Shopping

Bedbugs and pickpockets: a non-travelers tale

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I am a hotel aficionado. I wrote my undergraduate thesis in a New Haven hotel lobby, watching the light fade from pink to orange to a deep purple-blue each night, sometimes not leaving until the floor-to-ceiling panes of glass began to brighten with the morning.


Some of my favorite places in San Francisco are hotels: I love their bars and cafes, awash at all hours with a tide of voices bubbling forth in languages I don’t understand. I love the scale and grandeur of the marble foyers and reams of upholstery. I love making up stories about the passers-by: this one with jetlagged eyes and too much eyeliner; that one walking an unwieldy assortment of shopping bags like too many dogs; the last, an anachronism with a cigar and seersucker.


Like the airport bar, hotels hold all the romance of a moment suspended: an alternate reality, set apart from the day-to-day. Of course, most people associate traveling with a whole set of very real hassles – from which, I found out yesterday, my little non-vacation vacations are not immune. I experienced some authenticity along with all that atmosphere: in the lush upholstery, bedbugs, and among the tides of travelers, at least one very skilled pickpocket.


Picture me: a steaming pot of Earl Grey, settling into a sofa, the sun slanting through the gauzy drapes. No sooner have I unfolded my laptop and set Pandora to supply the elevator music (embarrassing but true) than I feel a tickle on my neck. Absentmindedly, I brush it away, and there – sitting right there on my hand – is an impudent, shameless, full-grown bedbug.


I’d like to point out that I am not a paranoid person. But the bedbug’s reputation precedes him, and the tales of horror are too overwhelming to take lightly. Bedbugs, parasites that snack on human blood, can survive temperatures that dip below freezing and soar above 100 degrees. They can go months without feeding – some say more than a year. More than enough to warrant my jumping, yelping reaction.


I smushed the bug, heart racing, and looked for the nearest escape. But simply running away would not do. Instead, I needed to assess my situation.


I put Mr. Bug in a Ziploc bag (despite a thorough smashing, he waved jauntily as I sealed him shut) and began to examine the couch. Bedbugs particularly like seams, corners, rolls in the fabric, and cording. If an infestation is severe, piles of cast-off skins and small white eggs can be found in little caches. The bugs also leave dark brown droppings dotted over areas where they have recently fed.


My search didn’t reveal much, but adults – flat, rusty-brown, and about the size of a pencil-eraser – generally hide during the day. Nymphs range from .5-4mm – easily small enough to hitch a ride on clothing, shoes, luggage, or hair without arousing suspicion. Once they reach their new home, they will burrow into the cracks around baseboards, to say nothing of the raging party they will have in mattresses.


The thing about bed bugs is that they can come from anywhere. Even if a hotel is scrupulous about maintenance, any person who walks in and sits on a couch can bring them and transfer them to the next person. Females lay eggs continuously (300 in a lifetime) so a lone straggler is enough to start an infestation.


So, I did what any sane and sensible person in my position would: I politely informed the hotel staff that I had found the dreaded critter, and then I got the heck out. I had the urge to tear off my clothes and burn them, but I settled for locking myself in the bathroom of the hotel next door and performing a careful inspection. I would need to wash my clothes in hot water and dry on “high” when I got home – a good policy for all travelers, especially if they’ve received suspicious bites on their trip. Suitcases should also be thoroughly inspected and vacuumed.


I said good-bye to Mr. Bug and threw him out in his sealed Ziploc – never throw out infested items (such as vacuum bags used to clean buggy furniture) without sealing them first – and sighed, secure in the knowledge that I’d sufficient precautions.


I settled down with a new pot of Earl Grey in my new hotel, ready to regain my earlier calm. It was a bustling lobby of tiny tables overflowing with a tipsy happy-hour crowd. Hotel happy hours are another reason I love this city’s hospitality industry: the bartenders are less hassled than at the typical neighborhood watering hole, and the people-watching is far better.
After a happy few hours (during which I switched from plain tea to G&T), I had finished a pile of work and was ready to pack up. I bid adieu to the bartender and looked for my pocketbook to leave a tip.


It was gone.


For the second time that day, I found myself groveling on the floor, lifting up couch cushions, and sweeping through curtains. I wished I’d had enough to drink to call the whole thing a hallucination, but by the time I found myself riffling the leaves of the potted plants, I had to admit that my wallet was not going to reappear.


I dumped out my purse (which is really just a canvas shoulder bag) I realized my phone was gone, too. Both had been in the bag, which had spent the last couple hours hanging on the back of my chair. This, obviously, was a huge mistake.
In all that cheery hustle and bustle, I’d been totally hustled. I have to hand it to my assailant – who, I’ll deduce from the $800 Nordstrom splurge, was a woman. She managed to get both items out of my possession without my noticing a thing. Of course, I did her a huge favor by favoring an open-style bag without a zipper or other closure. I love that my laptop and other sundries fit in the loose sack, and Ms. X loved that it enabled her to take a quick trip to Saks.


In just a few hours, Ms. X loaded a total of $6,000 of charges onto my Merrill Lynch Visa. To their credit, the folks at Chase Bank didn’t let the same thing happen to my debit card – when I called the hotline, a representative read me a list of fraudulent charges they had denied. Five minutes and a few identifying security questions later, I was slated to receive a new card in the mail.


It may seem obvious, but if your wallet is stolen, the absolute first order of business is to cancel your cards – even if means spending, as I did, the hours of 12 a.m. to 3 a.m. on the phone with a series of outsourced Visa workers. Word to the wise: it’s far easier to call your bank directly than deal with your credit card company. Like most US banks, Merrill Lynch has a 24-hour customer support line, and if I’d dialed it rather than the number I found on the Visa website, I’d have bypassed a long painful process. Furthermore, only my bank was able to tell me what charges had been made, and what I will need to do to reverse them.


And then there’s the police report: it’s a pain, especially because fraudulent charges mean you must appear at the station in-person, rather than filing online or by phone. But it’s also crucial in case you have troubles down the road with your bank, credit card company, or someone who wants to pretend they’re you. Reports are kept on file, and copies may be requested at a later date.


Verizon received an A+ for swiftly cutting service to my cell phone, switching me back to my old dumb-as-a-brick phone, and automatically crediting charges for my no longer needed data plan. By then, it was 4:00 a.m. The next day, I would need to tackle the new driver’s license, the new student ID, and the new keys. But first, I needed a good night’s sleep – in my own non-vaction home, in my bed bug-free bed.

Stage Listings

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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. For further information on how to submit items for the listings, see Picks. 

THEATER

OPENING

Candide of California 1620 Gough; www.custommade.org. $10-28. Previews Fri/13-Sat/14, 8pm. Opens Tues/17, 8pm. Runs Thurs-Sat, 8pm. Through June 4. Custom Made Theatre presents this modernized version of the Voltaire tale, which was a hit at the SF Fringe Festival.

Risk is This…The Cutting Ball New Experimental Plays Festival EXIT on Taylor, 227 Taylor; (800) 838-3006, www.cuttingball.com. $20-50. Opens Fri/13, 8pm. Runs Fri-Sat, 8pm. Through June 25. Cutting Ball Theater closes its 11th season with a festival of experimental plays, including works by Eugenie Chan, Rob Melrose, and Annie Elias.

BAY AREA

A Connecticut Yankee in King Arthur’s Court Pear Avenue Theatre, 1220 Pear Avenue, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Previews Fri/13, 8pm. Opens Sat/14, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through May 20. Pear Avenue Theatre presents an adaptation of Mark Twain’s novella.

OPEN. Central Stage, 5221 Central, Richmond; (800) 838-3006, www.raggedwing.org. $15-35. Previews Thurs/12, 8pm. Opens Fri/13, 8pm. Runs Thurs-Sat, 8pm. Through June 11. Ragged Wing Ensemble presents a new Bluebeard-inspired play written and directed by Amy Sass.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason; 992-8168, www.absolutelysanfrancisco.com. $32-50. Check for dates and times. Open-ended. Not Quite Opera Productions presents a musical.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Ricardo Salinas, cofounder of famed Mission-born radical Latino comedy trio Culture Clash, penetrates the velvet enclave of Teatro ZinZanni, taking the helm for its latest Euro-style dinner-cirque cabaret show. Under Salinas’ inspired direction, the evening plays as a revolt by brown-hued kitchen and wait staff against a ruthless takeover by, what else, a Chinese conglomerate. Multiculti clashes ensue, with the underdogs led by a brother-sister team played charmingly by ZinZanni regulars Christine Deaver and Robert Lopez, and with much expert repartee and physical humor neatly enveloping characteristically stunning feats of acrobatics and circus arts that leave forkfuls of grub hovering before slack-jawed mouths. I don’t know how many actual kitchen staffers out there can afford the ticket price (though it does come with a tasty five-course meal in addition to a first-class show), but the blend of Salinas and company’s shrewd if subdued social commentary and big-heated Latin-fueled humor—not to mention the exquisite musical numbers featuring guest star Rebekah Del Rio—lead to something altogether harmonious. (Avila)

Cancer Cells The Garage, 975 Howard; 518-1517, www.975howard.com. $15. Fri-Sat, 8pm; Sun, 2pm. Through May 22. Performers Under Stress and directors Geoff Bangs and Scott Baker offer this well-conceived program of late Pinter works, a total of nine plays and poems intelligently arranged and unevenly but in some cases vibrantly performed (especially in the case of One for the Road) in a fleet 90-minute evening. With the titular poem, written as the esteemed playwright was undergoing chemo (and recited here with somewhat unnecessary emotion by Valerie Fachman), a telling definition of cancer cells arises: “They have forgotten how to die/ And so extend their killing life.” Given the unbridled political nature of the work that follows—including the devastatingly stark (yet ever articulate to the point of being unexpected) dramatic vocabulary of Mountain Language, a compact depiction and rumination on state-sponsored genocide—those cancer cells grow out of their literal referent into a literary metaphor for the warping, perverting, and devastating consequences of supreme, unchecked power and its Olympian delusions. Pinter’s late works, written with a pronounced urgency in the face of ever-widening war and genocide, advance his shrewd and potent ability for exposing the obscenity beneath the shell games of language as deployed by power in pursuit of its imperial and totalitarian aims. (Avila)

Devil/Fish 2781 24th St; www.cirquenoveau.com. $26. Fri-Sat, 7pm; Sun, 6pm. Through May 22. Cirque Noveau presents a story involving aerial performance, acrobatics, and more.

