Great leaps forward

arts@sfbg.com

DANCE What the future holds for the most recent crop of dancer-choreographers to graduate from SAFEhouse for the Performing Arts’ Resident Artist Workshop remains to be seen. They may return to the comfort of the studio space at the Garage on Bryant Street for another session of work, work, work. Others might strike out on their own locally, while a few may take off for places like Amsterdam and Lisbon, as other RAW grads have done.

On the basis of five of the possible 10 programs seen last weekend during seventh annual Summer Performance Festival, or SPF7, at ODC Theater, SAFEhouse is doing more than saving the arts from extinction; it is nourishing an extraordinarily broad spectrum of choreographic voices.

Still, SPF’s currently established presentation format needs some rethinking. Scheduling three programs per night, each with a different time slot in two different venues, appears to disadvantage those performing later. Audiences dropped off noticeably during the evening. Since not everyone was able to show a 45-minute work as planned, returning to the more traditional grouping in one venue appears worth considering.

To watch expressions of untamed abandon and fierce control, first in Cali & Co’s Suspect and You Are Here, and then in similar yet so differently realized impulses in Miriam Wolodarski’s Fall Work, was enough to get one’s head spinning. Cali’s excellent Suspect is a tight, highly athletic sextet in which pedestrian moves — a lot of walking and running — build a sense of suspense that becomes increasingly ominous when glances become stares, and accidental bumps turn into shoves. Choreographed in short, intense phrases that get cut off or melt into duets and trios, Suspect is seamless. You, a work in progress, fascinated by the individuality of its sections: a woman systematically folding and unfolding her body; dancers trying to get a foot over their head; versions of boxing thrusts. Hopefully, we’ll see a completed version soon.

Because of the oddities of the programming, I saw Wolodarski’s chaotic Fall Work twice. She is a wild woman whose anarchy is meticulously timed as she works her way toward a gradual revealing of herself as a mount of raw flesh. It’s a piece that embraces physicality to the point of insanity. At first Wolodarski disappears into the shakes and twitches that emanate from her raincoat; at the end, half naked, she collapses after having flung herself into the air again and again. Fall sports some tenderness in a tortuous coupling, and a sense of humor with which the choreographer tries to keep us at arm’s length.

Closing that evening was Ronja Ver’s solo, Dear America, a piece she describes as a “complex declaration of love to the post economic collapse United States of America.” Quite a topic. Ver is a strong, at times mesmerizing performer, more interesting to watch than her choreography. Dear has some well defined theatrical impulses, as when an outstretched hand acquires ambiguous power, or a trembling motion evolves into different characters, or her take on kissing the ground of one’s country. But the piece needs to be better defined.

SPF7 opened with Jaara Dance Project, a young company that works on the intersection of experimental and traditional African dance. To see these strong, so very individual women express themselves with a contemporary sensibility rooted in African dance values made you want to see more of what they do.

The programming, however, was a little problematic. Musically speaking, having the two parts of Red Clay divided by Other Halves, a duet set to Arvo Part’s “Spiegel,” was jarring. Considering the score, Martha L. Zepeda and Kao Vey Saephanh also took a rather stiff, awkward approach to their duet.

In the opening Red Clay: Not One, choreographer Baindu Conté-Coomber introduced lacy hand gestures for a trio of women on folding chairs that they later carried on their heads like water jugs. The solos showcased Zepeda in an angular dramatic vein, while Jaade Green, gifted with a strong liquid back, performed with exuberant lyricism.

In Red Clay: Not Two, Conté-Coomber took over the stage in a fleet and finely detailed solo that celebrated her identity with its recurring refrain of “I am not afraid of my life…” Fragmentary pieces of text read by volunteers created a bond between the audience and the dancer.

In another time slot, Anata Project was co-billed with Unum Dance. Both companies deserve to be seen again. Claudia Anata Hubiak’s quietly circular and well-shaped HomeBody seemed pushed along an inexorable trajectory toward individuation that got re-absorbed into a communal identity. Ashille Kirby was the soloist who soared for but a moment. Unum’s short Working Title showcased Diana Broker, a fine expressive dancer, and a hooded Michael Michalski as … her memory? Her shadow? Her inspiration? Take your pick. 2

 

Scare and scare alike: zombies, maggots, and more at ‘BAASICS.5: Monsters’

Sue Vaughan
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Scare and scare alike: zombies, maggots, and more at ‘BAASICS.5: Monsters’

“We stopped checking for monsters under our beds when we realized they were inside us,” reads a quote often misattributed to the Joker in 2008’s The Dark Knight. The presenters at July 14’s “BAASICS.5: Monsters” event at ODC Theater capitalized on this concept, examining both modern monsters (though not “cars and corn syrup,” as one emcee mentioned at the beginning of the event) and monsters of yore. 

In past years, the organization has explored provocative topics such as the future (more weighted toward a possible uprising of robots rather than the nagging question “What am I going to do with my life?”) and psychiatric and neurologic disorders by juxtaposing science and art. It’s easy to find the right balance between the two for these past themes, but I wasn’t quite sure what to expect from this year’s event. 

It ended up being a lot less grisly than I’d imagined — with the exception of a video clip depicting maggots violating a honeybee. (I can never unsee that.) I felt as though I were in a college lecture hall, viewing PowerPoints — which were much more aesthetically pleasing than the Papyrus-laden slides my freshman year history professor used — and listening to professors, each with an exceptionally dry sense of humor. 

Presenters, ranging from shark conservationists to artists, shared their definitions of a monster, often turning the tables on common misconceptions. David McGuire revealed that more people die from vending machines than from shark attacks, emphasizing how it’s truly a man-eat-shark world out there today. (Ahem, shark fin soup…) Closing presenter Brynda Glazier tackled societal expectations of beauty and normalness, drawing inspiration from her personal life as her brother is disabled, expressing this through seemingly ugly and monstrous sculptures. 

BAASICS’ associate content producer Georgeann Sack — described in the program as a “neuroscientist by day and science communicator by night” — also performed low-key acoustic songs as a segue between presentations. In fact, her music was so low-key that I often had trouble hearing and understanding her, although I’m sure the lyrics to her song “Vampire Love Song” were clever. Sack’s standout performance was her rendition of the Creepshow’s “Zombies Ate Her Brain,” which sounded a little like a singer-songwriter’s DIY GarageBand-recorded music. 

However, the biggest letdown of the event were the short videos. With topics such as malaria research and glowing plants, the videos had potential but ultimately came off as too sterile. The two video shorts seemed as though they were filmed with a cheap digital camera — that highlighted distracting background noise while researchers spoke — and edited in iMovie. Other audience members were just as unimpressed as my friend and I were — I heard some people in the row behind us begin a slow clap after the second video. 

Art and science weren’t exactly joined in holy matrimony at this event. To me, BAASICS.5 was more like an evening well spent in your friend’s apartment — you know, the friend with a great appreciation for art who’s basically a living, breathing encyclopedia of weird shit — and can talk endlessly about it. Bring up Bigfoot and they’ll mention how the highest number of reported Bigfoot sightings originate from Humboldt County and slyly attribute this to the inhabitants’ altered perceptions. And did they mention how there’s a pseudo-porno titled Bigfoot’s Wild Weekend? (Here’s looking at you, Jill Miller!) Maybe zombies are more up your friend’s alley and they created an amazingly detailed zombie survey for people to fill out. (Your hard work definitely paid off, George Pfau.)

As for me, I checked off “Zombies are Vaudeville performers,” “The apocalypse is ‘the big one,’” and “After death, you take harp lessons” as my answers to Pfau’s zombie survey, which I picked up in the lobby afterwards. The real highlight of the event was being exposed to modern takes on tales as old as time, if the outside of the survey brochure, a Where’s Waldo-inspired scene even featuring Michael Jackson from his “Thriller” days, is anything to go by. 

Meta-morphosis

Leo Herrera
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1
Meta-morphosis

arts@sfbg.com

DANCE Visiting from Los Angeles, the Berkeley-born Arianne MacBean introduced the Bay Area to her Big Show Co. via two works. The elaborately titled The People Go Where the Chairs Are dates from 2012; the more condensed present tense was a world premiere. Both pieces intrigued by putting on stage the process the artists go through trying to give life and shape to something inchoate.

For MacBean, for whom language is integral to her dance-making, the challenge was that words both embody but also confine meaning. This intrinsic but probably unsolvable conundrum is at the base of the quirky, often equally funny and poignant People.

Dancers may well recognize themselves in this depiction of the struggle, frustrations, and rewards that the creative process of their practice involves. The rest of us witnessed an amusing, insightful, and lively performance of the process it takes to make an amusing, insightful, and lively performance.

People is more language-based than movement-oriented, and it did suffer from the same disadvantages as many such works. Dancers in general still are not adequately trained to communicate verbally. People’s dancers for the most part did well, but perhaps some unobtrusive body mics might have helped.

As we walked into the theater, performers blocked the stage into a set of overlapping squares. Somewhere off stage, a pianist plinked down isolated notes. One of the dancers wrote down an Alcoholics Anonymous-style 12-step scenario, whose items were erased as accomplished throughout the evening.

As the lights went down, each dancer grabbed a folding chair; rather than being shaped into a “dance,” the chairs were used to bring about collisions, bad feelings, and chaos. So they started over, chattering heatedly about finding an inspiration. Pina Bausch tops the list; however, she is dead. Something like “the dance” will have to do. This brainstorming session about meaning, inspiration, essence, and genuineness was hilarious, and yet almost unbearable to sit through.

Concrete suggestions fall flat. Angelina Attwell demonstrates “a dance I once saw;” it was fierce and left her spent, which scared the rest of them. Later, she had an I-hate-dance moment in which, assisted by her colleagues, the chairs started flying and crashing around her. All joined Max Eugene’s free-for-all, but they could never actually put a “joyous” dance on stage. Eugene’s lack of comprehension and his colleague’s disdain of spontaneous expression spoke volumes about ingrained attitudes in the dance world.

Genevieve Carson’s witty monologue, shadowed by gesticulating males, took on how choreographers use dancers’ contributions to fill transitions. It probably struck a nerve among the dancers in the audience.

Smaller, quieter moments didn’t need language. Challenged to be “genuine,” Eugene simply stood and looked into the audience until his fearful colleagues joined him. There was also a point when the audience was supposed to “participate,” and the dancers leaned on chairs, whispering, inviting us but knowing full well that nobody would step up.

In the serious yet entertaining People we see the dancers both as performers and the people they are, or at least the personas they assumed. Their bravery, their struggle, their anger, and their sense of being in this together despite the odds was something that spoke clearly and effectively.

present tense was a much quieter but also more tightly constructed work in which each moment seemed full of portent. The title, as an intermission discussion between choreographer MacBean and ODC Deputy Director Christy Bolingbroke pointed out, refers to the present moment, but also to the intense presence that is required in a performance.

Verbal language entered here as fragmentary phrases or single words, which acquired meaning in the way they are spoken, screamed, thrown about, casually chained to each other. At one point they simply disappeared into sound that is part of pure physical frustration.

In the opening passage, both Eugene and Carson seemed encased in their own worlds. He stood, and in Butoh-like fashion incrementally opened his arms and shifted his balance ever so slowly. You had to keep looking to see the moves. In contrast, the robotic Carson jerked herself like a mechanical doll onto the ground and up again. Attwell and Brad Culver slowly worked their way across the stage on their backs. The contrast between vertical and horizontal planes suggested a self-contained space that changed very slowly. But then these isolated beings tried to connect, and raced around trying to catch a hand like a lifeline. In twos, they were restrained even as they reached out. That section went on too long. Despite the constant shifting of partners, these parts did not accumulate. More effective was they way they shouted fragments, or single words that would make a sentence, at each other. It all started with Attwell’s silent scream. *

http://thebigshowco.com/

 

Stage Listings: June 11-17, 2014

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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 listings@sfbg.com.

THEATER

OPENING

“The Bakla Show 3” Bindlestiff Studio, 185 Sixth St, SF; http://baklashow3.bpt.me. $10-20. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm. Through June 28. Three short works focusing on the struggles of Pinoy LGBT youth.

