Stage Listings Oct. 30-Nov. 5, 2013

Pub date October 29, 2013

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



Driving Miss Daisy Buriel Clay Theater at the African American Art and Culture Complex, 762 Fulton, SF; $12.50-37.50. Opens Sat/2, 8pm. Runs Fri-Sat, 8pm; Sun, 3pm. Through Nov 17. African-American Shakespeare Company performs Alfred Uhry’s Pulitzer-winning drama.

I Married an Angel Eureka Theatre, 215 Jackson, SF; $25-75. Previews Wed/30-Thu/31, 7pm; Fri/1, 8pm. Opens Sat/2, 6pm. Runs Wed-Thu, 7pm; Fri, 8pm; Sat, 6pm (also Nov 9, 1pm), Sun, 3pm. Through Nov 17. 42nd Street Moon performs the Rodgers and Hart classic.

The Jewelry Box: A Genuine Christmas Story The Marsh San Francisco, 1062 Valencia, SF; $15-40. Opens Fri/1, 8pm. Runs Fri, 8pm; Sat, 5pm. Brian Copeland performs the world premiere of his new, holiday-themed work, an Oakland-set autobiographical tale that’s a prequel to his popular Not a Genuine Black Man.

Peter and the Starcatcher Curran Theatre, 445 Geary, SF; $40-160. Opens Tue/5, 8pm. Runs Tue-Sat, 8pm (also Wed and Sat, 2pm; no show Nov 28); Sun, 2pm. Through Dec 1. Fanciful, Tony-winning prequel to Peter Pan.


A King’s Legacy Pear Avenue Theatre, 1220 Pear, Mtn View; $10-35. Previews Thu/31, 8pm. Opens Fri/1, 8pm. Runs Thu-Sat, 8pm; Sun, 2pm. Through Nov 24. Pear Avenue Theatre performs Elyce Melmon’s world premiere, a drama about King James VI of Scotland.

A Little Princess Julia Morgan Theater, 2640 College, Berk; $17-60. Previews Thu/30, 7pm and Sat/2, 1pm. Opens Sat/2, 6pm. Runs Thu-Fri, 7pm (Nov 28, shows at 1 and 6pm); Sat, 1 and 6pm; Sun, noon and 5pm (no 5pm show Dec 1). Through Dec 8. Berkeley Playhouse opens its sixth season with Brian Crawley and Andrew Lippa’s musical adaptation of the Frances Hodgson Burnett story.

Social Security Muriel Watkin Gallery, 1050 Crespi Drive, Pacifica; (650) 359-8002. $10-25. Opens Fri/1, 8pm. Runs Fri-Sat, 8pm; Sun, 2pm. Through Nov 24. Pacifica Spindrift Players performs Andrew Bergman’s classic comedy.


The Barbary Coast Revue Stud Bar, 399 Ninth St, SF; $10-40. Wed, 9pm (no show Nov 27). Through Dec 18. Blake Wiers’ new “live history musical experience” features Mark Twain as a tour guide through San Francisco’s wild past.

Bengal Tiger at the Bagdad Zoo SF Playhouse, 450 Post, SF; $30-100. Tue-Thu, 7pm; Fri-Sat, 8pm (also Sat, 3pm). Through Nov 16. In Rajiv Joseph’s Pulitzer-nominated Bengal Tiger at the Bagdad Zoo, the dead quickly outnumber the living, and soon the stage is littered with monologist ghosts lost in transition. In Joseph’s world, at least, death is but another phase of consciousness, a plane of existence where a man-eating tiger might experience a crisis of conscience, and a brash young soldier with a learning disability might suddenly find himself contemplating algebraic equations and speaking Arabic —knowledge that had eluded his comprehension in life. Will Marchetti’s portrayal of the titular tiger is on the static side, though his wry intelligence and philosophical awakening comes as a welcome contrast to the willfully obtuse world view of the American soldiers (Gabriel Marin and Craig Marker) guarding him. But it’s Musa (Kuros Charney), a translator for the Americans and a former gardener and topiary “artist,” who eventually emerges as the play’s most fully realized character and also the most tragic, becoming that which he dreads the most, a beast in a lawless land, egged on by the ghost of his former employer, the notoriously sadistic Uday Hussein (Pomme Koch). At times, director Bill English’s staging feels too understated and contained for a play that’s so muscular and expansive (an understatement not carried over into Steven Klems’ appropriately jarring sound design) focused less on its metaphysical implications than on its mundane surface, but however imperfect the production and daunting the script, it remains a fascinating response to an unwinnable war — the war against our own animal natures. (Gluckstern)