Eleanor EXIT Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $10-25. Thurs-Sat, 8pm; Sun, 3pm. Through May 28. Though it seems fitting that a two-and-a-half-hour long epic about historical diva and queen Eleanor of Aquitane should debut at EXIT Theatre’s DIVAfest, Dark Porch Theatre’s production of Eleanor lacks the charisma of its muse. A confused tangle of unnecessary subplots and under-developed characters, Eleanor tries to fit in an 800-year-old grudge match, a thwarted celestial ascension, political chicanery, assassination, adultery, an existential chess game, a crusade, medieval grrrl power, and the quest for the holy grail into a single show, with decidedly mixed results. On the one hand, Alice Moore as the titular queen is a delicious blend of regal and calculating, and Nathan Tucker as her equally conniving consort, Henry II, makes a surprisingly vital and robust king. The design elements are strong, and Dark Porch Theatre’s trademark live music and physical-movement interludes are cleverly arranged. But on the downside, Eleanor also displays what is gradually becoming another one of DPT’s trademarks, an overly convoluted script in need of major tightening in focus. Playwright/director Margery Fairchild needs to sacrifice a good chunk of bit-player intrigue, and rely more on the strength of her iconic queen, to move the action to an endgame more rewarding than this version’s anti-climactic exile to eternal oblivion. (Gluckstern)

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through July 10. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

Hugh Jackman, in Performance at the Curran Theatre Curran Theatre, 445 Geary; (888) 746-1799, www.shnsf.com. $40-150. Tues-Fri, 8pm; Sat, 2 and 8pm; Sun, 2pm. Through May 15.The shout that went up the moment he came onstage was enough to let you know this entertainer could do no wrong with this audience. But perhaps just to be on the safe side, Hugh Jackman immediately began courting the 1700 people packed into the Curran from the front rows to the balcony, speaking to many individually, embracing one or two, bringing some onstage, or just flashing them his leading-man smile. Jackman’s limited and exclusive San Francisco engagement, courtesy of producer Carole Shorenstein Hays, wasn’t my cup of tea, or whatever they drink Down Under, but devotees of the Aussie star from Hollywood (X-Men) and Broadway (The Boy from Oz) got the love-fest they wanted. And the multifaceted actor is all pro, likeable and impressive even amid the cheesier aspects of a throwback form: a song-and-dance varietal in an old-school showbiz vein, featuring much personal and professional reminiscing, joking around (including tussles with his personal trainer [Steve Lord] over a dancing prohibition in the buff-up period before his next Wolverine pic), musical routines, and somewhat incongruous medleys backed by an 18-piece band (under direction of Patrick Vaccariello) and flanked by Broadway talents Merle Dandridge (Rent, Spamalot, Aida) and Angel Reda (Wicked). (Avila)

Loveland The Marsh, Studio Theater, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Fri, 8pm; Sat, 8:30pm. Through June 4. Ann Randolph’s popular one-woman show about a misfit returning to Ohio from L.A. extends its run.

*Lucky Girl EXIT Studio, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $10-25. Thurs-Sat, 8pm; Sun, 3pm. Through May 28. Honey (Cheryl Smith) talks about “the shoes” first, the shoes repeatedly, against even her analyst’s power to retain a common interest in the footwear of her attacker. Why should she so concern herself with this detail of the man who assaulted her, wounding her in ways too subtle and deep to measure—unless through the wayward precision of the poetical imagination some measure might actually be taken. That is the force and beauty of Lucky Girl, a notable new stage adaptation by Tom Juarez of poet Frances Driscoll’s 1997 collection, The Rape Poems, which premieres as part of Exit Theatre’s DIVAfest 2011. Juarez crafts an engagingly dynamic and delicate narrative arc from Driscoll’s thematically joined but otherwise disparate poems, gorgeously formulated verses that delve into a devastating subject with an unexpected range of humor, insight, and compassion. This supple range is acutely grasped and exquisitely interpreted by Smith, whose gripping performance (keenly directed by Kathryn Wood) eschews anything remotely sentimental for a complex and moving portrait of the enduring aftermath of terror. (Avila)

A Most Notorious Woman EXIT Stage Left, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $10-25. Thurs-Sat, 8pm. Through May 28. The axiom “well-behaved women seldom make history” comes to mind when watching a reenactment of the strange but true tale of the meeting between renegade pirate “queen” Grace O’Malley and Queen Elizabeth I. Both exceptionally powerful women in their day, they must surely have found some novel comfort in the presence of the other. Christina Augello plays both divas for DIVAfest with swashbuckling verve in Maggie Cronin’s historical drama, A Most Notorious Woman. Also inhabiting several bit characters along the way, Augello infuses Grace with a matter-of-fact, workaday groundedness, while her Elizabeth is all fuss and neuroses, chattering away to “Leicester” on a thoroughly modern cell-phone while plotting political intrigues. Watching Augello shift between the two strong-willed characters is the production’s greatest pleasure, along with some clever set and costuming flourishes courtesy of John Mayne and Laura Hazlett. There are some awkwardly-paced attempts at shadowplay which interrupt the overall flow, and the presence of an omniscient narrator, a sea-queen wrapped in kelp, is a puzzling distraction, but as staged history lessons of ill-behaved women go, Notorious is both informative and entertaining. (Gluckstern)

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

The Real Americans The Marsh MainStage, 1062 Valencia; 282-3055, www.themarsh.org. $25-50. Fri, 8pm; Sat, 8:30pm (also July 10, 17, and 24, 2pm). Through July 24. Dan Hoyle’s popular show about city and small-town life, directed by Charlie Varon, continues its run.

Secret Identity Crisis SF Playhouse, Stage 2, 533 Sutter; 869-5384, www.un-scripted.com. $10-20. Thurs-Sat, 8pm. Through Sat/14. Un-Scripted Theater Company presents a story about unmasked heroes.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

Silk Stockings Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. $24-44. Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through May 22. 42nd Street Moon presents a Cole Porter production.

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 4. Actors Theatre of San Francisco presents the Tennessee Williams tale.

Talking With Angels Royce Gallery, 2901 Mariposa; (800) 838-3006, www.brownpapertickets.com. $21-35. Thurs-Sat, 8pm. Through May 21. A play by Shelley Mitchell set in Nazi-occupied Hungary.

*Vice Palace: The Last Cockettes Musical Thrillpeddlers’ Hypnodrome, 575 10th St; (800) 838-3006, www.brownpapertickets.com. $30-35. Fri-Sat, 8pm; Sun, 7pm. Through July 31. Hot on the high heels of a 22-month run of Pearls Over Shanghai, the Thrillpeddlers are continuing their Theatre of the Ridiculous revival with a tits-up, balls-out production of The Cockettes’ last musical, Vice Palace. Loosely based on the terrifyingly grim “Masque of the Red Death” by Edgar Allan Poe, part of the thrill of Palace is the way that it weds the campy drag-glamour of Pearls Over Shanghai with the Thrillpeddlers’ signature Grand Guignol aesthetic. From an opening number set on a plague-stricken street (“There’s Blood on Your Face”) to a charming little cabaret about Caligula, staged with live assassinations, an undercurrent of darkness runs like blood beneath the shameless slapstick of the thinly-plotted revue. As plague-obsessed hostess Divina (Leigh Crow) and her right-hand “gal” Bella (Eric Tyson Wertz) try to distract a group of stir-crazy socialites from the dangers outside the villa walls, the entertainments range from silly to salacious: a suggestively-sung song about camel’s humps, the wistful ballad “Just a Lonely Little Turd,” a truly unexpected Rite of Spring-style dance number entitled “Flesh Ballet.” Sumptuously costumed by Kara Emry, cleverly lit by Nicholas Torre, accompanied by songwriter/lyricist (and original Cockette) Scrumbly Koldewyn, and anchored by a core of Thrillpeddler regulars, Palace is one nice vice. (Gluckstern)

BAY AREA

Cripple of Inishmaan Zellerbach Playhouse, UC Berkeley Campus, Berk; (510) 642-9988, www.calperformances.org. $68. Wed/11-Fri/13, 8pm; Sat/14, 2 and 8pm. The Irish theater company Druid presents a send-up of rural Irish life, written by Martin McDonagh.

Disassembly La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm (through June 11). Impact Theatre presents the world premiere of a dark comedy by Steve Yockey.