Body of Water Southside Theater, Fort Mason Center, Bldg D, Third Flr, Marina at Laguna, SF; www.brownpapertickets.com. $15-35. Opens Fri/13, 7:30pm. Runs Fri-Sat, 7:30pm; Sun, 2:30pm. Through June 28. A Theatre Near U presents an original indie-rock teen musical, with songs by Jim Walker.

The Weir Shelton Theater, 533 Sutter, SF; www.sheltontheater.org. $38. Opens Thu/12, 8pm. Runs Thu-Sat, 8pm. Through July 12. Shelton Theater performs Conor McPherson’s acclaimed tale about a spooky night in an Irish pub.

BAY AREA

American Buffalo Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Previews Fri/13-Sat14 and June 18, 8pm; Sun/15, 2pm; Tue/17, 7pm. Opens June 19, 8pm. Runs Tue and Sun, 7pm (also Sun, 2pm); Wed-Sat, 8pm. through July 13. Aurora Theatre closes its 22nd season with David Mamet’s powerful drama.

ONGOING

Brahmin/I: A One-Hijra Stand-Up Comedy Show Thick House, 1695 18th St, SF; www.crowdedfire.org. $15-35. Wed-Sat, 8pm. Through June 28. Crowded Fire Theater presents Aditi Brennan Kapil’s “outrageous play masquerading as a stand-up comedy routine.”

The Crucible Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $10-35. Thu/12-Sat/14, 8pm; Sun/15, 7pm. Custom Made Theatre Co. performs Arthur Miller’s drama.

Devil Boys From Beyond New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through June 28. New Conservatory Theatre Center performs Buddy Thomas and Kenneth Elliot’s campy sci-fi saga.

Each and Every Thing Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $20-50. Previews Thu/12-Fri/13, 8pm. Opens Sat/14, 8:30pm. Runs Thu-Fri, 8pm; Sat, 8:30pm. Through July 12. Dan Hoyle presents his latest solo show, about the search for real-world connections in a tech-crazed world.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat-Sun, 5pm. Extended through July 13. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

God Fights the Plague Marsh San Francisco Studio Theater, 1062 Valencia, SF; www.themarsh.org. $15-100. Previews Sat/14, 8:30pm; Sun/15, 7pm. Opens June 21, 8:30pm. Runs Sat, 8:30pm; Sun, 7pm. Through Aug 10. The Marsh presents a solo show written by and starring 18-year-old theater phenom Dezi Gallegos.

Homo File CounterPULSE, 1310 Mission, SF; www.counterpulse.org. $20-35. Fri/13-Sat/14, 8pm; Sun/15, 7pm. Writer-designer-director Seth Eisen’s homage to queer rebel Samuel Stewart (1909–1993), whose polymorphous career spanned the better part of the 20th century, was last seen at CounterPULSE in a trim and appealing 40-minute version that capped his artistic residence there in 2012. Since then the work has ballooned across two acts and, unfortunately, lost its focus. What was a compact but meaningful exploration of a polymath and sexual rebel, boldly negotiating the social hierarchies of a deeply repressive and homophobic culture, has become a vague, sometimes difficult to follow story with little more to recommend it than a hedonistic joie de vivre (though even the raunch feels listless and somewhat perfunctory). The expanded production still sports the playful puppetry (shadow and otherwise), overhead and video projections, and aerial choreography of the original — and these do produce some interesting or enjoyable moments — but the show’s polyphonic elements get drastically watered down in a sprawling, lumbering, and unevenly performed dramatic narrative. This is marked by a lot of leaden dialogue and underwhelming songs in scenes that feel either unnecessary or under-explored. The subject (played dutifully but without much illumination by Brian Livingston), along with a seven-actor ensemble of supporting characters, traverses the mutually exclusive worlds of academia and the literary avant-garde (where Michael Soldier as both sexologist Alfred Kinsey and Gertrude Stein is a notable treat); the working-class homosexual underworld of sailors and tattoo parlors; and even the conventionality of a part-time heterosexual romance (where a nicely understated Katharine Otis as Emmy Curtis begins to cast an intriguing angle on Stewart’s complex makeup). But the import of Stewart’s unique vantage and influence on it all as well as his peculiar aloofness in the midst of everything are fuzzily evoked at best. For all the media employed to depict him and his world, we come away with little sense of either. (Avila)

The Homosexuals New Conservatory Theatre Center, Decker Theatre, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through June 28. This mildly intriguing and fitfully engaging drama from rising Chicago playwright Philip Dawkins (whose Failure: A Love Story is currently having its Bay Area debut at Marin Theater Company) explores the tensions — sexual, generational, and otherwise — among a small circle of mostly gay friends via a central figure, Evan (a sharp Robert Rushin), who ends up in relationships with almost everyone. Beginning in 2010, as 29-year-old Evan breaks up with older histrionic theater director Peter (a drolly world-weary Matt Weimer), each successive scene jumps back two years and one relationship, until the final scene unites the entire circle as they welcome naïve Iowa teen Evan out of the closest and to the big city. It’s also a new millennium, of course, some distance now from Stonewall and the first wave of the AIDS crisis, and one of the more interesting aspects of the drama (which benefits from an overall strong cast under the direction of Arturo Catricala) is the generational divide between Evan and his circle. This divide feels downright political in the aggressive showdown between Evan and the apathetic art teacher and predatory libertine Mark (a persuasive Keith Marshall), but there’s a political edge at the outset, in Evan’s pointed refusal to join Peter in referring to himself as a “homosexual,” insisting instead on the word “gay” tout court. Despite this underlying issue and some witty dialogue, however, there’s little of interest in most of the dynamics between Evan and his circle. The play’s structure accordingly becomes a slightly tedious countdown, at least until the final scene, which cashes in on the power of hindsight to produce a limited, wistful tremor of reflection. (Avila)

In the Tree of Smoke Great Star Theater, 636 Jackson, SF; www.brownpapertickets.com. $25. Thu-Sat, 8pm. Through June 28. Circus Automatic performs an new evening of immersive, experimental circus.

Macbeth Fort Point (beneath the Golden Gate Bridge), SF; www.weplayers.org. $30-75. Thu-Sun, 7pm. Through June 29. We Players’ latest site-specific undertaking is nothing less than the Scottish play at San Francisco’s historic Civil War-era Fort Point, under the southern base of the Golden Gate Bridge. And a better location for Shakespeare’s brooding, bloody, and spooky civil war drama is hard to imagine. The grandeur of the multi-story red-brick edifice with its mammoth steel doors, magnificent inner courtyard, graceful arches, spiral stairwells, mysterious passageways, canon casemates looking onto the Pacific — as well as old canons and cannonballs — add up to a deeply atmospheric setting. Moreover, directors Ava Roy and John Hadden and their production team make good use of it, moving the audience around the grounds for the better part of three hours amid picturesque staging of scenes, a wonderfully powerful quartet of musicians (made up of percussionist Brent Elberg, trumpeter Aaron Priskorn, saxophonist Charlie Gurke, and trombonist Mara Fox alternating with Rick Brown), and reverberant cries from the weyard sisters (Julie Douglas, Maria Leigh, Caroline Parsons), the enraged MacDuff (Dixon Phillips), or usurper Macbeth’s hapless victims. As the titular hero-villain, John Hadden is generally imposing if not always convincing, while Ava Roy’s forceful Lady M cuts an elegant, at times ethereal figure in her magnificent black gown (the admirable costumes throughout are by Julia Rose Meeks and Master Seamstress Dana Taylor). In general, the acting proves the weakest link, but the overall spectacle makes this a unique and rather compelling outing. (Avila)

The Orphan of Zhao ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Opens Wed/11, 8pm. Runs Wed-Sat and June 24, 8pm (also Wed and Sat, 2pm); Tue/17, 7pm. Through June 29. Tony winner BD Wong stars in James Fenton’s acclaimed Chinese-legend adaptation at American Conservatory Theater.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Extended through June 28. Five years ago, Thrillpeddlers breathed new life into a glitter-dusted piece of Sixties flotsam, beautifully reimagining the Cockettes’ raunchy mock-operetta Pearls Over Shanghai (in collaboration with several surviving members of San Francisco’s storied acid-drag troupe) and running it for a whopping 22 months. Written by Cockette Link Martin as a carefree interpretation of a 1926 Broadway play, the baldly stereotyped Shanghai Gesture, it was the perfectly lurid vehicle for irreverence in all directions. It’s back in this revival, once again helmed by artistic director Russell Blackwood with musical direction by Cockette and local favorite Scrumbly Koldewyn. But despite the frisson of featuring some original-original cast members — including “Sweet Pam” Tent (who with Koldewyn also contributes some new dialogue) and Rumi Missabu (regally reprising the role of Madam Gin Sling) — there’s less fire the second time around as the production straddles the line between carefully slick and appropriately sloppy. Nevertheless, there are some fine musical numbers and moments throughout. Among these, Zelda Koznofsky, Birdie-Bob Watt, and Jesse Cortez consistently hit high notes as the singing Andrews Sisters-like trio of Americans thrown into white slavery; Bonni Suval’s Lottie Wu is a fierce vixen; and Noah Haydon (as the sultry Petrushka) is a class act. Koldewyn’s musical direction and piano accompaniment, meanwhile, provide strong and sure momentum as well as exquisite atmosphere. (Avila)

Seminar San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $20-100. Wed/11-Thu/12, 7pm; Fri/13-Sat/14, 8pm (also Sat/14, 3pm). San Francisco Playhouse performs Theresa Rebeck’s biting comedy.

“Sheherezade 14” Exit Theater, 156 Eddy, SF; www.playwrightscentersf.org. $25. Thu-Sat, 8pm. Through June 21. The Playwrights’ Center of SF and Wily West Productions host this annual festival of fully-produced short plays.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $65-100 (gambling chips, $7-10 extra; after-hours admission, $10). Wed-Sat, 7:30, 7:40, 7:50, 8pm, and 9pm admittance times. Extended through June 21. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

36 Stories by Sam Shepard Z Below, 470 Florida, SF; www.36stories.org. $35-55. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through June 22. Word for Word has been at the business of putting literature on the stage, verbatim, for some time, and far from slowing down, this new production shows the company operating at the height of its powers. Among the best manifestations of the company’s particular concerns and talents, 36 Stories by Sam Shepard not only shows off the considerable virtues of Shepard’s short-story writing (usually overshadowed by his justly acclaimed plays) but unfolds as a stellar piece of theater in its own right. Shrewdly adapted and directed by company charter member Amy Kossow, the production repeatedly finds opportunities in the writing for dramatic transmission and exchange among the performers — a kick-ass ensemble composed of Patrick Alparone, Carl Lumbly, Delia MacDougall, JoAnne Winter, and Rod Gnapp as “The Writer” — the latter a sleepless wanderer crisscrossing the country by car, from whose head and manual typewriter the low characters, tall tales, and electrical encounters issue forth with sharp, sometimes zany humor; smoldering sexual heat; and a shapeless foreboding. Word for Word’s loyal fans need little encouragement, but all interested in a gratifying night in the theater will want to catch this one before it goes. (Avila)

Too Much Light Makes the Baby Go Blind Boxcar Theatre, 505 Natoma, SF; www.sfneofuturists.com. $11-16. Fri-Sat, 9pm. Ongoing. The Neo-Futurists perform Greg Allen’s spontaneous, ever-changing show that crams 30 plays into 60 minutes.

Triassic Parq Eureka Theater, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Wed-Sat, 8pm (also June 21 and 28, 2pm). Through June 28. Ray of Light Theatre presents the Bay Area premiere of Marshall Pailet’s musical involving “dinosaurs, show tunes, and sex changes.”