BoomerAging: From LSD to OMG Marsh San Francisco, 1062 Valencia, SF; $15-50. Tue, 8pm. Extended through Dec 17. Will Durst’s hit solo show looks at baby boomers grappling with life in the 21st century.

Carrie: The Musical Victoria Theatre, 2961 16th St, SF; $25-36. Wed/30-Sat/2, 8pm (also Sat/2, 2pm). Teen bullying is très topical at the moment, making Stephen King’s terrifying tale of a telekinetic girl pushed to the breaking point by her unsympathetic classmates ripe for revival. Although it flopped on Broadway in 1988, Carrie: The Musical has aged more gracefully than you might expect, thanks to the timeliness of its overarching theme and a judicious 2012 facelift of its script and score. In Ray of Light Theatre’s slam-dunk production, Carrie unfolds a bit like an after-school special on scapegoating, except with show tunes and, of course, the stratospheric consequences of the final, tragic revenge sequence. The songs themselves are mainly forgettable in terms of hooks and lyrics, but the vibrant young cast makes the most of them, with excellent harmonizing and powerful range. Amanda Folena’s tight choreography borrows the sinuous hip rolls and stomp of a Janet Jackson routine and just a touch of twerk, while Joe D’Emilio’s lighting and Erik Scanlon’s video design work in unholy symbiosis to create the supernaturally charged ambience of Carrie’s world. As Carrie, Cristina Ann Oeschger really shines, embodying the heartbreaking fragility of a lonely outcast whose optimism has not yet been entirely crushed, while Heather Orth as her frighteningly pious mother, Margaret White, reveals the vulnerability of her equally lonely character that many portrayals miss altogether. Standouts among the solid supporting cast include Jessica Coker as a compassionate gym teacher and Riley Krull as the ultimate mean girl. (Gluckstern)

Dirty Little Showtunes New Conservatory Theatre Center, 25 Van Ness, SF; $25-45. Wed-Sat, 8pm; Sun, 2pm. Through Nov 10. Lyricist-performer Tom Orr and director F. Allen Sawyer’s sassy but loving remix of iconic Broadway songs returns in another iteration, this one at the New Conservatory Theatre Center, complete with a willing and able cast of five (Rotimi Agbabiaka, David Bicha, Jesse Cortez, Randy Noak, Orr), piano accompaniment by musical director Scrumbly Koldewyn, and some rudimentary if evocative choreography by Jayne Zaban. Truly silly, sometimes inspired, the show mixes favorite parodies from past productions with some new ones. Orr’s wit shines throughout, even if it does not necessarily outshine every borrowed theme. Gilbert and Sullivan, for example, are hardly upstaged as much as celebrated with Bicha belting out, “I Am the Very Model of a Modern Homosexual.” More sentimental numbers about T cell counts or gay marriage, while an understandable part of the landscape of gay life explored here, can feel a little strained in the context of the generally ribald. But the high-spirited nature of this whimsical show makes pardonable even the less-dirty parts. (Avila)