East 14th – True Tales of a Reluctant Player The Marsh Berkeley, 2120 Allston, Berk; (800) 838-3006, www.themarsh.org. Sat, 8:30pm; Sun, 7pm (except Sat/14, 8pm). Through June 18. Don Reed’s one-man solo show extends its run.

Lady With All the Answers Center REPertory Company, Lesher Center for the Arts, Knight Stage 3 Theatre, 1601 Civic Center, Walnut Creek; (925) 943-SHOW, www.centerrep.org. $45. Thurs-Sat, 8:15pm; Sun, 2:15pm. Through Sun/15. Center REPpresents Kerri Shawn’s one-woman play about Ann Landers.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 7:30pm. Through June 16. Brian Copeland’s solo show about Bay Area history continues its successful run.

Passion Play Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $10-15. Fri-Sat, 7pm (also Sun/15, 2pm). Through May 21. Actors Ensemble of Berkeley presents the West Coast premiere of a time-travel play by Sarah Ruhl.

Three Sisters Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Check for dates and times. Through May 22. Berkeley Rep presents a new version of Chekhov’s 1901 play by Sarah Ruhl (In the Next Room, Eurydice), directed by Les Waters. The language sounds generally and pleasingly modern in the mouths of the titular Prozorov sisters—Olga (Wendy Rich Stetson), Masha (Natalia Payne), and Irina (Heather Wood)—although the production is rather traditional in staging (period set by Annie Smart, and corresponding costumes by Ilona Somogyi). We follow the restless siblings and their flock of soldier-admirers through a handful of years in their provincial town, where their late father was an elite military officer. In this period, the dashing officer Vershinin (Bruce McKenzie) brings a spark of new life—especially to the unhappily married Masha—and stokes the sisters’ ultimately unanswered desire to return to their beloved Moscow. The production breathes a good deal of life into the play, whose half-foolish and heartbreakingly funny characters so palpably exude a complex set of longings and misplaced desires, but it labors under an initial stiffness and a somewhat jagged set of performances. (Payne’s twitchy Masha, for instance, whose features maintain throughout a look of unwelcome surprise, feels incongruent at times). Some of the more moving turns concentrate here in the supporting characters, including James Carpenter as Chebutykin, the fawning old doctor who has forgotten all he used to know; Thomas Jay Ryan as Tuzenbach, the self-conscious Russian of German descent desperately smitten with Irina; and Alex Moggridge as the sisters’ much put-upon, feckless, alternately gentle and petulant brother, Andrei. (Avila)

The World’s Funniest Bubble Show The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-50. Through July 10. The Amazing Bubble Man performs.

PERFORMANCE

Bay Area Black Comedy Competition Paramount Theatre, 2025 Broadway, Oakl; www.blackcomedycompetition.com. Sat/14, 8pm. $25-45. Don “D.C.” Curry hosts the finals of the competition

Boars Head Cafe Royale, 800 Post; 641-6033. Mon/16, 7:30pm. Free. SF Theater Pub revisits Shakespeare’s Henry IV plays.

Cabaret Lunatique Pier 29 on the Embarcadero; 438-2668, www.love.zinzanni.org. Sat/14, 11:15pm. $25-25. Teatro ZinZanni’s cabaret presents “Celebrate the Mission,” the third of nine performances focusing on specific neighborhoods.

The Devil-Ettes Present…Go Go Mania! Rickshaw Stop, 155 Fell; 861-2011, www.devilettes.com. Fri/13, 9pm. $10. A night of burlesque and rock.

DIVAfest EXIT Theatre, 156 Eddy; 673-3847, www.theexit.org. Through May 28. Check for times and prices. Plays and performances by women artists, including Maggie Cronin, Christina Augello, Margery Fairchild, and Diane DiPrima.

Gods of San Francisco Shotwell Studios, 3252 19th St; Fri-Sat, 8pm (through May 21). $15-20. Ko Labs presents a one-act musical about a mother and daughter in the aftermath of the 1906 earthquake.

Gustafer Yellowgold’s Infinity Sock Show Park Library,1950 Page; 355-5656, www.sfpl.org. Thurs/12, 11am. (Also Bernal Heights Library, 500 Cortland; 355-5663, www.sfpl.org. Thurs/12, 3:30pm.) Free. A free performance that is part of a two-week residency.

Katya Takes You Home Jewish Theatre, 470 Florida; www.russianoperadiva.com. Thurs-Sat, 8pm (also Tues/17, 8pm; Sun/22, 4pm). Through May 22. $20-30. Katya Smirnoff-Skyy presents an original cabaret.

SF Merionettes Synchronized Swimming Show Balboa Pool, 51 Havelock; (206) 240-0488, www.sf-merionettes.org. Sun/15, 5pm. $10 (suggested donation). The team of swimmers from eight to 17 holds an exhibition of 2011 routines.

Theatresports and Improvised Noir Bayfront Theater, Fort Mason Center; 474-6776, www.improv.org. Fri-Sat, 8pm (through May 28). $17-20. BATS Improv Theatre presents competition and noir performances.

Lilias White Fairmont Hotel, Venetian Room, 950 Mason; 392-4400, www.bayareacabaret.org. $45. The singer pays tribute to Cy Coleman with “My Guy Cy.”

Words and Voices: Litquake Tribute to Gertrude Stein Yerba Buena Gardens, Mission and 3rd; 543-1718, www.ybca.org. Tues/17, 12:30pm. Free. One of 90 events at this year’s Yerba Buena Gardens Festival.

Yale Glee Club Marines’ Memorial Theatre, 609 Sutter; 771-6900, www.marinesmemorialtheatre.com. Sat/14, 8pm. $75-125. The club is joined by Darren Criss and the SFGC Alumnae Chorus for a performance benefiting No Bully and YouthAware.

BAY AREA

Alameda Children’s Musical Theatre Altarena Playhouse, 1409 High, Alameda; (510) 521-6965, www.acmtkids.org. Fri/13, 7:30pm; Sat/14, 2 and 7:30pm. $7-13. A production of Shakespeare’s A Midsummer Night’s Dream, directed by Sara Kraft.

DANCE

CubaCaribe Festival Dance Mission, 3316 24th; 273-4633, www.brownpapertickets.com. Fri/13-Sat/14, 8pm; Sun/15, 7pm. $10-24. A program including performances by Colette Eloi’s El Wah Movement and Danys Pérez’s Oyu Oro.

Copious Dance Theater Z Space, 450 Florida; www.copiousdance.org. Fri/13-Sat/14, 8pm; Sun/15, 5pm. $18. The company brings four works to the stage, including Portals of Grace, Little Voices, and Secret’s Lament.

Luminous Connections Palace of Fine Arts, 3301 Lyon; 695-5720, www.sfsota.org. Fri/13-Sat/14, 8pm. $14-24. San Francisco School of the Arts Pre-Professional Dance Program presents a dance concert, under the direction of Elvia Marta.

Moveable Feast The Garage SF, 975 Howard; (800) 838-3006, www.brownpapertickets.com. Wed/11, 8pm. $10-20. Tanya Bello’s Project. B. presents a full-evening show.

Smuin Ballet Yerba Buena Center for the Arts, 701 Mission; 978-2787, www.ybca.org. Wed/11-Fri/13, 8pm; Sat/14, 2 and 8pm; Sun/15, 2pm. $20-62. Smuin Ballet presents a spring program, including choreography by Choo-San Goh, Amy Seiwert, and Michael Smuin.

BAY AREA

Company C Contemporary Ballet Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek; (925) 943-SHOW, www.lesherartscenter.org. Fri/13, 8pm; Sat/14, 2 and 8pm. $15-40. The company presents three world premieres.

Savage Jazz Dance and Napoles Malonga Casquelourd Center for the Arts Theatre, 1428 Alice, Oakl; (800) 838-3006, www.brownpapertickets.com. Thurs/12-Sat/14, 8pm. $5-25. The companies present “Gonzo,” which includes three world premieres by Savage Jazz Dance Company. 

5 Things: May 3, 2011

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>>BE STILL OUR WALLETS the Alameda Flea Market (ahem, Alameda Point Antiques Faire) was in full effect Sunday, a gently heaving behemoth of vans and makeshift shady areas packed with the finest in 20-plus-year-old posters, leather jackets, doilies, and more. Per usual though, our pulses raced for the clothes. 1960s hula wear, perfectly affordable granny boots, and darling handmade cardigans – all for very reasonable prices, for the Bay Area that is. If you’re going to the next one on June 5, we counsel stopping by St. George’s Spirits afterward for the $15 tasting menu, or at least a shot of the Firelit Coffee Liquer.

Shopping noms: a ric-rac peekaboo ’60s dress and zippy little weirdo bike at the Alameda Flea Market. Photos by Caitlin Donohue

>>FAIR FOOD Price, service, ingredients, taste – the myriad of factors that determine whether or not a restaurant will win your heart are well documented by a thousand SF guidebooks and websites. But one metric that has rarely been the day’s special is this: how well do our city’s eateries treat their employees? To the rescue is Young Workers United, a community group that released its second such guide at a release party yesterday at Daly’s Dive. Hit them up stat for a copy — because trust, a well-compensated server is much more likely to humor your request for one more basket of bread. 