Walk Like A Man Costume Shop, 1117 Market, SF; www.therhino.org. $15-35. Wed/11-Sat/14, 8pm; Sun/15, 3pm. Falling in love with your boss, surviving child abuse, losing a loved one in war, dealing with your straight daughter’s shame around her mom’s butch wardrobe — these are only a few of the circumstances encountered in a raucous and affecting evening of celebrating desire and being true to yourself, as Theatre Rhinoceros presents 10 stories of love and sex among a diverse set of African American women. Culled from the titular collection of erotic fiction by Atlanta-based author Laurinda D. Brown, the evening unfolds with a pert and playful finesse thanks to director John Fisher and a strong, charismatic five-women ensemble (made up of Alexaendrai Bond, Kelli Crump, Nkechi Emeruwa, Daile Mitchum, and Desiree Rogers). Sexy and brazen, raunchy and wrenching, this series of vignettes, spread out over two acts, comes with nary a dull moment and plenty of climaxes. (Avila)

BAY AREA

Candida Town Hall Theatre, 3535 School, Lafayette; www.townhalltheatre.com. $20-32. Thu/12-Sat/14, 8pm. Town Hall Theatre performs the Shaw classic.

The Crazed Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through June 23. Central Works performs Sally Dawidoff’s play, based on Ha Jin’s novel about coming of age in Communist China.

Daylighting: The Berkeley Stories Project Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm (June 22, show at 2pm). Through June 22. Shotgun Players present Dan Wolf’s new play inspired by real-life tales from Berkeley residents past and present.

Dead Man’s Cell Phone Masquers Playhouse, 105 Park Place, Point Richmond; www.masquers.org. $22. Fri-Sat, 8pm; Sun, 2pm. Through June 28. Masquers Playhouse performs Sarah Ruhl’s imaginative comedy.

Failure: A Love Story Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Tue and Thu-Sat, 8pm (also Sat/14 and June 28, 2pm; June 19, 1pm); Wed, 7:30pm; Sun, 2 and 7pm. Through June 29. Marin Theatre Company performs Philip Dawkins’ play about love and loss, with puppets and live music.

Hershey Felder as Leonard Bernstein in Maestro Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; www.berkeleyrep.org. $29-87. Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through June 22. Juno-winning actor and musician Hershey Felder (George Gershwin Alone) performs his latest solo show.

The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-89. Tue, Thu-Sat, 7:30pm (also Sat and June 26, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through June 29. Berkeley Rep’s Tony Taccone, a comrade of Tony Kushner’s from way back in the Angels in America days, directs this revised version of the playwright’s 2009 play, whose long title is a riff on an earlier one by George Bernard Shaw. It concerns the fractured Italian American family of a diehard Communist longshoreman named Gus (Mark Margolis in an impressive, anchoring performance), now retired, who has announced his intention to kill himself and leave his Brooklyn brownstone to the grown children to sell and divide among themselves. In today’s inflated real estate market, that’s not chump change either. His announcement plunges the family into chaos, though truth be told they were all kind of a mess already. Son Pill (Lou Liberatore) is a married gay high school history teacher having a torrid affair with a young hustler (Jordan Geiger), which has already cost him $30,000 of his sister’s hard-earned money. His sister, Empty (Deidre Lovejoy), meanwhile couldn’t care less about the baby to whom her partner (Liz Wisan) is about to give birth, courtesy of the donated sperm from her kid brother Vito (Joseph J. Parks) — who comes across as the contrarian of the family: he’s neither gay nor a Communist. Other significant others are on hand, as well as Gus’s sister Clio (an effective, comically deadpan Randy Danson), a onetime nun who later became a Maoist in Peru and now seems some sloshy mix of the two. And for that reason she, along with Gus, symbolizes more than most the real dilemma here: a lack of something to believe in, of a structure for explaining and shaping experience and modeling action toward a better (post-capitalist) world. At nearly four hours, the play is Kushner’s version of the great American three-act family drama — those personal yet prophetic portraits by your O’Neills, your Millers, your Shepards. Tracy Letts made a similar bid with 2007’s August: Osage County. I don’t think either play really makes it into the pantheon, but while Letts’ play was ultimately slicker, more entertaining, Kushner’s has more in it, more to talk about of real relevance. Not that the production isn’t also entertaining — stage business with pregnant lesbians and mysterious briefcases buried in the wall are deployed to elating effect. But the play’s various subplots and characters are not equally interesting and the machinations of the plot and the sometimes-overlapping dialogue can be overwrought. But despite the tedium this produces, the political questions opened up here are liable to continue rattling around the brain after the curtain comes down, leaving one with a small but worthwhile buzz. (Avila)

Marry Me A Little Mountain View Center for the Performing Arts, 500 Castro, Mtn View; www.theatreworks.org. $19-73. Tue-Wed, 7:30pm; Thu-Sat, 8pm (also Sat, 8pm); Sun, 2 and 7pm. Through June 29. TheatreWorks performs Stephen Sondheim’s intimate musical.

Nantucket Marsh Berkeley MainStage, 2120 Allston, Berk; www.themarsh.org. $25-100 (all tickets include a picnic dinner). Thu and Sat, 7pm. Extended through July 19. Nantucket Island, a wisp of shifting sand 30 miles off the coast of Cape Cod, Mass., is the evocative setting for this autobiographical story from writer-performer Mark Kenward — less the tourists’ Nantucket of summer holidays, mind you, than the inhabitants’ gray and isolated winter. And just as its bleak weather stood for the tempestuous mood of Herman Melville’s Ishmael before he sets sail again in Moby Dick, so the environment for Kenward’s coming-of-age darkly foreshadows a terrible downward spiral. The only son and oldest child of two in a nuclear family from Normal, Ill., that really seemed to fit the bill — complete with a dad who, “in his entire life, only missed four days of shaving” — Mark becomes the odd-boy out upon the Kenwards’ relocation to the remote island. An affable, poised, physically demonstrative performer with a residual Midwestern charm, Kenward describes an upbringing in a household overshadowed by a high-strung, controlling, deeply unhappy mother who, as luck would have it, also becomes his high school English teacher. This relationship is the ground for much of the play’s humor, but also a trauma that blows in like a winter squall. Directed keenly, if perhaps a little too stiffly, by Rebecca Fisher, and accompanied at points by a watery island backdrop (courtesy of video designer Alfonso Alvarez), Nantucket discharges some of its messy human themes a bit too neatly but maintains an inescapable pull. (Avila)

Other Desert Cities Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $10-26. Thu/12, 7:30pm; Fri/13-Sat/14, 8pm; Sun/15, 2pm. Ross Valley Players perform Jon Robin Baitz’s Pultizer-nominated drama about a tense family holiday.

South Pacific Cushing Memorial Amphitheater, 801 Panoramic Hwy, Mill Valley; www.mountainplay.org. $20-60. Sun/15, 2pm (arrive one hour prior to show time). Mountain Play Association performs the classic Rodgers and Hammerstein musical.

The 25th Annual Putnam County Spelling Bee Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.centerrep.org. $37-65. Wed, 7:30pm; Thu-Sat, 8pm (also Saturdays in June, 2:30pm); Sun, 2:30pm. Through June 21. Center REP performs the Tony-winning musical by William Finn and Rachel Sheinkin.

PERFORMANCE/DANCE

“Bitch and Tell: A Real Funny Variety Show” Kunst-Stoff Arts, One Grove, SF; www.brownpapertickets.com. Fri/13-Sat/14, 8pm. $8-10. Footloose presents this variety show with Bob McIntyre, Nick Stargu, Carolina “CoiCoi” Duncan, and others.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. June 22, 29, July 12, 19, and 27, 6:30pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Dash: Improv in a Flash” Un-Scripted Theater Company, 533 Sutter, Second Flr, SF; www.un-scripted.com. Sat, 10pm. $15. Ongoing through Aug 30. A late-night, free-form improv show with Un-Scripted Theater Company.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/11, 9:30pm. Free. Drag with Collette LeGrande, Ruby Slippers, Sophilya Leggz, Bobby Ashton, and more.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: “Judy Kaye Sings Bernstein and Sondheim,” Thu/12-Fri/13, 8pm, $35-50; Christine Ebersole in “Strings Attached,” Sat/14-Sun/15, 7pm, $60-85.

“Global Dance Passport Showcase” ODC Dance Commons Studio B, 351 Shotwell, SF; www.odctheater.org. Sat/14, 8pm; Sun/15, 4 and 7pm. $10. ODC presents a sampler of world dance.

“Hubba Hubba Revue’s Burlesque Nation” DNA Lounge, 375 11th St, SF; www.dnalounge.com. Fri/13, 9:30pm. $15-30. Burlesque performers from NY, Miami, LA, Germany, Australia, and more.

“Imaginary Activism: The Role of the Artist Beyond the Art World” Modern Times Bookstore Collective, 2919 24th St, SF; (415) 282-9246. Sat/14, 8pm. Free. A new monologue by acclaimed performance artist Guillermo Gomez Peña.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

Natasha Carlitz Dance Ensemble Dance Mission Theater, 3316 24th St, SF; www.carlitzdance.org. Fri/13-Sat/14, 8pm. $15-18. Performing Momentum, dance works exploring the magic of mathematics.

“Out of Line Improv” Stage Werx, 446 Valencia, SF; outoflineimprov.brownpapertickets.com. Sat, 10:30pm. $12. Ongoing. A new, completely improvised show every week.

“Rites and Passages” Nourse Theatre, 275 Hayes, SF; www.cityboxoffice.com. Sat/14, 8pm. $18-36. The San Francisco Girls Chorus closes its season with a concert of music by Eastern European composers (Bartók, Stravinsky), plus performances by the Joe Goode Performance Group and pianists Kanoko Nishi and Sarah Cahill.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. $5-10. “New Talent Show,” Wed-Thu, 7. Ongoing. “The Cellar Dwellers,” stand-up comedy, Wed-Thu, 8:15pm and Fri-Sat, 7:30pm. Ongoing.

“Sojourners” Commonwealth Club of California, 595 Market, SF; www.magictheatre.org. Mon/16, 6pm. Free. Staged reading of Nigerian storyteller Mfoniso Udofia’s new work. Presented as part of the Magic Theatre’s Martha Heasly Cox Virgin Play Series.

“This Lingering Life” Z Space, 450 Florida, SF; www.theatreofyugen.org. Previews Thu/5, 7pm. Opens Fri/6, 8pm. Wed/11-Thu/12, 7pm; Fri/13-Sat/14, 8pm. $15-50. Theatre of Yugen performs the world premiere of Chiori Miyagawa’s drama, inspired by nine Japanese Noh plays from the 14th century.

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Free. Through Oct 26. This week: Destani Wolf, Thu/12, 12:30-1pm; Venezuelan Music Project, Fri/13, 11-11:30am; “The Art of the Descarga” with the John Santos Sextet, Sat/14, 1-2:30pm; Native Contemporary Arts Festival, Sun/15, noon-3pm; “Poetic Tuesday,” Tue/17, 12:30-1:30pm.

BAY AREA

“Immigrant Stories: Personal Stories Honoring the Immigrant Experience” La Peña Cultural Center, 3105 Shattuck, Berk; www.livingartsplayback.com. Sat/14, 8pm. $18-20. Playback Theater presents an evening dedicated to honoring the experiences of immigrants, with audience input guiding the performance.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“The Next Big Thing” Laney College Theater, 900 Fallon, Oakl; www.bigmoves.org. Sat/14, 8pm; Sun/15, 2pm. $18. Big Moves presents its all-new dance and music spectacular, featuring residence dance company emFATic DANCE.

“Precious Drop: Our Relationship to Water” Malonga Casquelourd Theater, 1428 Alice, Oakl; www.afriquesogue.com. Sat/14, 7pm; Sun/15, 2pm. $10-15. Live music, dance, and multimedia elements contribute to this contemplation of water and culture, inspired by African folklore.

“Virago Theatre Company New Play Reading Series” Flight Deck, 1540 Broadway, Oakl; www.theflightdeck.org. Wed/11, 5:30pm; June 18, 25, and July 2, 7pm. Wed/11, $10-25; other dates free. This week: Danii Kharms: A Life in One Act and Several Dozen Eggs by Nancy Cooper Frank. *

 

Stroll tide

Leo Herrera
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0
Stroll tide

arts@sfbg.com

DANCE The third Walking Distance Dance Festival — basically three programs of two pieces over two days — was modest in scale. Audience members may have traveled only half a block between venues for this fringe-style event, yet as curated by ODC Theater Director Christy Bolingbroke, these short trips became adventures.