Drowning Ophelia Mojo Theatre Space, 2940 16th St, #217, SF; $20. Thu/31-Sat/2, 8pm. Jane (Katharine Otis) is a young woman teetering on the verge of a breakdown who plays period dress-up with would-be suitor Edmund (Will Trichon) but can’t avoid the character at her back: Hamlet‘s Ophelia (Kirsten Dwyer), chiding and chilling from her bathtub in the middle of the room. As Jane’s attention gets drawn back to her alter ego, scenes from the past with recently deceased brother Adam (Ryan Hayes) replay themselves with Ophelia as her stand-in. These go from innocent to menacing, as meanwhile Jane’s almost endlessly patient boyfriend finally seems to have had enough of the clash between their playful pretending and the unforeseen visitors in Jane’s head. While a promising gambit from newcomer Repurposed Theatre, the world premiere of Pennsylvania-based playwright Rachel Luann Strayer’s slightly unwieldy play makes less of this intriguing situation than one might hope. The literary and theatrical bent to Jane’s split personhood is apt on more than one level — she’s not only desperate to secure a sense of order for her disordered mind, but a scripted basis for a romantic ideal forever tarnished by her relationship with her brother (vaguely creepy in his boyish confidence in Hayes’s alert performance). But there’s little sense of a larger psychosocial reality — whether of patriarchal misogyny, or violence more generally — and, as a result, little to be gained from the too-obvious and too emphatic incest-madness theme, outside of an impressive performance from Otis, whose somewhat hampered character is nevertheless a powerful presence throughout. Capable supporting turns, including Dwyer’s intense and vital Ophelia, and director Ellery Schaar’s generally sharp staging (under Julien Elstob’s moody lighting) contribute to making a nicely atmospheric production. (Avila)

First Stage Werx, 446 Valencia, SF; $25-35. Thu/31-Sat/2, 8pm; Sun/3, 2pm. Altair Productions, the Aluminous Collective, and PlayGround present the world premiere of Evelyn Jean Pine’s play, which imagines a 20-year-old Bill Gates’ experiences at a 1976 personal computer conference.

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

444 Days Z Below, 470 Florida, SF; $10-45. Thu/31-Sat/2, 8pm (also Sat/2, 3pm); Sun/3, 3pm. Golden Thread Productions presents the world premiere of founding artistic director Torange Yeghiazarian’s drama about the reunion between a former Iranian revolutionary, Laleh (Jeri Lynn Cohen), and a former American diplomat from the American embassy in Tehran, Harry (Michael Shipley) — her captive in more ways than one during the 444 days of the 1979-81 Iran hostage crisis. Some 25 years after this international “affair,” Laleh and Harry meet again at the bedside of their critically ill and comatose daughter, Hadyeh (Olivia Rosaldo-Pratt), whose non-biological father Amin (an offstage character) is Laleh’s longtime comrade and another of the onetime hostage takers. If it sounds like a politically loaded situation, it is, which is as much a problem as a virtue in director Bella Warda’s production. Yeghiazarian laces her dialogue with light humor, irony, and romance throughout, but the play allows little room for its characters to really breathe — indeed, Laleh’s first words to Harry after 25 years are, unlikely enough, a well-rehearsed screed. In the contortions its characters must speak (to which a friendly nurse, played by Sheila Collins, adds something like the average American’s perspective), the play remains too intent on delivering a political message about the intractable relationship, then and now, between the US and Iran — and the unnatural sacrifice of the generation that has come up since the severing of US-Iranian diplomatic ties after the revolution of 1979. (Avila)

Gruesome Playground Injuries Tides Theatre, 533 Sutter, SF; $20-40. Wed-Sat, 8pm. Through Nov 9. Tides Theatre performs Rajiv Joseph’s drama about two people who first meet as eight-year-olds in the school nurse’s office.

Hedwig and the Angry Inch Boxcar Theatre, 505 Natoma, SF; $27-43. Thu-Sat, 8pm. Open-ended. John Cameron Mitchell’s cult musical comes to life with director Nick A. Olivero’s ever-rotating cast.

Lovebirds Marsh San Francisco, 1062 Valencia, SF; $15-100. Thu-Fri, 8pm; Sat, 8:30pm. Through Nov 9. Workshop performances of Marga Gomez’s 10th solo show, about different characters seeking romance in the 1970s.