>>HABLANDO DE CINCO DE MAYO…No matter if you’re checking out the lady lube wrestling at El Rio, outdoor ballet folklorico, Danville’s Cinco de Mustache Bike Ride, or just joining the calvalcade of gringos that – like, totally – have to get a burrito on Cinco De Mayo, no SF celebration can hold a candle to that of Fruitvale’s annual festivities. We were there on Sunday – and dancing horses in bar parking lots? You’re not going to see that in Mission, unless they’ve called the cavalry on us.

>>SO GOOD, SOBERT Do not listen to those that tell you that you’ll never be ready for that trip to Lake Del Valle (outside Livermore — kayaking!) if you eat another pint of icecream. Or if you must listen, stay classy and gently incline the label of your newfound friend, Garden Creamery sorbet, towards the hater in question. The sorbets contain no dairy or soy (coconut puree instead), no refined sugars (they’re sweetened with agave), are made right here in San Francisco by the sweet-faced ladies on the back label, and are available by the pint in flavors like Thai iced tea, coconut, and coffee at the reliably awesome Green Earth Natural Foods on Divisadero.

Believe. 

>>BLACK SUN SOUNDS While Slumberland labelmates Pains of Being Young at Heart chose to work with veteran producers to create a commercial second album, Crystal Stilts sticks closer to the sound of its debut, 2008’s Alight of Night, on this year’s In Love with Oblivion. The Brooklyn group still makes a dark cavernous sound, with an emphasis on reverb and treble, but any enhancements to its scope, or variations within lead singer’s Brad Hargett’s usually monotone delivery, only add to a musical atmosphere that is richerand more nuanced than most retro-leaning indie rock, and (unlike the efforts of many contemporaries) equal to the best recordings on labels such as K and 53rd and 3rd. Crystal Stilts shares a bill with San Francisco’s excellent Mantles at Rickshaw Stop this Sat/7. 

Crystal Stilts, “Invisible City,” (from In Love with Oblivion), coupled with Jean Michele Jarre video footage:

Stage Listings

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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

Silk Stockings Eureka Theatre, 215 Jackson; 255-8207, www.42ndstmoon.org. $24-44. Previews Wed/4, 7pm; Thurs/5-Fri/6, 8pm. Opens Sat/7, 6pm. Runs Wed, 7pm; Thurs-Fri, 8pm; Sat, 6pm; Sun, 3pm. Through May 22. 42nd Street Moon presents a Cole Porter production.

ONGOING

Absolutely San Francisco Alcove Theater, 414 Mason; 992-8168, www.absolutelysanfrancisco.com. $32-50. Check for dates and times. Open-ended. Not Quite Opera Productions presents a musical.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Ricardo Salinas, cofounder of famed Mission-born radical Latino comedy trio Culture Clash, penetrates the velvet enclave of Teatro ZinZanni, taking the helm for its latest Euro-style dinner-cirque cabaret show. Under Salinas’ inspired direction, the evening plays as a revolt by brown-hued kitchen and wait staff against a ruthless takeover by, what else, a Chinese conglomerate. Multiculti clashes ensue, with the underdogs led by a brother-sister team played charmingly by ZinZanni regulars Christine Deaver and Robert Lopez, and with much expert repartee and physical humor neatly enveloping characteristically stunning feats of acrobatics and circus arts that leave forkfuls of grub hovering before slack-jawed mouths. I don’t know how many actual kitchen staffers out there can afford the ticket price (though it does come with a tasty five-course meal in addition to a first-class show), but the blend of Salinas and company’s shrewd if subdued social commentary and big-heated Latin-fueled humor—not to mention the exquisite musical numbers featuring guest star Rebekah Del Rio—lead to something altogether harmonious. (Avila)

Cancer Cells The Garage, 975 Howard; 518-1517, www.975howard.com. $15. Fri-Sat, 8pm; Sun, 2pm. Through May 22. Performers Under Stress and directors Geoff Bangs and Scott Baker offer this well-conceived program of late Pinter works, a total of nine plays and poems intelligently arranged and unevenly but in some cases vibrantly performed (especially in the case of One for the Road) in a fleet 90-minute evening. With the titular poem, written as the esteemed playwright was undergoing chemo (and recited here with somewhat unnecessary emotion by Valerie Fachman), a telling definition of cancer cells arises: “They have forgotten how to die/ And so extend their killing life.” Given the unbridled political nature of the work that follows—including the devastatingly stark (yet ever articulate to the point of being unexpected) dramatic vocabulary of Mountain Language, a compact depiction and rumination on state-sponsored genocide—those cancer cells grow out of their literal referent into a literary metaphor for the warping, perverting, and devastating consequences of supreme, unchecked power and its Olympian delusions. Pinter’s late works, written with a pronounced urgency in the face of ever-widening war and genocide, advance his shrewd and potent ability for exposing the obscenity beneath the shell games of language as deployed by power in pursuit of its imperial and totalitarian aims. (Avila)

Collected Stories Stage Werx, 533 Sutter; Z(800) 838-3006, www.brownpapertickets.com. $20-25. Fri-Sat, 8pm. Through Sat/ 7. Stage Werx presents David Margulies’ drama about art, ethics, and betrayal.

Cordelia NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. $18-20. Wed-Thurs, 7pm; Fri-Sat, 8pm. Through Sat/7. Theatre of Yugen presents world premiere of an abstraction of Shakespeare’s King Lear.

Devil/Fish 2781 24th St; www.cirquenoveau.com. $26. Fri-Sat, 7pm; Sun, 6pm. Through May 22. Cirque Noveau presents a story involving aerial performance, acrobatics, and more.

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through July 10. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

*Killer Queen: The Story of Paco the Pink Pounder Michael the Boxer Gym and Barbershop, 96 Lafayette; (800) 838-3006, www.brownpapertickets.com. $20. Thurs-Sat, 8pm; Sun, 7pm. Through Sun/8. The boxing ring is no metaphor in Killer Queen, a vital and walloping new solo play by Peter Griggs set in a small, real-life boxing gym in SoMa (before moving to another in Los Angeles later in the run). And yet the ring—around which a privileged audience is excitingly pressed—encompasses so much of the queer American experience since the 1970s and ’80s that every punch, literary or otherwise, reverberates with wider significance and poetical precision. Griggs, as a gay youth of color who grows up to be the first openly gay title holder in his class, occupies that ring and that life with a rare and utterly persuasive intensity as he alternately cajoles, flirts with, dismisses, and even menaces his audience between a captivating narrative and highly credible boxing choreography (including a tense training scene with the gym’s Michael Onello). An effeminate boy growing up in a violently homophobic society, “Paco” (as he’s nicknamed despite not being Latino) discovers boxing—and Queen—in time to save his life, thanks to two crucial surrogate fathers. Set to the music of the seminal rock band (sometimes using original recordings, sometimes interpretations by nearby piano accompanist Stephen Mello), the music is, like the ring, anything but arbitrary, and beautifully deployed overall. There are some rough or abrupt transitions and some muddiness in the underscoring of dialogue, but these are minor and passing and hardly take away from a unique, enthralling work directed with incisive attention to emotional as well as social truths by Wolfgang Wachalovsky (cofounder of queer performance incubator THEOFFCENTER, which co-produced with Burning Monk Collective). Indeed, it’s the very rawness around the edges of this studiously developed piece—including a passionate digression concerning the current “It Gets Better” campaign pitched at queer youth—that gives it an immediate and politically-charged quality above and beyond the electricity of the setting and the pulsating athletic movement it foregrounds. Beyond the stage-ring, moreover, the play remains as serious as its site-specific setting: its development has led to the founding in LA of an Empowerment Center for disadvantaged queer youth as well as the first Gay Boxing League. (Avila)

Loveland The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-35. Fri, 8pm; Sat, 8:30pm (also Sun/8, 7pm). Through Sun/8. Ann Rudolph’s one-woman show continues its successful run.

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

Secret Identity Crisis SF Playhouse, Stage 2, 533 Sutter; 869-5384, www.un-scripted.com. $10-20. Thurs-Sat, 8pm (no show Sat/7). Through May 14. Un-Scripted Theater Company presents a story about unmasked heroes.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 4. Actors Theatre of San Francisco presents the Tennessee Williams tale.

Talking With Angels Royce Gallery, 2901 Mariposa; (800) 838-3006, www.brownpapertickets.com. $21-35. Thurs-Sat, 8pm. Through May 21. A play by Shelley Mitchell set in Nazi-occupied Hungary.

Vice Palace: The Last Cockettes Musical Thrillpeddlers’ Hypnodrome, 575 10th St; (800) 838-3006, www.brownpapertickets.com. $30-35. Fri-Sat, 8pm; Sun, 7pm. Through July 31. Thrillpeddlers presents composer Scrumbly Koldewyn’s revival of the 1972 musical revue.

BAY AREA

East 14th – True Tale of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 8pm; Sun, 7pm. Through Sun/8. Don Reed’s one-man show continues.