Running through the festival was a simple question: What do we do with what we have? Dance works used to be considered moments in time that left behind only fading footprints. No longer. Dance historians have unearthed huge chunks of the past, and the Internet, with YouTube at its core, opens much of it at the click of a key. Besides, like it or not, the past is part of who we are. We can’t get away from it.

In the festival’s opener, the question for Lionel Popkin became how he, with an Indian mother, was supposed to look at Ruth St. Denis, the pioneering modern dancer who dabbled in what she saw as Indian dance. With the brilliant and sharp Ruth Doesn’t Live Here Anymore, Popkin attacked the complexities of these issues with humor, much of it self-effacing, and vigorous dancing for himself, Emily Beattie, and Carolyn Hall. They pushed along the floor and rolled over each other; they also dived into the unholy mess of St. Denis’ fixation on veils as they subverted her pedantic instructions for Nautch, her most famous work. Master accordionist Guy Klucevsek’s score, performed live, was superb.

The festival ended with Amy O’Neal’s cheekily titled solo The Most Innovative, Daring, and Original Piece of Dance/Performance You Will See this Decade. O’Neal is a stunningly captivating performer who slides in and out of hip-hop, club, modern, and even some balletic dancing. She may have been alone on stage, but with her are Dorothy’s red slippers and choreography from music videos by Ciara and Janet Jackson, freely adapted but still recognizable. An accompanying projected text addressed issues of influences (borrowed, stolen, honoring, or accidental) on the creative process. Make them your own, O’Neal asserted. She did.

So did Doug Elkins Choreography, Etc.’s high wire comedy act Hapless Bizarre, in which voguing and musical theater ran smack into vaudeville and physical clowning. The superb Mark Gindick played the clueless outsider who wormed his way into an haute monde — in every sense of that term since all but one of the other performers towered over him. Starting with an elaborate hat trick, the dancers marvelously picked up on voguing’s haughty and competitive struts and poses. As Hapless moved on to romance, the intensity of pratfalls, rejections, and increasingly hopeless entanglements become even more frantic. Glad to say that Gindick finally got the girl.

Three local groups also participated in this fine festival. Garrett + Moulton Productions reprised its A Show of Hands, which premiered last October in the Jewish Community Center of San Francisco’s airy lobby. Dan Becker’s excellent score, performed live, still sounded wonderful.

At ODC, Show, inspired by Charles Moulton’s drawing of hand gestures that were projected as a backdrop, looked tighter and more focused. Hand gestures — so often neglected in Western dancing — came into their own. They poked, touched, and reached. With the dancers stacked on pedestals, their fingers resembled trembling butterflies. But the hands also lifted and carried three of the musicians in a funeral procession, leaving an elegiac cellist behind.

Show offered marvelously full-bodied and fluid dancing with phrases that flew, sank, or simply disappeared into the wings. Nol Simonse injected a comedian’s touch into his duet with Dudley Flores. Newly blond Vivian Aragon, a fiercely balletic dancer, attacked every move as if it were her last. No wonder she could grab and lift Simonse like a puppet.

Show was paired with an excerpt of Bhakti: Women’s Liberation of Love by Kathak dancer Rachna Nivas, in which she attempted to portray Hindu mystic and poet Meerabai as a proto-feminist. An exquisite dancer with a refined sense of rhythmic acuity who is well-schooled in male-female roles, Nivas charmed as the girl devoted to Krishna, but her telling of other aspects of Meerabai’s life needed more complexity.

The festival’s most haunting dancing came from Headmistress dancers Amara Tabor-Smith and Sherwood Chen. Shame the Devil explored the process of what Tabor-Smith calls becoming a crone. Hopping in place and becoming very still, her intensity mesmerized as she called up several lifetimes’ worth of states of being. She should, however, ditch her auxiliary performers.

Mummified in layers and layers of clothing, Chen’s Mongrel channeled Dervish dancing — until he stripped down to acquire a more authentic but also more vulnerable identity. Though it’s a borrowed metaphor, Mongrel convinced because of the rigor and consistency that Chen imposed on his dance making. Replacing Moroccan with Brazilian music, however, seemed just a touch too simplistic. *

 

Stage Listings: May 28-June 3, 2014

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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 listings@sfbg.com.

THEATER

OPENING

Devil Boys From Beyond New Conservatory Theatre Center, 25 Van Ness, SF; www.nctcsf.org. $25-45. Previews Wed/28-Fri/30, 8pm. Opens Sat/31, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through June 28. New Conservatory Theatre Center performs Buddy Thomas and Kenneth Elliot’s campy sci-fi saga.

Each and Every Thing Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $20-50. Previews Thu/29-Fri/30, June 5-6, and 12-13, 8pm; Sat/31 and June 7, 8:30pm. Opens June 14, 8:30pm. Runs Thu-Fri, 8pm; Sat, 8:30pm. Through July 12. Dan Hoyle presents his latest solo show, about the search for real-world connections in a tech-crazed world.

Homo File CounterPULSE, 1310 Mission, SF; www.counterpulse.org. $20-35. Opens Fri/30, 8pm. Runs Fri-Sat, 8pm; Sun, 7pm. Through June 15. Eye Zen and CounterPULSE present Seth Eisen’s interdisciplinary performance about queer author and tattoo artist Sam Steward.

Macbeth Fort Point (beneath the Golden Gate Bridge), SF; www.weplayers.org. $30-75. Previews Fri/30-Sun/1, 7pm. Opens Thu/5, 7pm. Runs Thu-Sun, 7pm. Through June 29. We Players performs the Shakespeare classic at the historic fortress at Fort Point.

“Savage in Limbo” Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. $25. Previews Thu/29, 8pm. Opens Fri/30, 8pm. Runs Sat/31, Sun/1, June 3-6, 8pm (also Sun/1, 2pm); June 7, 2pm. Through June 7. Rabbit Hole Theater Company performs John Patrick Shanley’s Bronx-set drama.

Triassic Parq Eureka Theater, 215 Jackson, SF; www.rayoflighttheatre.com. $25-36. Previews Thu/29, 8pm. Opens Fri/30, 8pm. Runs Wed-Sat, 8pm (also June 21 and 28, 2pm). Through June 28. Ray of Light Theatre presents the Bay Area premiere of Marshall Pailet’s musical involving “dinosaurs, show tunes, and sex changes.”

Walk Like A Man Costume Shop, 1117 Market, SF; www.therhino.org. $15-35. Previews Wed/28-Fri/30, 8pm. Opens Sat/31, 8pm. Runs Wed-Sat, 8pm; Sun, 3pm. Through June 15. Theatre Rhinoceros performs Laurinda D. Brown’s dramedy centered around issues in the African American lesbian community.

ONGOING

Chasing Mehserle Z Space, 450 Florida, SF; theintersection.org/chasing-mehserle. $15-25. Thu/29-Sat/31, 8pm. Intersection for the Arts, Campo Santo, and the Living Word Project present Chinaka Hodge’s performance piece about Oakland in the aftermath of the Oscar Grant killing.

The Crucible Gough Street Playhouse, 1620 Gough, SF; www.custommade.org. $10-35. Thu-Sat, 8pm; Sun, 7pm. Through June 15. Custom Made Theatre Co. performs Arthur Miller’s drama.

Dracula Shelton Theater, 533 Sutter, SF; sfdracula.blogspot.com. $35. Thu/29-Sat/31, 8pm. Kellerson Productions presents a new adaptation of the Bram Stoker classic.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat-Sun, 5pm. Extended through July 13. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

The Homosexuals New Conservatory Theatre Center, Decker Theatre, 25 Van Ness, SF; www.nctcsf.org. $25-45. Wed-Sat, 8pm; Sun, 2pm. Through June 28. New Conservatory Theatre Center performs Philip Dawkins’ play about a young man struggling with his identity amid a new group of friends.

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $20-100. Fri/30, 8pm; Sat/31, 8:30pm. Award-winning solo theater artist Marga Gomez brings her hit comedy back for a limited run before taking it to New York in June.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Extended through June 28. Five years ago, Thrillpeddlers breathed new life into a glitter-dusted piece of Sixties flotsam, beautifully reimagining the Cockettes’ raunchy mock-operetta Pearls Over Shanghai (in collaboration with several surviving members of San Francisco’s storied acid-drag troupe) and running it for a whopping 22 months. Written by Cockette Link Martin as a carefree interpretation of a 1926 Broadway play, the baldly stereotyped Shanghai Gesture, it was the perfectly lurid vehicle for irreverence in all directions. It’s back in this revival, once again helmed by artistic director Russell Blackwood with musical direction by Cockette and local favorite Scrumbly Koldewyn. But despite the frisson of featuring some original-original cast members — including “Sweet Pam” Tent (who with Koldewyn also contributes some new dialogue) and Rumi Missabu (regally reprising the role of Madam Gin Sling) — there’s less fire the second time around as the production straddles the line between carefully slick and appropriately sloppy. Nevertheless, there are some fine musical numbers and moments throughout. Among these, Zelda Koznofsky, Birdie-Bob Watt, and Jesse Cortez consistently hit high notes as the singing Andrews Sisters-like trio of Americans thrown into white slavery; Bonni Suval’s Lottie Wu is a fierce vixen; and Noah Haydon (as the sultry Petrushka) is a class act. Koldewyn’s musical direction and piano accompaniment, meanwhile, provide strong and sure momentum as well as exquisite atmosphere. (Avila)

Seminar San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $20-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); Sun/1 and June 8, 2pm. Through June 14. San Francisco Playhouse performs Theresa Rebeck’s biting comedy.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $65-100 (gambling chips, $7-10 extra; after-hours admission, $10). Wed-Sat, 7:30, 7:40, 7:50, 8pm, and 9pm admittance times. Extended through June 21. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

36 Stories by Sam Shepard Z Below, 470 Florida, SF; www.36stories.org. $35-55. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 3pm. Through June 22. Word for Word performs director Amy Kossow’s original adaptation of Shepard’s poetry and fiction.

BAY AREA

Candida Town Hall Theatre, 3535 School, Lafayette; www.townhalltheatre.com. $20-32. Fri-Sat and June 12, 8pm; Sun, 2pm. Through June 14. Town Hall Theatre performs the Shaw classic.

The Color Purple Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $23-38. Thu/29-Sat/31, 8pm; Sun/1, 2pm. Hillbarn Theatre closes its 73rd season with the musical adaptation of Alice Walker’s classic novel.

The Crazed Berkeley City Club, 2315 Durant, Berk; www.centralworks.org. $15-28. Thu-Sat, 8pm; Sun, 5pm. Through June 23. Central Works performs Sally Dawidoff’s play, based on Ha Jin’s novel about coming of age in Communist China.

Daylighting: The Berkeley Stories Project Ashby Stage, 1901 Ashby, Berk; www.shotgunplayers.org. $20-35. Previews Wed/28-Thu/29, 7pm. Opens Fri/30, 8pm. Runs Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm (June 22, show at 2pm). Through June 22. Shotgun Players present Dan Wolf’s new play inspired by real-life tales from Berkeley residents past and present.

“Fringe of Marin” Angelico Concert Hall, Dominican University, 20 Olive, San Rafael; www.fringeofmarin.com. $10-20. Schedule varies. Through Sun/1. Fringe of Marin celebrates its 33rd season with 11 original one-act plays presented in two programs.

The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $14.50-89. Tue, Thu-Sat, 7:30pm (also Thu/29, June 26, and all Saturdays in June, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through June 29. Berkeley Rep performs the West Coast premiere of Tony Kushner’s latest play.