Randy Roberts Live! Alcove Theatre, 414 Mason, SF; $40. Thu/31-Sat/2, 9pm. The famed female impersonator performs.

Shakespeare Night at the Blackfriars (London Idol 1610) Phoenix Arts Association Annex Theatre, 414 Mason, SF; $20-25. Fri-Sat, 8pm; Sun, 7pm. Through Nov 17. Subterranean Shakespeare performs George Crowe’s comedy about a playwriting contest between Ben Jonson, Thomas Middleton, Francis Beaumont, and the ghost of Christopher Marlowe.

“Shocktoberfest 14: Jack the Ripper” Hypnodrome, 575 10th St, SF; $25-35. Thu-Sat and Wed/30, 8pm. Through Nov 23. It’s lucky 14 for the Thrillpeddlers’ annual Halloween-tide Shocktoberfest, and while there are few surprises in this year’s lineup, there’s plenty of reliable material to chew on. Opening with A Visit to Mrs. Birch and the Young Ladies of the Academy, a ribald Victorian-era “spanking drama,” the fare soon turns towards darker appetites with a joint Andre De Lorde-Pierre Chaine work, Jack the Ripper. Works by De Lorde — sometimes referred to as the “Prince of Fear” — have graced the Hypnodrome stage over the years, and this tense Victorian drama, though penned in the 30s, is suitably atmospheric. Although it becomes pretty evident early on who dunnit, it’s the why that lies at the heart of this grim drama, and in the course of that discovery, the play’s beleaguered lawmen reveal themselves to be no less ruthless than the titular Ripper (John Flaw) in pursuit of their quarry. Norman Macleod as Inspector Smithson particularly embodies this unwholesome dichotomy, and Bruna Palmeiro excels as his spirited yet doomed bait. Inspired by Oscar Wilde’s Salome, the Thrillpeddlers’ piece by the same name is perhaps the weak link in the program, despite being penned by the ever-clever Scrumbly Koldewyn, and danced with wanton abandon by Noah Haydon. Longtime Thrillpeddlers’ collaborator Rob Keefe ties together the evening’s disparate threads under one sprawling big top media circus of murder, sex, ghosts, and sensationalism with his somewhat tongue-in-cheek, San Francisco-centric The Wrong Ripper. (Gluckstern)

Sidewinders Exit on Taylor, 277 Taylor, SF; $10-50. Thu, 7:30pm; Fri-Sat, 8pm (also Sat, 2pm); Sun, 5pm. Through Nov 17. Cutting Ball opens its 15th season with the world premiere of Basil Kreimendahl’s absurdist romp through gender queerness. In a cartoonish, desolate wasteland (designed by Michael Locher), Dakota (Sara Moore), a bleached-blonde gunslinger in buckskin fringes, and Bailey (DavEnd), a possibly AWOL soldier rocking high-heeled boots and a single drop earring, wrestle with the conundrum of what to call their respective genitals. And more to the point, what to do with them after they figure it out. Or as Bailey bluntly puts it, “Who am I supposed to fuck?” But there’s more to being stranded in the uncharted wilderness at stake than “organ confusion,” and soon they must channel their uncommon alliance into finding a way back out. What they find instead include a regal figure of indeterminate gender possessed of extra limbs (Donald Currie), a suicidal servant with surgical skills (Norman Muñoz), and a growing realization that wilderness, like identity, is relative. Moore and DavEnd make a good comedic team, their endless banter, circular logic and exaggerated facial gymnastics giving them the philosophical gravitas of a Looney Tunes episode, while Currie’s turn as mutated muse is unexpectedly moving. Recent winner of the prestigious Rella Lossy award, this intriguing world premiere marks playwright Basil Kreimendahl’s first professional production, though it seems safe to say that it won’t be the last. (Gluckstern)