*Eccentricities of a Nightingale Aurora Theatre, 2081 Addison; (510) 843-4822, www.auroratheatre.org. $10-55. Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through Sun/8. Bracketed literally from beginning to end by fireworks, Aurora Theatre’s production of Tennessee Williams’ The Eccentricities of a Nightingale offers some serious bang. On the surface, a tragic-comic tale of unrequited love in small-town Mississippi, Eccentricities plunges into deeper waters, exploring the ever-waged war between societal norms and its misfits — and the struggle to remain true to oneself — with a subtly layered approach. Protagonist Alma (Beth Wilmurt), the titular Nightingale, isolated by her complicated family circumstances and her own mild eccentricities, carries a long-burning torch for the boy-next-door, a rather callow young doctor (Thomas Gorrebeeck) with a terrifyingly overprotective mother (Marcia Pizzo). But Alma’s yearning, as much habit as attraction, has less to do with a dream of settling down with a nice doctor husband, but rather of freeing herself from the conventions that threaten to crush her spirit. Alma’s nervous artistic temperament hides a solidly pragmatic core, and when she has her young doctor alone in a hotel room at last, her plea for him to “give me an hour and I’ll make a lifetime of it,” rings not of desperation but of the adventure she craves. Director Tom Ross deftly brings out the gentle humor and bittersweet victory in the text via a strong cast and stellar design team. (Gluckstern)

Lady With All the Answers Center REPertory Company, Lesher Center for the Arts, Knight Stage 3 Theatre, 1601 Civic Center, Walnut Creek; (925) 943-SHOW, www.centerrep.org. $45. Thurs-Sat, 8:15pm; Sun, 2:15pm. Through May 15. Center REPpresents Kerri Shawn’s one-woman play about Ann Landers.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 7:30pm. Through Thurs/5. Brian Copeland’s one-man show continues.

Out of Sight The Marsh Berkeley, Theaterstage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 5pm (no show Sat/9); Sun, 3pm. Through May 8. Sara Felder’s one-woman show returns.

Passion Play Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $10-15. Fri-Sat, 7pm (also Sun/8, and may 15, 2pm). Through May 21. Actors Ensemble of Berkeley presents the West Coast premiere of a time-travel play by Sarah Ruhl.

Three Sisters Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Dates and times vary. Through May 22. Berkeley Rep presents a new version of Chekhov’s 1901 play by Sarah Ruhl (In the Next Room, Eurydice), directed by Les Waters. The language sounds generally and pleasingly modern in the mouths of the titular Prozorov sisters—Olga (Wendy Rich Stetson), Masha (Natalia Payne), and Irina (Heather Wood)—although the production is rather traditional in staging (period set by Annie Smart, and corresponding costumes by Ilona Somogyi). We follow the restless siblings and their flock of soldier-admirers through a handful of years in their provincial town, where their late father was an elite military officer. In this period, the dashing officer Vershinin (Bruce McKenzie) brings a spark of new life—especially to the unhappily married Masha—and stokes the sisters’ ultimately unanswered desire to return to their beloved Moscow. The production breathes a good deal of life into the play, whose half-foolish and heartbreakingly funny characters so palpably exude a complex set of longings and misplaced desires, but it labors under an initial stiffness and a somewhat jagged set of performances. (Payne’s twitchy Masha, for instance, whose features maintain throughout a look of unwelcome surprise, feels incongruent at times). Some of the more moving turns concentrate here in the supporting characters, including James Carpenter as Chebutykin, the fawning old doctor who has forgotten all he used to know; Thomas Jay Ryan as Tuzenbach, the self-conscious Russian of German descent desperately smitten with Irina; and Alex Moggridge as the sisters’ much put-upon, feckless, alternately gentle and petulant brother, Andrei. (Avila)

The World’s Funniest Bubble Show The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-50. Through July 10. The Amazing Bubble Man performs.

PERFORMANCE

DIVAfest EXIT Theatre, 156 Eddy; 673-3847, www.theexit.org. Check for times and prices. Through May 28. Plays and performances by women artists, including Maggie Cronin, Christina Augello, Margery Fairchild, Cheryl Smith, and Diane di Prima. 

Victory, victorious

0

le.chicken.farmer@gmail.com

CHEAP EATS He’s only in high school so far, but Coach’s little brother Coach is a football genius of Bill Walshian proportion. Here’s how I know: He came, he coached, we won.

Us. Yes. 12-0. He practiced us twice the day before the game, put people in their proper places, and called all the plays on offense. He’s 17. His even younger brother, Coachy, 14, taught the “cover four” to our defense, which includes me. I’m 47. And … well, 12-0! Compared to the 54-12 combined trouncing we received in our first three games, this was quite the minor miracle, this li’l shutout win. Four interceptions, two by me, one of which I returned for a touchdown. It was so unprecedentedly monumental that afterward I dumped about an eighth of a bottle of Gatorade over Coach’s brother Coach’s head.

And then, grinning, blushing, and just generally dripping electrolytes, he and his fold-away traveling coaching staff, which included their dad, folded into their car and drove back to San Diego. But not before Papa Coach thanked me again for taking care of that rooster back on New Year’s.

Which is important because no matter how much of a sexy celebrity hot shit football star I may become (with proper coaching) in my old age, I will always still be a chicken farmer at heart. Not to mention that offing this here rooster really gave me good luck this year.

For example: Boston. For example: New Orleans. For example: Hedgehog. For example: 12-0.

So the coaches left, except for Coach, and we were just us again, our ragtag women’s football team, basking on a plastic tarp on the sidelines, no longer winless, and no longer even I don’t think in last place. At least for one week. I wonder what happens next.

Next, I hug and high-five my teammates, and leave them sucking orange wedges to go eat something substantial with our fan, Kayday. That means Red Café on Mission and 25th streets, because Toast has a line, and we can’t find the Ebb Tide on account of existential crisis. Not ours; we’re still here. Well, I’m still here. By the time you read this, however, Kayday will have moved back to Seattle, which is kind of like ceasing to exist, except you can fly back on weekends. And she still wants to be in my band, so … There’s that.

As for Red, why haven’t I eaten here before this?

It’s good, it’s basic, it’s great, and most important, no line! If you don’t mind sitting at the counter, which of course we don’t.

Kayday was just getting over some stomach bug, so she ordered something bland and not worth talking about. I, on the other hand, had just won the first football game of my new career. So I ordered beans, tortillas, fried plantains, and a plastic bag with ice in it.

My knee was sore.

Actually, I’d thought I was ordering eggs too, and one of those balls of rice and beans, but I must have messed up.

Well, the plantains were good, although I couldn’t finish them because there were way too many. The beans were great, and my favorite part of everything was the tortillas, which were fresh and warm and I melted butter in them, rolled them up, and used them to scoop the beans.

My only real criticism of Red’s Café has to do with the ice course. They must have Ziplock bags, right? Or something strong enough to contain your drip when the ice starts to melt. No?

No, my ice was served in a small, handled shopping bag like the drug store might put your tube of toothpaste and hair pins in. No way is that gonna hold water.

Drip.

I’ll be OK. I’ll be back out there next weekend for more football, soccer, and maybe even baseball just by way of being a complete lunatic about it. I’ll also be back to Red’s Café for the nopales omelet, which I had meant to order before the thought of plantains foiled my plan. Drip. Drip.

Drip …

RED CAFÉ

Daily: 7 a.m.–9 p.m.

2894 Mission, SF

(415) 282-1515

No alcohol

D/MC/V

 

Stage Listings

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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

Vice Palace: The Last Cockettes Musical Thrillpeddlers’ Hypnodrome, 575 10th St; (800) 838-3006, www.brownpapertickets.com. $30-35. Opens Fri/29, 8pm. Runs Fri-Sat, 8pm; Sun, 7pm. Through July 31. Thrillpeddlers presents composer Scrumbly Koldewyn’s revival of the 1972 musical revue.

 

ONGOING

The Busy World is Hushed New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf,org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through May 1. New Conservatory Theatre Center presents the world premiere of a play by Keith Bunin.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Ricardo Salinas, cofounder of famed Mission-born radical Latino comedy trio Culture Clash, penetrates the velvet enclave of Teatro ZinZanni, taking the helm for its latest Euro-style dinner-cirque cabaret show. Under Salinas’ inspired direction, the evening plays as a revolt by brown-hued kitchen and wait staff against a ruthless takeover by, what else, a Chinese conglomerate. Multiculti clashes ensue, with the underdogs led by a brother-sister team played charmingly by ZinZanni regulars Christine Deaver and Robert Lopez, and with much expert repartee and physical humor neatly enveloping characteristically stunning feats of acrobatics and circus arts that leave forkfuls of grub hovering before slack-jawed mouths. I don’t know how many actual kitchen staffers out there can afford the ticket price (though it does come with a tasty five-course meal in addition to a first-class show), but the blend of Salinas and company’s shrewd if subdued social commentary and big-heated Latin-fueled humor—not to mention the exquisite musical numbers featuring guest star Rebekah Del Rio—lead to something altogether harmonious. (Avila)

Collected Stories Stage Werx, 533 Sutter; Z(800) 838-3006, www.brownpapertickets.com. $20-25. Fri-Sat, 8pm (alos April 24 2pm). Through May 7. Stage Werx presents David Margulies’ drama about art, ethics, and betrayal.

Cordelia NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. $18-20. Wed-Thurs, 7pm; Fri-Sat, 8pm. Through May 7. Theatre of Yugen presents world premiere of an abstraction of Shakespeare’s King Lear.

*40 Pounds in 12 Weeks The Marsh, Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Call for dates and times. Through Sat/30. Pidge Meade’s one-woman show extends its successful run.