The Letters Harry’s UpStage, Aurora Theatre Company, 2081 Addison, Berk; www.auroratheatre.org. $28-32. Wed-Sat, 8pm; Sun, 2pm. Extended through June 8. American playwright John W. Lowell’s The Letters harkens back to Stalinist days and some unspecified ministry, where a dutiful staff goes about censoring the personal and openly homoerotic correspondence of an iconic Russian composer (Tchaikovsky). Directed by Mark Jackson for Aurora Theater’s new upstairs black box, the two-hander unfolds in the small but tidy and dignified office belonging to the ministry’s director (an imposing Michael Ray Wisely). He has summoned one of his employees, a widow named Anna (a taut Beth Wilmurt), for reasons not immediately clear to her or us. A careful dance around a minefield of protocol, sexual innuendo, and hidden agendas ensues, as a dangerous and deadly scandal surrounding the aforementioned letters makes itself felt. Given the Ukraine crisis, the ramping up of Cold War II, and Russia’s increasing authoritarianism — including its new law against homosexual “propagandizing” in the cultural realm, and a Ministry of Culture vowing to withhold funding from art lacking in “spiritual or moral content” — it’s all a remarkably timely little time warp. And Lowell’s story is cleverly crafted for the most part. Unfortunately, the production’s two capable actors have a hard time conveying a lifelike (if however strained) relationship or the perspiration-inducing tension the drama purports to carry. At the same time, the drama’s dialogue, at least as played here, can stretch the bounds of verisimilitude by veering from flinty, cagey ducks and jabs to outright insubordination, sarcasm, and ineffectual blustering — the latter outbursts seeming to leave the pressure pot of the Great Terror far behind. It’s still a long way from Tom and Jerry, but as a cat and mouse game the stakes, and the arc of the story, feel more fantastical then pressingly contemporary. (Avila)

Mutt: Let’s All Talk About Race La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm; Sun, 7pm. Through June 8. Impact Theatre and Ferocious Lotus Theatre Company present the world premiere of Christopher Chen’s political satire.

Nantucket Marsh Berkeley MainStage, 2120 Allston, Berk; www.themarsh.org. $25-100 (all tickets include a picnic dinner). Thu and Sat, 7pm. Through June 14. Acclaimed solo performer Mark Kenward presents his “haunting yet hilarious” autobiographical show about growing up on Nantucket.

Not a Genuine Black Man Osher Studio, 2055 Center, Berk; www.berkeleyrep.org. $30-45. Thu/29-Sat/31, 8pm. Brian Copeland brings his acclaimed, long-running solo show to Berkeley Rep for a 10th anniversary limited run.

Other Desert Cities Barn Theatre, 30 Sir Francis Drake, Ross; www.rossvalleyplayers.com. $10-26. Thu, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through June 15. Ross Valley Players perform Jon Robin Baitz’s Pultizer-nominated drama about a tense family holiday.

South Pacific Cushing Memorial Amphitheater, 801 Panoramic Hwy, Mill Valley; www.mountainplay.org. $20-60. Sun and June 7, 2pm (arrive one hour prior to showtime). Through June 15. Mountain Play Association performs the classic Rodgers and Hammerstein musical.

The 25th Annual Putnam County Spelling Bee Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.centerrep.org. $37-65. Wed, 7:30pm; Thu-Sat, 8pm (also Saturdays in June, 2:30pm); Sun, 2:30pm. Through June 21. Center REP performs the Tony-winning musical by William Finn and Rachel Sheinkin.

PERFORMANCE/DANCE

“Alaska is a Drag” Intersection for the Arts, 925 Mission, SF; www.theintersection.org. Wed/28, 7pm. $5-15. The Big Table Read hosts this staged reading of Shaz Bennett’s screenplay.

“The Amazing Acro-Cats” Fort Mason Center, Southside Theater, Marina at Laguna, SF; www.circuscats.com. Thu/29-Sat/31, 8:30pm; Sun/1, 2 and 5pm. $24. Samantha Martin and her performing cat troupe, including “the only cat band in existence” (with a chicken on tambourine), take the stage. As its press release insists, “Yes, this is real!”

“Auto(SOMA)tic: Creative Responses to the SOMA” Arc Studio and Gallery, 1246 Folsom, SF; www.kearnystreet.org. Sat/31, 10am and 2pm. $30. Kearny Street Workshop and Shaping San Francisco present Allan S. Manalo’s interactive performance bus tour.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. June 17, 22, 29, July 12, 19, and 27, 6:15pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

“Dash: Improv in a Flash” Un-Scripted Theater Company, 533 Sutter, Second Flr, SF; www.un-scripted.com. Sat, 10pm. $15. Ongoing through Aug 30. A late-night, free-form improv show with Un-Scripted Theater Company.

“Dogeaters” ACT’s Costume Shop, 1119 Market, SF; www.magictheatre.org. Mon/2, 7pm. Free. Magic Theatre’s 2014 Martha Heasley Cox Virgin Play Series presents this staged reading of Jessica Hagedorn’s satirical soap opera.

“Dream Queens Revue” Aunt Charlie’s Lounge, 133 Turk, SF; www.dreamqueensrevue.com. Wed/28, 9:30pm. Free. Drag with Collette LeGrande, Ruby Slippers, Sophilya Leggz, Bobby Ashton, and more.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: “Michael Feinstein with Paula West, in Celebration of Feinstein’s at the Nikko’s One-Year Anniversary,” Sun/1, 7pm, $80.

“Gender Assimilation: A Rebuttal” Stage Werx, 446 Valencia, SF; www.theygobythey.com. Thu/29, 7:30pm. $10. Jaq Victor performs a cheeky coming-out tale as part of the United States of Asian America Festival.

“Hysteria” Dance Mission Theater, 3316 24th St, SF; www.dancemission.org. Fri/30-Sat/31, 8pm; Sun/1, 7pm. $20. BodiGram takes on Dissociative Identity Disorder in this satirical performance work.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Mais Oui” 2946 Third St, SF; www.sanfranciscobicycleballet.org. Sat/41, 6:45-10m. $8. The San Francisco Bicycle Ballet performs.

“Out of Line Improv” Stage Werx, 446 Valencia, SF; outoflineimprov.brownpapertickets.com. Sat, 10:30pm. $12. Ongoing. A new, completely improvised show every week.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. $5-10. “New Talent Show,” Wed-Thu, 7. Ongoing. “The Cellar Dwellers,” stand-up comedy, Wed-Thu, 8:15pm and Fri-Sat, 7:30pm. Ongoing.

“Spring: Water Ritual” Yerba Buena Center for the Arts, Grand Lobby, 701 Mission, SF; www.ybca.org. Sat/31, 1-2:30pm. Free. Artist Dohee Lee performs a celebration of “the regenerative power of the ocean.”

“Threepenny Opera” Phoenix Annex Theater, 414 Mason, Ste 406, SF; www.waffleopera.com. Sat/31, 7:30pm; Sun/1, 2pm. $15-25. Waffle Opera performs the Weill and Brecht classic.

“Walking Distance Dance Festival — SF” ODC Theater, 3153 17th St, SF; www.odcdance.org. Fri/30-Sat/31, 7:30pm (also Sat/31, 3, 4, 6, and 9:30pm). $25 (festival pass, $65). ODC Theater’s fringe-style fest presents samplings of contemporary dance from around the world.

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Free. Through Oct 26. This week: Will Magid Trio, Wed/29, 12:30-1:30pm; Ensemble Mik Nawooj, Sat/31, 1-2:30pm.

BAY AREA

“After Juliet” Flight Deck, 1540 Broadway, Oakl; www.grittycityrep.org. Thu/29-Sat/31, 8pm; Sun/1, 2pm; June 8, 2 and 8pm. $5-25. Gritty City Repertory Youth Theatre performs Sharman Macdonald’s drama.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“The Expulsion of Malcolm X” Laney College Theater, 900 Fallon, Oakl; www.brownpapertickets.com. Thu/29-Sat/31, 7:30pm (also Sat/31, 2:30pm). $30-40. A play exploring the rocky relationship between Malcolm X and Elijah Muhammad.

Risa Jaroslow and Dancers, Peiling Kao Shawl-Anderson Dance Center, 2704 Alcatraz, Berk; www.brownpapertickets.com. Fri/30-Sat/31, 8pm; Sun/1, 4pm. $15-18. The choreographers present What’s the Upshot and Ludic Numerologies.

“34th Annual Planetary Dance” Santos Meadow, Mt. Tamalpais State Park, Mill Valley; www.planetarydance.org. Sun/1, 11am. Free. This year’s theme of Anna Halprin’s annual participatory performance is “Remember the Children.” *

 

Theater Listings: May 7 – 13, 2014

Michael Redmond
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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 listings@sfbg.com.

THEATER

OPENING

Chasing Mehserle Intersection for the Arts, 925 Mission, SF; chasingmehserle.brownpapertickets.com. $25. Opens Thu/8, 8pm. Runs Thu-Sun and Mon/12, 8pm. Through May 24. Also May 29-31, 8pm, $15-25, Z Space, 450 Florida, SF; www.zspace.org. Intersection for the Arts, Campo Santo, and the Living Word Project present Chinaka Hodge’s performance piece about Oakland in the aftermath of the Oscar Grant killing.

Lovebirds Marsh San Francisco Studio, 1062 Valencia, SF; www.themarsh.org. $20-100. Opens Sat/10, 8:30pm. Runs Fri, 8pm; Sat, 8:30pm. Through May 31. Award-winning solo theater artist Marga Gomez brings her hit comedy back for a limited run before taking it to New York in June.

BAY AREA

The Color Purple Hillbarn Theatre, 1285 East Hillsdale, Foster City; www.hillbarntheatre.org. $23-38. Previews Thu/8, 8pm. Opens Fri/9, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through June 1. Hillbarn Theatre closes its 73rd season with the musical adaptation of Alice Walker’s classic novel.

ONGOING

Communiqué N°10 Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Thu, 7:30; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through May 25. Amid a fractious band of young rebels from the urban underclass and ongoing rioting in the streets, a young immigrant named Hassan (Damien Seperi) searches for the man who killed his 16-year-old brother. French playwright Samuel Gallet’s Communiqué N°10 draws immediate inspiration from the Paris riots of 2005, but the tinder box of extreme inequality and anti-immigrant policies are hardly a French monopoly (indeed, the stand-off last year between immigrant rights demonstrators and French police following the deportation of a Roma student, snatched off a school bus in front of her classmates, sounds all too familiar to Americans living through Obama’s unprecedented wave of deportations and incarcerations of undocumented people and the popular protest rising against it). Cutting Ball Theater’s US premiere of Gallet’s play, however, strains after its subject, timely though it is. Presented in association with Golden Thread Productions as part of the second biennial Des Voix&ldots; festival of new French plays and cinema, director and translator Rob Melrose’s production sets the action on a spare set (designed by Michael Locher) ringed by a two-tier framework of metal piping, about which some of the seven-member cast climb and roost. But the sparse setting is in fact overwhelmed with altogether too much stage business, including Emma Jaster’s somewhat labored choreography and Cliff Caruthers’ often distracting soundscape, which only detracts from the already difficult-to-follow plot points and further undermines an ensemble that never really coheres. Add to this contrived dialogue such as Hassan’s retort to having his picture snapped by love-interest Marlene (Maura Halloran) — “Images. We never know what purposes they serve in the end” — and what should be a tense and dynamic drama instead becomes a dreary, vaguely didactic ball of confusion. (Avila)

“DIVAfest” Exit Theatre, 156 Eddy, SF; www.divafest.info. Prices and showtimes vary. Through May 24. This 13th annual festival celebrates the work of women artists, with performances including the premiere of Rat Girl (adapted from the memoir by rocker Kristin Hersh), Margery Fairchild’s ballet comedy The Pas De Quatre, a reading by acclaimed poet Diane di Prima, and more.

Dracula Shelton Theater, 533 Sutter, SF; sfdracula.blogspot.com. $35. Thu-Sat, 8pm. Through May 31. Kellerson Productions presents a new adaptation of the Bram Stoker classic.

Du Barry Was a Lady Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (also Sat/10 and May 17, 1pm); Sun, 3pm. Through May 18. 42nd Street Moon presents Cole Porter’s saucy musical comedy, with comedian and writer Bruce Vilanch starring.