Can You Dig It? Back Down East 14th — the 60s and Beyond Marsh Berkeley, 2120 Allston, Berk; $15-50. Sat, 8:30pm; Sun, 7pm. Extended through Dec 15. Don Reed’s new show offers more stories from his colorful upbringing in East Oakland in the 1960s and ’70s. More hilarious and heartfelt depictions of his exceptional parents, independent siblings, and his mostly African American but ethnically mixed working-class community — punctuated with period pop, Motown, and funk classics, to which Reed shimmies and spins with effortless grace. And of course there’s more too of the expert physical comedy and charm that made long-running hits of Reed’s last two solo shows, East 14th and The Kipling Hotel (both launched, like this newest, at the Marsh). Can You Dig It? reaches, for the most part, into the “early” early years, Reed’s grammar-school days, before the events depicted in East 14th or Kipling Hotel came to pass. But in nearly two hours of material, not all of it of equal value or impact, there’s inevitably some overlap and indeed some recycling. Reed, who also directs the show, may start whittling it down as the run continues. But, as is, there are at least 20 unnecessary minutes diluting the overall impact of the piece, which is thin on plot already — much more a series of often very enjoyable vignettes and some painful but largely unexplored observations, wrapped up at the end in a sentimental moral that, while sincere, feels rushed and inadequate. (Avila)

Don’t Dress For Dinner Center REPertory Company, 1601 Civic, Walnut Creek; $33-52. Wed, 7:30pm; Thu-Sat, 8pm (also Nov 23, 2:30pm); Sun, 2:30pm. Through Nov 23. Center REP performs Marc Camoletti’s sequel to his classic farce Boeing-Boeing.

I and You Marin Theatre Company, 397 Miller, Mill Valley; $37-58. Wed/30, 7:30pm; Thu/31-Sat/2, 8pm (also Sat/2, 2pm); Sun/3, 2 and 7pm. Lauren Gunderson’s world premiere explores how Walt Whitman’s words affect the lives of two teenagers.

Lettice and Lovage Hillbarn Theatre, 1285 East Hillsdale, Foster City; $23-38. Thu/31-Sat/2, 8pm; Sun/3, 2pm. Hillbarn Theatre, now in its 73rd season, performs Peter Shaffer’s raucous comedy.

Metamorphoses South Berkeley Community Church, 1802 Fairview, Berk; $10-25. Thu and Sat-Sun, 8pm; Fri, 9pm (no show Nov 9). Through Nov 23. Additional performance Nov 9, 8pm, $5-20, Laney College, 900 Fallon, Oakl. Inferno Theatre performs a multimedia, contemporary adaptation of Ovid’s classic.

The Pianist of Willesden Lane Berkeley Repertory Theatre, Thrust Theatre, 2015 Addison, Berk; $29-89. Opens Wed/30, 8pm. Runs Tue and Thu-Sat, 8pm (also Nov 7, Dec 5, and Sat, 2pm; no matinee Nov 9; no show Nov 28); Wed and Sun, 7pm (also Sun, 2pm). Through Dec 8. Mona Golabek stars in this solo performance inspired by her mother, a Jewish pianist whose dreams and life were threatened by the Nazi regime.

Red Virgin, Louise Michel and the Paris Commune of 1871 Berkeley City Club, 2315 Durant, Berk; $15-28. Thu-Sat, 8pm; Sun, 5pm. Through Nov 24. Central Works presents a new play (with live music) by Gary Graves about the Paris Commune uprising.

Rich and Famous Dragon Theatre, 2120 Broadway, Redwood City; $15-35. Thu/31-Sat/2, 8pm; Sun/3, 2pm. Dragon Theatre performs John Guare’s surreal musical comedy.

strangers, babies Ashby Stage, 1901 Ashby, Berk; $20-35. Wed-Thu, 7pm; Fri-Sat, 8pm; Sun, 5pm. Through Nov 17. Shotgun Players present Linda McLean’s drama about a woman confronting her past.