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through July 10. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

*Into the Clear Blue Sky Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. $15-17. Thurs-Sat, 8pm. Through Sat/30. In our post-apocalyptic future as imagined by J.C. Lee, New Jersey is a pitched battleground of mythic proportions, and the moon is open for business. Against a spare backdrop of torn, crumpled fragments of letters and skillfully understated lighting (designed respectively by Ben Randle, Christian Mejia, and Alexander C. Senchak), a nuclear family of four experiences a severe meltdown. We meet a deadbeat dad who disappears into space (Christopher Nelson), a runaway daughter whose hands are disfigured by chemical burns (Dina Percia), a slightly unhinged, Neruda-quoting mother (Pamela Smith), and a banished son, Kale (Eric Kerr), who sets out on a hero’s quest to bring his sister home. The second part of the “This World and After” trilogy, being staged this season in its entirety by Sleepwalkers Theatre, Into the Clear Blue Sky may be set in a futuristic world beset by cannibals and sea monsters, but its primary concerns are those close to the heart. In fact, the most sympathetic character by far is the lovelorn neighbor boy, Cody (Adrian Anchondo), who would wear his heart on his sleeve if he had sleeves to wear it on; a bare-chested, face-painted, poetry-spouting Sancho Panza to Kale’s Quixote. Under Ben Randle’s direction, the actors morph easily from their characters into parts of the set and even the lighting team, making the most of a small budget with their large collaborative effort. (Gluckstern)

Loveland The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-35. Fri, 8pm; Sat, 8:30pm (also Sun/1 and 8, 7pm). Through May 8. Ann Rudolph’s one-woman show continues its successful run.

M. Butterfly Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $20-28. Thurs-Sat, 8pm. Through Sat/30. Custom Made Theatre presents David Henry Hwang’s award-winning play.

No Exit A.C.T., 415 Geary; (415) 749-2228, www.act-sf.org. $10-85. Wed-Sat, 8pm; Sun, 2pm. Through Sun/1. Canada’s Virtual Stage and Electric Company Theatre’s production of Jean-Paul Sartre’s 1944 hell-in-a-three–hander conceives it, rather, as a four-hander in something less than three dimensions. After director Kim Collier’s concept, the production (originally staged in a warehouse but presented here on ACT’s massive Geary stage) expands the duties and significance of the Valet (Jonathan Young) into a wandering, whistling comic lackey whose winking acquaintance with the audience reveals a desperation to escape his own portion of hell’s (and humanity’s) eternal psychological dungeon. Meanwhile, and further distractingly, Collier casts the traditional principals—three unwitting mutual torturers made up of a craven journalist (Andy Thompson), a butch home-wrecker (Laara Sadiq), and a spoiled trophy bride (Lucia Frangione)—off the stage entirely, projecting their images to us in three flat video panels. This two-dimensional realm is perhaps as claustrophobic a set-up as imaginable in so large a space as the Geary, which is part of the point, although the effect as staged rarely rises above gimmickry, especially with the monkey business concerning the Valet. Moreover, the acting as projected, with mugs in the camera lens and voices relayed over speakers, feels overly broad. All it brings anew out of the play (or Paul Bowles’ crystalline adaptation) is a suspicion that Sartre’s brainy but artificial and familiar composition is too dated for us without some cat toys to grab our attention. If that’s the case, then the nip should have been stronger. (Avila)

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

The Real Americans The Marsh MainStage, 1062 Valencia; 282-3055, www.themarsh.org. $25-35. Fri, 8pm; Sat, 8:30pm. Through Sat/30. Dan Hoyle’s hit show returns for another engagement.

Sea Turtles Exit Theater, 156 Eddy; www.generationtheatre.com. $15-25. Fri-Sat, 8pm; Sun, 3pm (also April 28, 8pm). Through Sat/30. GenerationTheatre presents an original play by David Valayre.

Secret Identity Crisis SF Playhouse, Stage 2, 533 Sutter; 869-5384, www.un-scripted.com. $10-20. Thurs-Sat, 8pm (no show May 7). Through May 14. Un-Scripted Theater Company presents a story about unmasked heroes.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 4. Actors Theatre of San Francisco presents the Tennessee Williams tale.

Talking With Angels Royce Gallery, 2901 Mariposa; (800) 838-3006, www.brownpapertickets.com. $21-35. Thurs-Sat, 8pm. Through May 21. A play by Shelley Mitchell set in Nazi-occupied Hungary.

Twelfth Night African American Art & Culture Complex, 762 Fulton; (800) 838-3006, www.African-AmericanShakes.org. $15-35. Sat, 8pm; Sun, 3pm. Through Sun/1. African-American Shakespeare Company presents a jazzy interpretation of the Bard.

BAY AREA

East 14th – True Tale of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 8pm; Sun, 7pm. Through May 8. Don Reed’s one-man show continues.

*Eccentricities of a Nightingale Aurora Theatre, 2081 Addison; (510) 843-4822, www.auroratheatre.org. $10-55. Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through May 8. Bracketed literally from beginning to end by fireworks, Aurora Theatre’s production of Tennesee Williams’ The Eccentricities of a Nightingale offers some serious bang. On the surface, a tragic-comic tale of unrequited love in small-town Mississippi, Eccentricities plunges into deeper waters, exploring the ever-waged war between societal norms and its misfits — and the struggle to remain true to oneself — with a subtly layered approach. Protagonist Alma (Beth Wilmurt), the titular Nightingale, isolated by her complicated family circumstances and her own mild eccentricities, carries a long-burning torch for the boy-next-door, a rather callow young doctor (Thomas Gorrebeeck) with a terrifyingly overprotective mother (Marcia Pizzo). But Alma’s yearning, as much habit as attraction, has less to do with a dream of settling down with a nice doctor husband, but rather of freeing herself from the conventions that threaten to crush her spirit. Alma’s nervous artistic temperament hides a solidly pragmatic core, and when she has her young doctor alone in a hotel room at last, her plea for him to “give me an hour and I’ll make a lifetime of it,” rings not of desperation but of the adventure she craves. Director Tom Ross deftly brings out the gentle humor and bittersweet victory in the text via a strong cast and stellar design team. (Gluckstern)

Lolita Roadtrip San Jose Stage, 490 S. 1st St, San Jose; (408) 283-7142, www.thestage.org. $20-40. Wed-Thurs, 7:30pm; Fri-Sat, 8pm; Sun, 2pm. Through Sun/1. An emotionally scarred graduate student (Chloë Bronzan) writing her thesis on Vladimir Nabokov’s Lolita heads from New York back to Stanford to confront her own personal Humbert Humbert of a thesis adviser (Julian López-Morillas). Accompanying her is a handsome underage hustler (Patrick Alparone) who finagles a ride as far as Santa Monica with hopes of making her his first female conquest. Meanwhile, the Stanford literature prof attends to his dying wife (Stacy Ross) between final touches on the last chapter of a secretly predacious book and dull lectures on “sex and death” to his undergraduate class. As co-presented by San Jose Stage and PlayGround, Bay Area playwright Trevor Allen’s latest has a high-powered director, cast, and crew behind it but nevertheless limps along as a flatfooted cross-country trek into a traumatic past, its narrative meagerly fueled by reference to a real-life road trip undertaken by Nabokov and family in 1941 (during which the writer and butterfly enthusiast discovered a new subspecies of Lepidoptera) and thin fumes drawn from a still great if long since controversial novel. It feels like an empty exercise and unfortunately abounds in corny humor as “corny humor,” joyless crosscutting of multiple monologues, a thematically leaden butterfly lecture by Nabokov (López-Morillas), forced repartee (delivered at a tediously breathless pace), and far-fetched situations. There was the pupa of an idea here at one point, but it was neither new (even as a subspecies) nor sensibly developed before being asked to fly. (Avila)

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 7:30pm. Through May 5. Brian Copeland’s one-man show continues.

Out of Sight The Marsh Berkeley, Theaterstage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 5pm (no show Sat/9); Sun, 3pm. Through May 8. Sara Felder’s one-woman show returns.

Passion Play Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $10-15. Fri-Sat, 7pm (also May 1, 18, and 15, 2pm). Through May 21. Actors Ensemble of Berkeley presents the West Coast premiere of a time-travel play by Sarah Ruhl.

Three Sisters Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Dates and times vary. Through May 22. The creators of In the Next Room present a new take on Chekhov. The World’s Funniest Bubble Show The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-50. Through July 10. The Amazing Bubble Man returns. *

5 Things: April 22, 2011

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>>BLACK WHEELS Three reasons why African-Americans should ride bicycles, brought to you courtesy of community two-wheeler group Red Bike and Green. One, health: the exercise can counter obesity and chronic disease. Two, economics: why drop all your cash into a car pit when you can put it to brightening your present and future? Three, environment: environmental racism — including pollution in low-income communities — has gone on too long, and you can do you part to change it. Now that we have that out of the way, check out Red Bike and Green’s first “black Critical Mass” of the year in Oakland on Sat/23. Bikes: too many good reasons to ride them.

>>LOCAL BOY DONE GOOD Reynaldo Cayentano Jr. grew up on Sixth Street, and he’s not going anywhere. The City College student and photographer recently opened up gallery space with cohort Chris Beale in the old District Attorney’s office, but the two will be throwing their Sat/23 “Native Taste” party at the House Kombucha factory, where they’ll showcase the work of 13 local artists and the hip-hop stylings of Patience. Speaking of local boys, have you heard the new SF anthem by Equipto and Mike Marshall?