E-i-E-i-OY! In Bed with the Farmer’s Daughter NOHSpace, 2840 Mariposa, SF; www.vivienstraus.com. $20. Fri/9-Sat/10, 8pm. Vivien Straus performs her autobiographical solo show.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat, 8pm; Sun, 7pm. Starting May 17, performance schedule changes to Sat-Sun, 5pm. Extended through July 13. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Through May 31. Five years ago, Thrillpeddlers breathed new life into a glitter-dusted piece of Sixties flotsam, beautifully reimagining the Cockettes’ raunchy mock-operetta Pearls Over Shanghai (in collaboration with several surviving members of San Francisco’s storied acid-drag troupe) and running it for a whopping 22 months. Written by Cockette Link Martin as a carefree interpretation of a 1926 Broadway play, the baldly stereotyped Shanghai Gesture, it was the perfectly lurid vehicle for irreverence in all directions. It’s back in this revival, once again helmed by artistic director Russell Blackwood with musical direction by Cockette and local favorite Scrumbly Koldewyn. But despite the frisson of featuring some original-original cast members — including “Sweet Pam” Tent (who with Koldewyn also contributes some new dialogue) and Rumi Missabu (regally reprising the role of Madam Gin Sling) — there’s less fire the second time around as the production straddles the line between carefully slick and appropriately sloppy. Nevertheless, there are some fine musical numbers and moments throughout. Among these, Zelda Koznofsky, Birdie-Bob Watt, and Jesse Cortez consistently hit high notes as the singing Andrews Sisters-like trio of Americans thrown into white slavery; Bonni Suval’s Lottie Wu is a fierce vixen; and Noah Haydon (as the sultry Petrushka) is a class act. Koldewyn’s musical direction and piano accompaniment, meanwhile, provide strong and sure momentum as well as exquisite atmosphere. (Avila)

Romeo and Juliet Phoenix Theatre, 414 Mason, Ste 601, SF; www.eventbrite.com. $20. Thu-Sat, 8pm; Sun/11 and May 24, 3pm. Through May 24. Ninjaz of Drama performs Shakespeare’s tragic romance.

Seminar San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $20-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); May 18 and June 1 and 8, 2pm. Through June 14. San Francisco Playhouse performs Theresa Rebeck’s biting comedy.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

Sleeping Cutie: A Fractured Fairy Tale Musical Thick House, 1695 18th St, SF; sleepingcutiemusical.tix.com. $30-40. Thu/8-Sat/10, 8pm; Sun/11, 2pm. Off a Cliff Productions and PlayGround present Diane Sampson and Doug Katsaros’ world-premiere musical.

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $70 (gambling chips, $5-10 extra; after-hours admission, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Extended through May 24. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

The Suit ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Wed-Sat, 8pm (also Sat, Wed/7, and May 14, 2pm); Sun, 2pm (May 18, show at 1pm); Tue, 7pm (Tue/13, show at 8pm). Through May 18. ACT performs Peter Brook, Marie Hélène Estienne, and Franck Krawcyzk’s music-infused drama about betrayal and resentment adapted from the short story by South African author Can Themba.

Tipped & Tipsy Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $20-50. Sat, 5pm; Sun, 7pm. Extended through May 17. Last fall’s San Francisco Fringe Festival began on a high note with Jill Vice’s witty and deft solo, Tipped & Tipsy, and the Best of Fringe winner is now enjoying another round at solo theater outpost the Marsh. Without set or costume changes, Vice (who developed the piece with Dave Dennison and David Ford) brings the querulous regulars of a skid-row bar to life both vividly and with real quasi-Depression-Era charm. She’s a protean physical performer, seamlessly inhabiting the series of oddball outcasts lined up each day at Happy’s before bartender Candy — two names as loaded as the clientele. After some hilarious expert summarizing of the dos and don’ts of bar culture, a story unfolds around a battered former boxer and his avuncular relationship with Candy, who tries to cut him off in light of his clearly deteriorating health. Her stance causes much consternation, and even fear, in his barfly associates, while provoking a dangerous showdown with the bar’s self-aggrandizing sleazeball owner, Rico. With a love of the underdog and strong writing and acting at its core, Tipsy breezes by, leaving a superlative buzz. (Avila)

“Des Voix: Found in Translation Biennial 2014” Various venues, SF; www.desvoixfestival.com. Prices vary. Through May 25. In addition to Communiqué N°10 (listed above), this festival of contemporary French playwrights and cinema includes four new play translations, a “New Play Nightclub,” film screenings, and more. Presented by Playwrights Foundation, Tides Theatre, Cutting Ball Theater, French International School, and the French Consulate of San Francisco.

Waxing West Brava Theater Center, 2781 24th St, SF; www.brava.org. $20. Thu-Sat, 8pm; Sun, 3pm. Through May 18. Brava! For Women in the Arts and RasaNova Theater present the West Coast premiere of Saviana Stanescu’s tale of a Romanian mail-order bride haunted by her country’s past.

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Extended through May 25. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

BAY AREA

Fences Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Wed/7, 7:30pm; Thu/8-Sat/10, 8pm (also Sat/10, 2pm); Sun/11, 2 and 7pm. Marin Theatre Company performs August Wilson’s Pulitzer- and Tony-winning drama, with an all-star cast of Bay Area talent: Carl Lumbly, Steven Anthony Jones, and Margo Hall.

Geezer Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. $25-50. New show schedule: Wed, 8pm; Sat, 3pm. Extended through May 24. Geoff Hoyle moves his hit comedy about aging to the East Bay.

The Letters Harry’s UpStage, Aurora Theatre Company, 2081 Addison, Berk; www.auroratheatre.org. $28-32. Wed-Sat, 8pm; Sun, 2pm. Through June 1. American playwright John W. Lowell’s The Letters harkens back to Stalinist days and some unspecified ministry, where a dutiful staff goes about censoring the personal and openly homoerotic correspondence of an iconic Russian composer (Tchaikovsky). Directed by Mark Jackson for Aurora Theater’s new upstairs black box, the two-hander unfolds in the small but tidy and dignified office belonging to the ministry’s director (an imposing Michael Ray Wisely). He has summoned one of his employees, a widow named Anna (a taut Beth Wilmurt), for reasons not immediately clear to her or us. A careful dance around a minefield of protocol, sexual innuendo, and hidden agendas ensues, as a dangerous and deadly scandal surrounding the aforementioned letters makes itself felt. Given the Ukraine crisis, the ramping up of Cold War II, and Russia’s increasing authoritarianism — including its new law against homosexual “propagandizing” in the cultural realm, and a Ministry of Culture vowing to withhold funding from art lacking in “spiritual or moral content” — it’s all a remarkably timely little time warp. And Lowell’s story is cleverly crafted for the most part. Unfortunately, the production’s two capable actors have a hard time conveying a lifelike (if however strained) relationship or the perspiration-inducing tension the drama purports to carry. At the same time, the drama’s dialogue, at least as played here, can stretch the bounds of verisimilitude by veering from flinty, cagey ducks and jabs to outright insubordination, sarcasm, and ineffectual blustering — the latter outbursts seeming to leave the pressure pot of the Great Terror far behind. It’s still a long way from Tom and Jerry, but as a cat and mouse game the stakes, and the arc of the story, feel more fantastical then pressingly contemporary. (Avila)

Mutt: Let’s All Talk About Race La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thu-Sat, 8pm; Sun, 7pm. Through June 8. Impact Theatre and Ferocious Lotus Theatre Company present the world premiere of Christopher Chen’s political satire.

Nantucket Marsh Berkeley MainStage, 2120 Allston, Berk; www.themarsh.org. $25-100 (all tickets include a picnic dinner). Thu and Sat, 7pm. Through June 14. Acclaimed solo performer Mark Kenward presents his “haunting yet hilarious” autobiographical show about growing up on Nantucket.

Not a Genuine Black Man Osher Studio, 2055 Center, Berk; www.berkeleyrep.org. $30-45. Wed, 7pm (no shows May 14, 21, or 28); Thu-Sat, 8pm (no shows Fri/9-Sat/10). Through May 31. Brian Copeland brings his acclaimed, long-running solo show to Berkeley Rep for a 10th anniversary limited run.

“Pear Slices” Pear Avenue Theatre, 1220 Pear, Mtn View; www.thepear.org. $10-35. Thu-Sat, 8pm; Sun, 2pm. Through May 25. Original short plays from the Pear Playwrights Guild.

Tribes Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-99. Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm; no 2pm show May 18). Through May 18. Berkeley Rep performs Nina Raine’s family drama about a young deaf man who comes of age.

Wittenberg Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Wed/7-Sat/10, 8pm; Sun/11, 2 and 7pm. Aurora Theatre Company performs David Davalos’ comedy about reason versus faith.

PERFORMANCE/DANCE

“Alien Citizen: An Earth Odyssey” Mission Cultural Center, 2868 Mission, SF; cargocollective.com/aliencitizen. Sat/10, 8pm. $12. Elizabeth Lang performs her solo show about her mixed heritage. Part of the United States of Asian America Festival 2014.

“Asian American StoryFest” Mission Cultural Center, 2868 Mission, SF; ww.ethnohtec.org. Fri/9, 8pm. Also Sat/10, 1:30pm, 3:30pm, 7pm (panel), 8pm, $10-20, Oakland Asian Cultural Center, 388 Ninth St, Oakl. Seven nationally-recognized storytellers take the stage to perform Asian folk tales, myths, and contemporary stories. Part of the United States of Asian America Festival 2014.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sat/10, May 17, 25, June 17, 22, and 29, 6:15pm; Sun/11, 1pm. $15-19 (Sun/11, call for price). Flamenco performance by the mother-daughter dance company, featuring live musicians.

Company C Contemporary Ballet Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.lesherartscenter.org. Thu/8-Sat/10, 8pm; Sun/11, 2pm. $25-48. With two world premieres by Maurice Causey and Charles Moulton.

“The Escapement” Joe Goode Annex, 401 Alabama, SF; theescapement.eventbrite.com. Fri/9-Sat10, 8pm. $15-25. Emerging choreographer Katharine Hawthone presents a new, evening-length work.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: Wesla Whitfield, Thu/8-Fri/9, 8pm, $30-45; Kim Nalley, Sat/10-Sun/11, 7pm, $30-45.

“The Fifth String: Ziryab’s Passage to Cordoba” Brava Theatre Center, 2781 24th St, SF; www.goldenthread.org. May 15-17, 8pm; May 18, 3pm. $15-22. Golden Thread continues its “Islam 101” performance series with this family-friendly play with live music.

“Golden Gate Dreams and Evil Schemes: Short Plays by Short People” Brava Theater, 2781 24th St, SF; www.brava.org. Thu/8, 6:30pm; Fri/9, 7pm. $10-25. Professional actors and musicians perform six short plays written by fifth graders at Starr King Elementary School.

“Indulge” ODC Theater, 3153 17th St, SF; www.odctheater.org. Tue/13, 8-10pm. $50-150. This ODC Theater benefit features dinner with artists and choreographers, pop-up performances, and more.

“Jackie Beat: If You See Something, Say Something” Rebel, 1760 Market, SF; www.brownpapertickets.com. Sat/10, 7 and 10pm. $25-30. Drag superstar Jackie Beat performs “hilarious new material and a sprinkling of tacky classics.”

“Let’s Get Nautical: A Mother’s Day Yacht Rock Extravaganza” Supperclub, 657 Harrison, SF; (415) 637-3386. Sun/11, 7-11pm. $10. Nautical-themed burlesque and disco-funk jams.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Mortified” DNA Lounge, 375 11th St, SF; www.getmortified.com. Fri/9, 7:30pm. $21. Also Sat/10, 7:30pm, $20, Uptown, 1928 Telegraph, Oakl. Fearless storytellers share their most adorably embarrassing childhood writings.

“Out of Line Improv” Stage Werx, 446 Valencia, SF; outoflineimprov.brownpapertickets.com. Sat, 10:30pm. $12. Ongoing. A new, completely improvised show every week.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. $5-10. “New Talent Show,” Wed-Thu, 7. Ongoing. “The Cellar Dwellers,” stand-up comedy, Wed-Thu, 8:15pm and Fri-Sat, 7:30pm. Ongoing.

Sara Bush Dance Project Dance Mission Theater, 3316 24th St, SF; www.dancemission.com. Fri/9-Sat/10, 8pm; Sun/11, 4 and 7pm. $23-50. The company performs Rocked By Women, an homage to the feminist movement.