Swing Shift Onboard the SS Red Oak Victory, 1337 Canal, Berth 6A, Richmond; $18-20. Fri-Sat, 8pm; Sun, 3pm. Through Nov 10. Galatean Players Ensemble Theatre perform Kathryn G. McCarty’s adaptation of Joseph Fabry’s novel, performed aboard a ship in the yards where Fabry once worked.

Warrior Class Mountain View Center for the Performing Arts, 500 Castro, Mtn View; $19-73. Wed/30, 7:30pm; Thu/31-Sat/2, 8pm (also Sat/2, 2pm); Sun/3, 2 and 7pm. TheatreWorks performs Kenneth Lin’s incisive political drama.


Alonzo King LINES Ballet Fall Home Season 2013 Yerba Buena Center for the Arts, Lam Research Theater, 700 Howard, SF; Wed/30-Thu/31, 7:30pm; Fri/1-Sat/2, 8pm; Sun/3, 5pm. $30-65. Featuring the SF premiere of Writing Ground, a collaboration with writer Colum McCann, and a world-premiere new work set to Bach.

“Best of the 2013 San Francisco Fringe Festival” Exit Studio, 156 Eddy, SF; Fri/1-Sat/2, 8pm. $15-25. This week: Genie and Audrey’s Dream Show! (“Best of” series continues through Nov. 23)

“Broadway Bingo” Feinstein’s at the Nikko, Hotel Nikko, 222 Mason, SF; Wed, 7-9pm. Ongoing. Free. Countess Katya Smirnoff-Skyy and Joe Wicht host this Broadway-flavored night of games and performance.

CounterPULSE 1310 Mission, SF; This week: “After the Tone,” performed by Cara Rose DeFabio, Sat/2-Sun/3, 8pm, $20. “Beware the Band of Lions (They’re Dandy Lions),” with Bandelion, Sun/3, Nov 10, and 17, 3pm, free (reservations required as space is extremely limited; to request an invitation, email

“Crones Meet Bride of Lesbostein” Garage, 715 Bryant, SF; Wed/30-Thu/31, 8pm. $18. Crackpot Crones perform.

“An Evening with Hal Holbrook” Jewish Community Center of SF, 3200 California, SF; Thu/31, 7pm. $25-35. The veteran actor discusses his memoir, Harold: The Boy Who Became Mark Twain.

Feinstein’s at the Nikko Hotel Nikko, 222 Mason, SF; This week: “An Evening with Rita Wilson,” Thu/31-Fri/1, 8pm; Sat/2, 7pm, $40-60.

“Grand Guignol” Z Space, 450 Florida, SF; Wed/30-Sat/2, 7 and 10pm; Sun/3, 2pm. $15-195. Horror play inspired by Paris’ legendary splatterhouse Theatre du Grand Guignol.

“The Handsomest Drowned Man in the World” Dance Mission Theater, 3316 24th St, SF; Fri/1, 9pm; Sat/2, 9:30pm; Sun/3, 7pm. Free. SF State’s Rainbow Theatre performs a stage adaptation of Gabriel Garcia Marquez’s short story.

“Layla Means Night” ODC Theater, 3153 17th St, SF; Wed/30-Sun/3, 7 and 9pm. $35-50. Rosanna Gamson/World Wide’s dance theater work transforms the ODC building into a 1,001 Arabian Nights-inspired fantasyland.

“Mission Position Live” Cinecave, 1034 Valencia, SF; Thu, 8pm. Ongoing. $10. Stand-up comedy with rotating performers.