Equipto ft. Mike Marshall, “Heart and Soul”:

http://www.youtube.com/watch?v=F3Fh0dXpuco&feature=player_embedded

>>GOOD & PLENTY CHEAP There’s nothing we like better than good, cheap stuff. Not the cheap, cheap stuff of a Walmart or Kmart, or the good, pricey stuff of a Neiman Marcus or Bloomingdale’s. Good. Cheap. Stuff. And in pursuit of said stuff, we know that many of our fellow city dwellers have checked out a City Car Share car for the express purpose of driving to Serramonte Shopping Center in Daly City and hitting the Daiso store. Put away that gas tank: now we have our own Daiso store, newly opened in Japantown. Since most of the items cost $1.50, a $20 bill will get you a Santa Claus-size bagful of beautiful origami paper, clever lunch boxes, kitchenware, or whatever strikes your fancy from Daiso’s — no jive — selection of 70,000 good, cheap goods.

>>THEY WALK AMONG US It isn’t often that we indulge in a little unabashed fandom when a celebrity comes to our city/ashram. After all, we have our standards (smart, funny, left-leaning, maybe a pot bust or two), which rules out your Biebers, your Gagas, your Cruises ‘n’ Holmeses. We also believe that a man with a three-day stubble muttering to himself as he walks down the street has a right to his private musings. But when that man is Alec Baldwin, well, we have to stop, give him a deep Zen bow, tell him he’s welcome here, and report back. We have no idea why Baldwin is here – a Giants game? No, they’re on the road. SFIFF? No, we would have heard. Filming an episode of 30 Rock, Alcatraz Edition? Possibly –- and truthfully, we don’t care. We will take this no further. No tweets, no nothing. Because we want him to come back -– with Tina Fey.

>>THE GOOD BOOKS
A few minutes spent reading a good, cheap book can add some insight and perspective to anyone’s day, and this weekend presents a reason to look for said books. The San Francisco Public Library’s 50th Anniversary Book Sale is going on at the Fort Mason Center Festival Pavilion until Sun/24, with everything on sale for three dollars or less. Books, DVDs, CDs, tapes, and other media are available, and on the sale’s final day, nothing will cost more than a dollar.

Stage Listings

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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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

Vice Palace: The Last Cockettes Musical Thrillpeddlers’ Hypnodrome, 575 10th St; (800) 838-3006, www.brownpapertickets.com. $30-35. Previews Fri/22-Sat/23, 8pm; Sun/24, 7pm. Opens April 29, 8pm. Runs Fri-Sat, 8pm; Sun, 7pm. Through July 31. Thrillpeddlers presents composer Scrumbly Koldewyn’s revival of the 1972 musical revue.

BAY AREA

Passion Play Live Oak Theatre, 1301 Shattuck, Berk; (510) 649-5999, www.aeofberkeley.org. $10-15. Opens Fri/22, 7pm. Runs Fri-Sat, 7pm (also May 1, 18, and 15, 2pm). Through May 21. Actors Ensemble of Berkeley presents the West Coast premiere of a time-travel play by Sarah Ruhl.

ONGOING

The Busy World is Hushed New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf,org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through May 1. New Conservatory Theatre Center presents the world premiere of a play by Keith Bunin.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Teatro Zinzanni presents a new production conceived in San Francisco.

Collected Stories Stage Werx, 533 Sutter; Z(800) 838-3006, www.brownpapertickets.com. $20-25. Fri-Sat, 8pm (alos April 24 2pm). Through May 7. Stage Werx presents David Margulies’ drama about art, ethics, and betrayal.

Cordelia NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. $18-20. Wed-Thurs, 7pm; Fri-Sat, 8pm. Through May 7. Theatre of Yugen presents world premiere of an abstraction of Shakespeare’s King Lear.

*40 Pounds in 12 Weeks The Marsh, Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Call for dates and times. Through April 30. Pidge Meade’s one-woman show extends its successful run.

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through July 10. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

*Into the Clear Blue Sky Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. $15-17. Thurs-Sat, 8pm. Through April 30. In our post-apocalyptic future as imagined by J.C. Lee, New Jersey is a pitched battleground of mythic proportions, and the moon is open for business. Against a spare backdrop of torn, crumpled fragments of letters and skillfully understated lighting (designed respectively by Ben Randle, Christian Mejia, and Alexander C. Senchak), a nuclear family of four experiences a severe meltdown. We meet a deadbeat dad who disappears into space (Christopher Nelson), a runaway daughter whose hands are disfigured by chemical burns (Dina Percia), a slightly unhinged, Neruda-quoting mother (Pamela Smith), and a banished son, Kale (Eric Kerr), who sets out on a hero’s quest to bring his sister home. The second part of the “This World and After” trilogy, being staged this season in its entirety by Sleepwalkers Theatre, Into the Clear Blue Sky may be set in a futuristic world beset by cannibals and sea monsters, but its primary concerns are those close to the heart. In fact, the most sympathetic character by far is the lovelorn neighbor boy, Cody (Adrian Anchondo), who would wear his heart on his sleeve if he had sleeves to wear it on; a bare-chested, face-painted, poetry-spouting Sancho Panza to Kale’s Quixote. Under Ben Randle’s direction, the actors morph easily from their characters into parts of the set and even the lighting team, making the most of a small budget with their large collaborative effort. (Gluckstern)

KML Reboots Traveling Jewish Theater, 470 Floriad; www.killingmylobster.com. $10-20. Thurs-Fri, 8pm; Sat, 7 and 10pm; Sun, 7pm. Through Sun/24. The sketch comedians present a new show about the pleasures and pains of technology.

Loveland The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-35. Fri, 8pm; Sat, 8:30pm (also May 1 and 8, 7pm). Through May 8. Ann Rudolph’s one-woman show continues its successful run.

M. Butterfly Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $20-28. Thurs-Sat, 8pm. Through April 30. Custom Made Theatre presents David Henry Hwang’s award-winning play.

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

The Real Americans The Marsh MainStage, 1062 Valencia; 282-3055, www.themarsh.org. $25-35. Fri, 8pm; Sat, 8:30pm. Through April 30. Dan Hoyle’s hit show returns for another engagement.

Sea Turtles Exit Theater, 156 Eddy; www.generationtheatre.com. $15-25. Fri-Sat, 8pm; Sun, 3pm (also April 28, 8pm). Through April 30. GenerationTheatre presents an original play by David Valayre.

Secret Identity Crisis SF Playhouse, Stage 2, 533 Sutter; 869-5384, www.un-scripted.com. $10-20. Thurs-Sat, 8pm (no show May 7). Through May 14. Un-Scripted Theater Company presents a story about unmasked heroes.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 4. Actors Theatre of San Francisco presents the Tennessee Williams tale.

Talking With Angels Royce Gallery, 2901 Mariposa; (800) 838-3006, www.brownpapertickets.com. $21-35. Thurs-Sat, 8pm. Through May 21. A play by Shelley Mitchell set in Nazi-occupied Hungary.

Tape The Dark Room, 2263 Mission; www.darkroomsf.com. $10-20. Fri-Sat, 8pm. Through Sat/23. The 4th Mirror presents a production of the play by Stephen Belber.

Twelfth Night African American Art & Culture Complex, 762 Fulton; (800) 838-3006, www.African-AmericanShakes.org. $15-35. Sat, 8pm; Sun, 3pm (no performance April 24). Through May 1. African-American Shakespeare Company presents a jazzy interpretation of the Bard.

*Wirehead SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3and 8pm. Through Sat/23. Perfectionism’s ruthless class dimensions come to the fore in SF Playhouse’s smart, fun, and sharply staged Bay Area premiere about the super-smart posthumans of the near future, and the rest of us. A shady China-based conglomerate with a name that sounds like Sin-Tell sells a scintillating if dangerous procedure for those already well connected: a hardwire boost to the neural circuitry that gives the recipient more than an edge on the competition and something just shy of godlike powers. Two friends and colleagues in a banking firm (Craig Marker and Gabriel Marin) and their variously class-marked but equally ambitious girlfriends (Lauren Grace and Madeleine H.D. Brown) are all drawn into this cyborgian gold rush, and it gets sticky in more ways than one, as meanwhile a brash local DJ named RIP (Scott Coopwood) raps sardonically over the airwaves about this latest twist in an old game. SF Playhouse’s Susi Damilano directs a charismatic cast (including a terrific Cole Alexander Smith in a related series of frenetic roles) in Matt Benjamin and Logan Brown’s culture-jamming riposte to tech-mad humanist hogwash about Progress. It gets you thinking. (Avila)

BAY AREA

*Beardo Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $17-26. Thurs-Sat, 8pm; Sun, 5pm. Through Sun/24. Shotgun Players present a an original songplay about Rasputin.

East 14th – True Tale of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 8pm; Sun, 7pm. Through May 8. Don Reed’s one-man show continues.

*Eccentricities of a Nightingale Aurora Theatre, 2081 Addison; (510) 843-4822, www.auroratheatre.org. $10-55. Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through May 8. Bracketed literally from beginning to end by fireworks, Aurora Theatre’s production of Tennesee Williams’ The Eccentricities of a Nightingale offers some serious bang. On the surface, a tragic-comic tale of unrequited love in small-town Mississippi, Eccentricities plunges into deeper waters, exploring the ever-waged war between societal norms and its misfits — and the struggle to remain true to oneself — with a subtly layered approach. Protagonist Alma (Beth Wilmurt), the titular Nightingale, isolated by her complicated family circumstances and her own mild eccentricities, carries a long-burning torch for the boy-next-door, a rather callow young doctor (Thomas Gorrebeeck) with a terrifyingly overprotective mother (Marcia Pizzo). But Alma’s yearning, as much habit as attraction, has less to do with a dream of settling down with a nice doctor husband, but rather of freeing herself from the conventions that threaten to crush her spirit. Alma’s nervous artistic temperament hides a solidly pragmatic core, and when she has her young doctor alone in a hotel room at last, her plea for him to “give me an hour and I’ll make a lifetime of it,” rings not of desperation but of the adventure she craves. Director Tom Ross deftly brings out the gentle humor and bittersweet victory in the text via a strong cast and stellar design team. (Gluckstern)

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 7:30pm. Through May 5. Brian Copeland’s one-man show continues.