Summation Dance and The Thick Rich Ones Z Space, 450 Florida, SF; www.zspace.org. Fri/9-Sat/10, 8pm. $15-25. The two companies — from New York, all-female troupe Summation Dance, and from Oakland, performance collective the Thick Rich Ones — join forces to present “Three.”

“They Call Me Q” Stage Werx, 446 Valencia, SF; www.theycallmeq.com. Thu/8, 8pm; Sat/10, 2pm. $20-25. Qurrat Ann Kadwani performs her solo show, comprised of 13 characters. Part of the United States of Asian America Festival 2014.

“Thou Swell! Thou Witty! The Rodgers and Hart Salon” Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. Mon/12-Tue/13, 7pm. $45-70. Tony winner Faith Prince stars in 42nd Street Moon’s celebration of the Rodgers and Hart songbook.

“Unbecoming MILF: Confessions of a Bi Butch Breeder” Center for Sex and Culture, 1349 Mission, SF; www.sexandculture.org. Sat/10, 7:30pm. $5-20. Lori Selke debuts her solo show.

“Uncertain Weather” ODC Theater, 3153 17th St, SF; www.odctheater.org. Sat/10-Sun/11, 1 and 4pm. ODC School/Rhythm and Motion Dance program presents this youth performance showcasing a variety of dance styles.

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Sun/10, 1pm. Free. Through Oct 26. This week: San Jose Taiko.

BAY AREA

“Asian Pacific American Comedy” Pacific Pinball Museum, 1510 Webster, Alameda; www.pacificpinball.org. Sat/10, 7:30pm. $15. Stand-up comedy for adults with Josef Anolin, Lilybeth Helson, Justin Lucus, and Molly Sokhom.

Diablo Ballet Shadelands Arts Center Auditorium, 111 N. Wiget Lane, Walnut Creek; www.diabloballet.org. Fri/9-Sat/10, 8pm (also Sat/10, 2pm). $24-39. The company performs works by Val Caniparoli and George Balanchine, among others.

“First Annual Contemporary Performance Diasporas Festival” South Berkeley Community Church, 1802 Fairview, Berk; www.infernotheatre.org. Fri/9-Sat/10, 8pm; Sun/11, 6pm, $10-35 (festival pass, $30-50). Interdisciplinary and multi-cultural live ensemble and solo performances, presented by Inferno Theatre.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“3 Still Standing” Throckmorton Theatre, 142 Throckmorton, Mill Valley; www.throckmortontheatre.org. Fri/9, 8pm. $23-35. Stand-up with Will Durst, Larry “Bubbles” Brown, and Johnny Steele.

*

 

Theater Listings: April 30 – May 6, 2014

Michael Redmond
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0

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 listings@sfbg.com.

THEATER

OPENING

“Des Voix: Found in Translation Biennial 2014” Various venues, SF; www.desvoixfestival.com. Prices vary. May 1-25. In addition to Communiqué N°10 (listed in Ongoing, below), this festival of contemporary French playwrights and cinema includes four new play translations, a “New Play Nightclub,” film screenings, and more. Presented by Playwrights Foundation, Tides Theatre, Cutting Ball Theater, French International School, and the French Consulate of San Francisco.

“DIVAfest” Exit Theatre, 156 Eddy, SF; www.divafest.info. Prices and showtimes vary. May 1-24. This 13th annual festival celebrates the work of women artists, with performances including the premiere of Rat Girl (adapted from the memoir by rocker Kristin Hersh), Margery Fairchild’s ballet comedy The Pas De Quatre, a reading by acclaimed poet Diane di Prima, and more.

Dracula Shelton Theater, 533 Sutter, SF; sfdracula.blogspot.com. $35. Opens Thu/1, 8pm. Runs Thu-Sat, 8pm. Through May 31. Kellerson Productions presents a new adaptation of the Bram Stoker classic.

Du Barry Was a Lady Eureka Theatre, 215 Jackson, SF; www.42ndstmoon.org. $25-75. Previews Wed/30-Thu/1, 7pm; Fri/2, 8pm. Opens Sat/3, 6pm. Runs Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (also May 10 and 17, 1pm); Sun, 3pm. Through May 18. 42nd Street Moon presents Cole Porter’s saucy musical comedy, with comedian and writer Bruce Vilanch starring.

Romeo and Juliet Phoenix Theatre, 414 Mason, Ste 601, SF; www.eventbrite.com. $20. Previews Thu/1, 8pm. Opens Fri/2, 8pm. Runs Thu-Sat, 8pm; May 11 and 24, 3pm. Through May 24. Ninjaz of Drama performs Shakespeare’s tragic romance.

Seminar San Francisco Playhouse, 450 Post, Second Flr, SF; www.sfplayhouse.org. $20-100. Previews Wed/30-Fri/2, 8pm. Opens Sat/3, 8pm. Runs Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm); May 18 and June 1 and 8, 2pm. Through June 14. San Francisco Playhouse performs Theresa Rebeck’s biting comedy.

Waxing West Brava Theater Center, 2781 24th St, SF; www.brava.org. $20. Opens Thu/1, 8pm. Runs Thu-Sat, 8pm (Sat/3, show at 3pm); Sun, 3pm. Through May 18. Brava! For Women in the Arts and RasaNova Theater present the West Coast premiere of Saviana Stanescu’s tale of a Romanian mail-order bride haunted by her country’s past.

BAY AREA

Nantucket Marsh Berkeley MainStage, 2120 Allston, Berk; www.themarsh.org. $25-100 (all tickets include a picnic dinner). Opens Sat/3, 7pm. Runs Thu and Sat, 7pm. Through June 14. Acclaimed solo perfomer Mark Kenward presents his “haunting yet hilarious” autobiographical show about growing up on Nantucket.

ONGOING

Communiqué N°10 Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. $10-50. Opens Thu/1, 7:30pm. Runs Thu, 7:30; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through May 25. Cutting Ball Theater closes its 15th season with the American premiere of Samuel Gallet’s drama inspired by recent racial tensions in France.

E-i-E-i-OY! In Bed with the Farmer’s Daughter NOHSpace, 2840 Mariposa, SF; www.vivienstraus.com. $20. Fri-Sat, 8pm. Through May 10. Vivien Straus performs her autobiographical solo show.

Feisty Old Jew Marsh San Francisco Main Stage, 1062 Valencia, SF; www.themarsh.org. $25-100. Sat, 8pm; Sun, 7pm. Starting May 17, performance schedule changes to Sat-Sun, 5pm. Extended through July 13. Charlie Varon performs his latest solo show, a fictional comedy about “a 20th century man living in a 21st century city.”

Foodies! The Musical Shelton Theater, 533 Sutter, SF; www.foodiesthemusical.com. $32-34. Fri-Sat, 8pm. Open-ended. AWAT Productions presents Morris Bobrow’s musical comedy revue all about food.

Pearls Over Shanghai Hypnodrome Theatre, 575 10th St, SF; www.thrillpeddlers.com. $30-35. Thu-Sat, 8pm. Through May 31. Five years ago, Thrillpeddlers breathed new life into a glitter-dusted piece of Sixties flotsam, beautifully reimagining the Cockettes’ raunchy mock-operetta Pearls Over Shanghai (in collaboration with several surviving members of San Francisco’s storied acid-drag troupe) and running it for a whopping 22 months. Written by Cockette Link Martin as a carefree interpretation of a 1926 Broadway play, the baldly stereotyped Shanghai Gesture, it was the perfectly lurid vehicle for irreverence in all directions. It’s back in this revival, once again helmed by artistic director Russell Blackwood with musical direction by Cockette and local favorite Scrumbly Koldewyn. But despite the frisson of featuring some original-original cast members — including “Sweet Pam” Tent (who with Koldewyn also contributes some new dialogue) and Rumi Missabu (regally reprising the role of Madam Gin Sling) — there’s less fire the second time around as the production straddles the line between carefully slick and appropriately sloppy. Nevertheless, there are some fine musical numbers and moments throughout. Among these, Zelda Koznofsky, Birdie-Bob Watt, and Jesse Cortez consistently hit high notes as the singing Andrews Sisters-like trio of Americans thrown into white slavery; Bonni Suval’s Lottie Wu is a fierce vixen; and Noah Haydon (as the sultry Petrushka) is a class act. Koldewyn’s musical direction and piano accompaniment, meanwhile, provide strong and sure momentum as well as exquisite atmosphere. (Avila)

The Provoked Wife Fort Mason Center, Southside Theater, SF; www.generationtheatre.com. $15-35. Thu/1-Sat/3, 8pm; Sun/4, 3pm. Generation Theatre performs Sir John Vanbrugh’s Restoration comedy.

Shit & Champagne Rebel, 1772 Market, SF; shitandchampagne.eventbrite.com. $25. Fri-Sat, 8pm. Open-ended. D’Arcy Drollinger is Champagne White, bodacious blond innocent with a wicked left hook in this cross-dressing ’70s-style white-sploitation flick, played out live on Rebel’s intimate but action-packed barroom stage. Written by Drollinger and co-directed with Laurie Bushman (with high-flying choreography by John Paolillo, Drollinger, and Matthew Martin), this high-octane camp send-up of a favored formula comes dependably stocked with stock characters and delightfully protracted by a convoluted plot (involving, among other things, a certain street drug that’s triggered an epidemic of poopy pants) — all of it played to the hilt by an excellent cast that includes Martin as Dixie Stampede, an evil corporate dominatrix at the head of some sinister front for world domination called Mal*Wart; Alex Brown as Detective Jack Hammer, rough-hewn cop on the case and ambivalent love interest; Rotimi Agbabiaka as Sergio, gay Puerto Rican impresario and confidante; Steven Lemay as Brandy, high-end calf model and Champagne’s (much) beloved roommate; and Nancy French as Rod, Champagne’s doomed fiancé. Sprawling often literally across two buxom acts, the show maintains admirable consistency: The energy never flags and the brow stays decidedly low. (Avila)

Sleeping Cutie: A Fractured Fairy Tale Musical Thick House, 1695 18th St, SF; sleepingcutiemusical.tix.com. $30-40. Thu-Sat, 8pm; Sun, 2pm. Though May 11. Off a Cliff Productions and PlayGround present Diane Sampson and Doug Katsaros’ world-premiere musical.

The Speakeasy Undisclosed location (ticket buyers receive a text with directions), SF; www.thespeakeasysf.com. $70 (gambling chips, $5-10 extra; after-hours admission, $10). Thu-Sat, 7:40, 7:50, and 8pm admittance times. Extended through May 24. Boxcar Theater’s most ambitious project to date is also one of the more involved and impressively orchestrated theatrical experiences on any Bay Area stage just now. An immersive time-tripping environmental work, The Speakeasy takes place in an “undisclosed location” (in fact, a wonderfully redesigned version of the company’s Hyde Street theater complex) amid a period-specific cocktail lounge, cabaret, and gambling den inhabited by dozens of Prohibition-era characters and scenarios that unfold around an audience ultimately invited to wander around at will. At one level, this is an invitation to pure dress-up social entertainment. But there are artistic aims here too. Intentionally designed (by co-director and creator Nick A. Olivero with co-director Peter Ruocco) as a fractured super-narrative — in which audiences perceive snatches of overheard stories rather than complete arcs, and can follow those of their own choosing — there’s a way the piece becomes specifically and ever more subtly about time itself. This is most pointedly demonstrated in the opening vignettes in the cocktail lounge, where even the ticking of Joe’s Clock Shop (the “cover” storefront for the illicit 1920s den inside) can be heard underscoring conversations (deeply ironic in historical hindsight) about war, loss, and regained hope for the future. For a San Francisco currently gripped by a kind of historical double-recurrence of the roaring Twenties and dire Thirties at once, The Speakeasy is not a bad place to sit and ponder the simulacra of our elusive moment. (Avila)

The Suit ACT’s Geary Theater, 415 Geary, SF; www.act-sf.org. $20-120. Opens Wed/30, 8pm. Runs Wed-Sat, 8pm (also Sat and May 7 and 14, 2pm); Sun, 2pm (May 18, show at 1pm); Tue, 7pm (May 13, show at 8pm). Through May 18. ACT performs Peter Brook, Marie Hélène Estienne, and Franck Krawcyzk’s music-infused drama about betrayal and resentment adapted from the short story by South African author Can Themba.