“Okeanos Intimate” Aquarium of the Bay, Pier 39, SF; Sat, 4:30 and 7pm. $20-30 (free aquarium ticket with show ticket). Extended through Dec 28. Choreographer Jodi Lomask and her company, Capacitor, revive 2012’s Okeanos — a cirque-dance piece exploring the wonder and fragility of our innate connection to the world’s oceans — in a special “intimate” version designed for the mid-size theater at Pier 39’s Aquarium of the Bay. The show, developed in collaboration with scientists and engineers, comes preceded by a short talk by a guest expert — for a recent Saturday performance it was a down-to-earth and truly fascinating local ecological history lesson by the Bay Institute’s Marc Holmes. In addition to its Cirque du Soleil-like blend of quasi-representational modern dance and circus acrobatics — powered by a synth-heavy blend of atmospheric pop music — Okeanos makes use of some stunning underwater photography and an intermittent narrative that includes testimonials from the likes of marine biologist and filmmaker Dr. Tierney Thys. The performers, including contortionists, also interact with some original physical properties hanging from the flies — a swirling vortex and a spherical shell — as they wrap and warp their bodies in a kind of metamorphic homage to the capacity and resiliency of evolution, the varied ingenuity of all life forms. If the movement vocabulary can seem limited at times, and too derivative, the show also feels a little cramped on the Aquarium Theater stage, whose proscenium arrangement does the piece few favors aesthetically. Nevertheless, the family-oriented Okeanos Intimate spurs a conversation with the ocean that is nothing if not urgent. (Avila)

Point Break Live!” DNA Lounge, 373 11th St, SF; Fri/1, Dec 6, and Jan 3, 7:30 and 11pm. $25-50. Interactive interpretation of Kathryn Bigelow’s 1991 classic. (Some tickets include meatball sandwiches!)

“Project Nunway V: Dissident Futures” Yerba Buena Center for the Arts, 701 Mission, SF; Sat/2, 8pm. $15-99.99. The Sisters of Perpetual Indulgence’s annual gala benefits local nonprofits and features high-fashion looks crafted from recycled materials. Related events (check website for details) include an altar project, “Angel of the Future Dead;” an after-party; and a screening of 1983’s Yentl.

“The Romane Event Comedy Show” Make-Out Room, 3225 22nd St, SF; Wed/30, 7:30pm. $10. Special Halloween edition of Paco Romane’s popular monthly stand-up showcase.

“San Francisco Magic Parlor” Chancellor Hotel Union Square, 433 Powell, SF; Thu-Sat, 8pm. Ongoing. $40. Magic vignettes with conjurer and storyteller Walt Anthony. Seasonal alert: the show takes on a “spook-tacular” bent this week, with special shows Thu/31-Sat/2, 8pm.

13th Floor Dance Theater Studio B at ODC Dance Commons, 351 Shotwell, SF; Sat/2, 8pm. $18-23. Jenny McAllister’s company performs the world premiere of Being Raymond Chandler.

Zaccho Dance Theatre Zaccho Studio, 1777 Yosemite, Studio 330, SF; Fri/1-Sun/3, 1-5pm. Free. The company performs Joanna Haigood’s Between Me and the Other World, a performance installation exploring W.E.B. Dubois’ concept of double consciousness.

Zhukov Dance Theatre SFJazz Center, 201 Franklin, SF; Wed/30, 8pm. $25-55. The company marks its sixth annual season, “Product 06,” with world premieres by Yuri Zhukov and guest choreographer Idan Sharabi.

“What Stays” Turquoise Yantra Grotto, 32 Turquoise Way, SF; Fri/1-Sat/2, 8pm. $20-50. Home-theater performance by Right Brain Performancelab. Visit website for information on Nov 8-9 shows at a private home in Oakland.


Mariachi Vargas de Tecalitlán Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk; Sun/3, 7pm. $18-48. Celebrate Day of the Dead with the veteran Mexican folk ensemble’s traditional and popular tunes. Show up early (5-7pm) for free face painting and folkloric dance performances outside the venue, in Lower Sproul Plaza.

“Rapunzel” Marin Theatre Company, 397 Miller, Mill Valley; Sat-Sun, 10am and 12:30pm. $15-20. Through Nov 10. Marin Theatre Company performs a fairy-tale play for all ages.

Shanghai Ballet Zellerbach Hall, Bancroft at Telegraph, UC Berkeley, Berk; Fri/1-Sat/2, 8pm. $30-92. The company performs The Butterfly Lovers, choreographed by Xin Lili. *