Tipped & Tipsy Marsh Studio Theater, 1062 Valencia, SF; www.themarsh.org. $20-50. Sat, 5pm; Sun, 7pm. Extended through May 17. Last fall’s San Francisco Fringe Festival began on a high note with Jill Vice’s witty and deft solo, Tipped & Tipsy, and the Best of Fringe winner is now enjoying another round at solo theater outpost the Marsh. Without set or costume changes, Vice (who developed the piece with Dave Dennison and David Ford) brings the querulous regulars of a skid-row bar to life both vividly and with real quasi-Depression-Era charm. She’s a protean physical performer, seamlessly inhabiting the series of oddball outcasts lined up each day at Happy’s before bartender Candy — two names as loaded as the clientele. After some hilarious expert summarizing of the dos and don’ts of bar culture, a story unfolds around a battered former boxer and his avuncular relationship with Candy, who tries to cut him off in light of his clearly deteriorating health. Her stance causes much consternation, and even fear, in his barfly associates, while provoking a dangerous showdown with the bar’s self-aggrandizing sleazeball owner, Rico. With a love of the underdog and strong writing and acting at its core, Tipsy breezes by, leaving a superlative buzz. (Avila)

The World’s Funniest Bubble Show Marsh San Francisco, 1062 Valencia, SF; www.themarsh.org. $8-11. Sun, 11am. Extended through May 25. The popular, kid-friendly show by Louis Pearl (aka “The Amazing Bubble Man”) returns to the Marsh.

BAY AREA

Fences Marin Theatre Company, 397 Miller, Mill Valley; www.marintheatre.org. $37-58. Tue and Thu-Sat, 8pm (also Sat/3 and May 10, 2pm); Wed, 7:30pm; Sun, 2 and 7pm. Through May 11. Marin Theatre Company performs August Wilson’s Pulitzer- and Tony-winning drama, with an all-star cast of Bay Area talent: Carl Lumbly, Steven Anthony Jones, and Margo Hall.

The Letters Harry’s UpStage, Aurora Theatre Company, 2081 Addison, Berk; www.auroratheatre.org. $28-32. Wed-Sat, 8pm; Sun, 2pm. Through June 1. Aurora Theatre Company showcases its new second-stage performance space with John W. Lowell’s suspenseful thriller.

Not a Genuine Black Man Osher Studio, 2055 Center, Berk; www.berkeleyrep.org. $30-45. Wed, 7pm (no shows May 14, 21, or 28); Thu-Sat, 8pm (no shows Sat/3 or May 9-10). Through May 31. Brian Copeland brings his acclaimed, long-running solo show to Berkeley Rep for a 10th anniversary limited run.

Smash Dragon Theatre, 2120 Broadway, Redwood City; www.dragonproductions.net. $30. Thu/1-Sat/3, 8pm; Sun/4, 2pm. Dragon Theatre performs Jeffrey Hatcher’s political comedy.

Tribes Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; www.berkeleyrep.org. $29-99. Tue and Thu-Sat, 8pm (also Sat, 2pm); Wed and Sun, 7pm (also Sun, 2pm; no 2pm show May 18). Through May 18. Berkeley Rep performs Nina Raine’s family drama about a young deaf man who comes of age.

The 25th Annual Putnam County Spelling Bee Julia Morgan Theater, 2640 College, Berk; www.berkeleyplayhouse.org. $18-60. Thu/1-Fri/2, 7pm; Sat/3, 1 and 6pm; Sun/4, noon and 5pm. Berkeley Playhouse performs the Tony-winning musical comedy.

Wittenberg Aurora Theatre, 2081 Addison, Berk; www.auroratheatre.org. $32-60. Tue, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Extended through May 11. Aurora Theatre Company performs David Davalos’ comedy about reason versus faith.

PERFORMANCE/DANCE

“Acting Out: For the Health of It” Brava Theater Center, 2781 24th St, SF; bcation.org/actingout2014. Thu/1, VIP reception 6-7pm; show 7:15-9pm. $35-75. Breast Cancer Action benefits from this variety show featuring author Peggy Orenstein, the Sarah Bush Dance Project, comedian Irene Tu, bluegrass band Beauty Operators, and host Tania Katan.

“Baile en la Calle: The Mural Dances” Precita Eyes Mural Center, 2981 24th St, and Balmy Alley, SF; www.brava.org. Sun/4, tours at 11am, noon, 1pm, and 2pm. Free. Epiphany Productions, CuicacallDance Company, Cuicacalli Escuela de Danza, and Loco Bloco offer dance interpretations of the murals along the Mission’s historic Balmy Alley.

“Bay Area National Dance Week” Various locations; www.bayareadance.org. Wed/30-Sun/4. Free. This year’s theme is “iconic dance moves from pop culture,” and includes film screenings, free classes, outdoor dance performances, and more.

Caroline Lugo and Carolé Acuña’s Ballet Flamenco Peña Pachamama, 1630 Powell, SF; www.carolinalugo.com. Sun/4, May 10, 17, and 25, 6:15pm; May 11, 1pm. $15-19. Flamenco performance by the mother-daughter dance company, featuring live musicians.

Company C Contemporary Ballet ODC Theater, 3153 17th St, SF; www.odcdance.org. Thu/1-Sat/3, 8pm. $25-48. Also May 8-10, 8pm; May 11, 2pm, $25-48, Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.lesherartscenter.org. With two world premieres by Maurice Causey and Charles Moulton.

“Dancing on the Edge of the World” Dance Mission, 3316 24th St, SF; www.dancemission.com. Fri/2, 8pm; Sat/3-Sun/4, 3pm (also Sun/4, 7pm). $15-20. Grrrl Brigade performs an homage to Howard Zinn’s A People’s History of the United States.

“Dirty Little Ditties” Phoenix Theatre, 414 Mason, SF; www.brownpapertickets.com. Fri/2-Sat/3, 8pm. $20. Miss Jane Aquilina and Miss Robusta Capp perform a show that promises to be “not your mother’s cabaret.”

“The Eye of Horus” Jessie Square, 736 Mission, SF; www.dancersgroup.org. Wed/30 and Sat/3, 12:30pm. Free. Dancers’ Group and Yerba Buena Gardens Festival present a new, site-specific work by Sara Shelton Mann.

Feinstein’s at the Nikko 222 Mason, SF; www.feinsteinssf.com. This week: Jeremy Jordan, Thu/1-Fri/2, 8pm; Sat/3-Sun/4, 7pm, $45-60.

“Five Funny Females” Great Star Theater, 636 Jackson, SF; 5funnyfemales.eventbrite.com. Fri/2-Sat/3, 8 and 10pm. $20. A different bill of five female comedians at each show.

“Leonard Cohen Love Fest” Mechanics’ Institute Library and Chess Room, 57 Post, SF; www.milibrary.org. Wed/30, 7pm. $10-20. A capella choir Conspiracy of Beards and author-musician Sylvie Simmons pay tribute to the music of Leonard Cohen.

“The Lusty Month of May” Martuni’s, 4 Valencia, SF; www.tomshawtrio.com. Sat/3, 7pm. $10. Vocalist Karen Hirst salures spring, the Great American Songbook, and more, with singer-pianist Tom Shaw, drummer Roberta Drake, and violinist Donny Lobree.

“Magic at the Rex” Hotel Rex, 562 Sutter, SF; www.magicattherex.com. Sat, 8pm. Ongoing. $25. Magic and mystery with Adam Sachs and mentalist Sebastian Boswell III.

“Out of Line Improv” Stage Werx, 446 Valencia, SF; outoflineimprov.brownpapertickets.com. Sat, 10:30pm. $12. Ongoing. A new, completely improvised show every week.

“Purple: A Circus Tribute to Prince” Circus Center, 755 Frederick, SF; purpleshow.eventbrite.com. Sat/3, 7:30pm. $15-20. Circus acts set to Prince hits like “1999” and “Raspberry Beret.”

“Rotunda Dance Series” San Francisco City Hall, 1 Carlton B. Goodlett Place, SF; www.dancersgroup.org. Fri/2, noon. Free. This month: La Tania Baile Flamenco performs dances from Spain.

“San Francisco Comedy College” Purple Onion at Kells, 530 Jackson, SF; www.purpleonionatkells.com. $5-10. “New Talent Show,” Wed-Thu, 7. Ongoing. “The Cellar Dwellers,” stand-up comedy, Wed-Thu, 8:15pm and Fri-Sat, 7:30pm. Ongoing.

“Shiner” Mojo Theater, 2940 16th St, SF; www.faultlinetheater.com. Thu/1-Sat/3, 8pm; Sun/4, 7pm. $10-20. FaultLine Theater performs Christian Durso’s grunge-era drama.

“Terminator Too: Judgment Play” DNA Lounge, 373 11th St, SF; www.dnalounge.com. Thu/1, 9pm. $25-50. The creators of Point Break Live! take on James Cameron’s 1991 sci-fi classic, with an audience member picked on the night of the show to embody Schwarzenegger’s iconic role.

“Yerba Buena Gardens Festival” Yerba Buena Gardens, 760 Howard, SF; www.ybgfestival.org. Sun/4, 1pm. Free. Eddie Palmieri Salsa Orchestra kicks off the annual outdoor performance festival, which runs through Oct 26.

BAY AREA

“Cinderella” Lesher Center for the Arts, Margaret Lesher Theatre, 1601 Civic, Walnut Creek; www.fantasyforum.org. Thu/1-Fri/2, 9:30 and 11am (also Fri/1, 7pm); Sat/3, 10am, noon, 2pm, and 4pm; Sun/4, 11am and 1pm. $14. Fantasy Forum Actors Ensemble performs a family-friendly musical based on the fairy tale, with audience participation encouraged.

“Dance on Center” Osher Studio, 2055 Center, Berk; www.dlkdance.com. Sat/3, 8pm. $15-25. Kathryn Roszak’s Danse Lumiere kicks off a new series with dance works by Lissa Resnick, Dalia Rawson, and Kathryn Roszak, plus a film by Amy Seiwert.

“Doapcoev: A Town Where Dancing Was Not Allowed” Malonga Casquelourd Center for the Arts, 1428 Alice, Oakl; www.brownpapertickets.com. Sun/4, 3pm. $15-25. Dimensions Dance Theater and Rites of Passage present this dance performance inspired by Footloose.

“The Fifth String: Ziryab’s Passage to Cordoba” Islamic Cultural Center of Northern California, 1433 Madison, Oakl; www.goldenthread.org. Fri/2-Sat/3, 7pm; Sun/4, 3pm. $15-22. Also May 15-17, 8pm; May 18, 3pm, Brava Theatre Center, 2781 24th St, SF. Golden Thread continues its “Islam 101” performance series with this family-friendly play with live music.

“Lilith, The Night Demon in One Lewd Act” Hoytt Theater, Osher Marin JCC, 200 N. San Pedro, San Rafael; www.marinjcc.org. Thu/1, 7:30pm. $39-49. Also Sat/3, 8pm, $30-35, JCC of the East Bay, 1414 Walnut, Berk; www.jcceastbay.org. Also Sun/4, 3pm, $39-49, Menlo-Atherton High School, 555 Middlefield, Atherton; www.thecenteratma.org. “The bawdy alternate Jewish story of creation,” presented in folk-opera form.

“MarshJam Improv Comedy Show” Marsh Berkeley, 2120 Allston, Berk; www.themarsh.org. Fri, 8pm. Ongoing. $10. Improv comedy with local legends and drop-in guests.

“Pele Ma” Hamilton Amphitheater Park, Hamilton Parkway, Novato; www.hulaon.org. Sat/3, 1-3pm. $10. Hula performance directed by Kumu Hula Shawna Alapa’i and featuring the students of Halau Hula Na Pua O Ka La’akea.

“Piñata Dance Ritual” Shawl Anderson Dance Center, 2704 Alcatraz, Berk; www.lizboubion.org. Sun/4, 4pm. $5-50. Piñata Dance Collective presents this performance to benefit artistic director Liz Boubion’s 350 Xochi Quetzal Artist Residency. *

 

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