Out of Sight The Marsh Berkeley, Theaterstage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 5pm (no show Sat/9); Sun, 3pm. Through May 8. Sara Felder’s one-woman show returns.

Singing at the Edge of the World The Cabaret at The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.brownpapertickets.com. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through Sat/16. The Marsh presents a one-man show by Randy Rutherford.

Slices 2011 pear Avenue Theatre, 1220 Pear, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Sat, 8pm; Sun, 2pm. Through April 24. Pear Avenue Theatre presents its annual festival of short plays.

Snow Falling on Cedars TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $24-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through April 24. TheatreWorks presents a stage adaptation of the David Guterson novel.

Three Sisters Berkeley Reperory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Dates and times vary. Through May 22. The creators of Eurydice and In the Next Room present a new take on Chekhov.

The World’s Funniest Bubble Show The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-50. Through July 10. The Amazing Bubble Man returns.

PERFORMANCE/DANCE

Alonzo King LINES Ballet Yerba Buena Center for the Arts; 701 Mission; (415) 978-2787, www.ybca.org. Wed/20-Thurs/21, 7:30pm; Fri/22-Sat/23, 8pm; Sun/24, 5pm. Check for prices. Alonzo King LINES Ballet’s new Triangle of the Squinches—the title refers to a structural device—is a dance about affinities. Dance is often described as “architectural,” and architectural creations are sometimes described as having “dancing” qualities. Architect Christopher Haas created what looked like a solid wall that made up of rubberized strings, and another wall – monumental, but also malleable – out of corrugated cardboard. The dancers’ movements infused these seemingly solid structures with motion. But the choreography stayed on the level of “Let’s see what we can do with this.” Still, LINES is LINES. The dancing, particularly by newcomers Courtney Henry and Michael Montgomery, was gorgeous. Mickey Hart’s score had a beautiful shimmer to it, combining earthly sounds with celestial ones. (Felciano) 

Flannelalia

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marke@sfbg.com

PLAID OBSESSION We live in a post-Etsy world, people, and the latest homemade, zero-kilometer focus is on small-batch clothing production. As usual, the Bay Area is taking a lead here, weaving its green intentions and entrepreneurial zeal into its free-spirited fashion sense and a strong garment manufacturing legacy — and producing stylish duds with enough professional veneer to take to the runway or just out for a beer.

The three sharp dudes from Pladra (www.pladra.com) — Scott Ellison, Ian Ernzer, and Jeff Ladra — add another Bay tradition to the mix: classically avid sportiness. “As passionate outdoorsmen, we have never found a flannel that we could wear both in the field and to the bar after getting blood on it,” they say, and so they set about combining their love of surfing, fly-fishing, camping, hunting, skateboarding, and nature photography with flawless design skills and vintage beauty. (It doesn’t hurt that a good plaid flannel is the one item that still unites many of our current style tribes.)

I admit I’m a flannel freak, and Pladra’s three current lines, including an awesome one for women, had me wiping drool off my keyboard. But I wanted a glimpse into the new local-production trend, too, and the Pladra boys happily provided, answering my questions over e-mail.

SFBG Pladra is all about plaid flannel — how’d you come to focus on that? Will you be expanding? 

PLADRA I think it’s safe to say we’ve all had a few go-to flannels throughout our lives. You know, the one you camp in, then come home and go straight to a bar or concert in, then wear to work the next day — each stain is a story and a memory. In terms of our growth, we’d love to let everything grow at its own pace, although we definitely have some ideas. For now, we’re keeping production small and tight. We wanted to start with plaid flannel shirts because they’re timeless and represent an iconic outdoor style we feel really connects to life in the Bay Area. It’s funny that people peg flannels as a trend, but even the gold miners wore flannel. Jeff grew up here, and his grandparents spent their whole lives building and racing motorcycles. He still has photos of them wearing flannels.

SFBG Right now you’re foregoing retail outlets and selling direct from your website. I’m assuming that’s to keep costs down, yes? Has this been a problem in regard to getting your product in front of people?

PLADRA That’s true, we’re selling direct through our website to maintain the lowest price possible. Our goal is not to turn a profit, but to make the best garment possible at the most reasonable price — and our price range is $89–$109. Truth be told, this is what it costs to have a quality, American-made, custom shirt. We’ve found that people who initially scoff at our prices backpedal when they find out what goes into making something in the USA. Americans are so accustomed to paying for cheap garments that are imported mostly from Asia. We’re not condemning that, the truth is that a lot of production out of Asia has great quality. But at a certain point, we need to step back and consider the ramifications that one of the USA’s largest imports is apparel. Many U.S. cities used be the home to some of the best and biggest fabric mills in the world. Now what? All the mills are overseas. Very few companies can afford to use fabric milled in the USA. Even denim companies have to use reclaimed fabric.

The direct selling approach certainly makes it difficult to reach a wide range of people off the bat. But we do want to offer reasonable pricing to our customers. We want to focus on the brand integrity and we don’t want to dilute our product and blast it everywhere right away. We are taking a slow and careful approach in our growth.

SFBG What were the specific challenges of designing and producing everything in San Francisco? 

PLADRA It was really important to us to keep things local and support local businesses. But limiting our geographic range also meant limiting our accessibility to materials that would maintain our desired quality while not forcing our prices to skyrocket. That meant we had to challenge ourselves to search harder for vendors that could deliver great materials and finishing — and we ended up partnering with some incredible ones who went above and beyond to support our vision.

SFBG Pladra isn’t just all about hunting and designing. What are some of your favorite shops and bars in SF? 

PLADRA Shopping-wise, we really like Union Made in the Castro. Our friends at Park Life in the Inner Richmond and the General Store in the Outer Sunset offer amazing home-produced goods. And the Aqua and Mollusk surf shops have always been amazing at supporting their communities. As for going out, we could happily spend the rest of our lives drinking our way through the menus at Toronado and Alembic. And we just scored one of our favorite clubs, 111 Minna, to host our official launch party. See you there? *

PLADRA LAUNCH PARTY Tues/26, 5 p.m.–9 p.m., free. 111 Minna, SF. www.111minnagallery.com

 

Stage Listings

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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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

Cordelia NOHspace, 2840 Mariposa; (800) 838-3006, www.brownpapertickets.com. $18-20. Previews Tues/19, 7pm. Opens April 20, 7pm. Wed-Thurs, 7pm; Fri-Sat, 8pm. Through May 7. Theatre of Yugen presents world premiere of an abstraction of Shakespeare’s King Lear.

ONGOING

The Busy World is Hushed New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf,org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through May 1. New Conservatory Theatre Center presents the world premiere of a play by Keith Bunin.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Teatro Zinzanni presents a new production conceived in San Francisco.

Collected Stories Stage Werx, 533 Sutter; Z(800) 838-3006, www.brownpapertickets.com. $20-25. Fri-Sat, 8pm (alos April 24 2pm). Through May 7. Stage Werx presents David Margulies’ drama about art, ethics, and betrayal.

*40 Pounds in 12 Weeks The Marsh, Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Call for dates and times. Through April 30. Pidge Meade’s one-woman show extends its successful run.

Free Theater Community Room, Notre Dame Senior Plaza, 347 Dolores; 864-4467. Free. Fri, 7:30pm; Sat-Sun, 3pm. Through April 17. The 16th Street Players present four comic plays.

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through May 1. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

Into the Clear Blue Sky Phoenix Theater, 414 Mason; 913-7272, www.sleepwalkerstheatre.com. $15-17. Thurs-Sat, 8pm. Through April 30. Sleepwalkers Theatre presents the second production in a three-part apocalypse series.

KML Reboots Traveling Jewish Theater, 470 Floriad; www.killingmylobster.com. $10-20. Thurs-fri, 8pm; Sat, 7 and 10pm; Sun, 7pm. Through April 24. The sketch comedians present a new show about the pleasures and pains of technology.

Loveland The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-35. Fri, 8pm; Sat, 8:30pm (also May 1 and 8, 7pm). Through May 8. Ann Rudolph’s one-woman show continues its successful run.

M. Butterfly Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $20-28. Thurs-Sat, 8pm. Through April 30. Custom Made Theatre presents David Henry Hwang’s award-winning play.

*Obscura: A Magic Play Exit Studio, 156 Eddy; 673-3847, www.sffringe.org. $20-25. Fri-Sat, 8pm. Through Sat/16. Christian Cagigal is back with the magical. Over the last several years, the popular Bay Area writer/performer has developed a series of dramatically structured magic shows (the most recent being the autobiographical Now and at the Hour), each a different attempt at blending expert prestidigitation with elements of narrative theater. Tightly focused and deliberately small-scale, Obscura is in some ways his most successful foray yet. In the Exit Theater’s new studio space, Cagigal (with occasional help from his audience) unfolds a series of sly Gothic stories combined with extremely clever, sometimes dementedly playful card and coin tricks—the majority a collection of favorite pieces from other magicians—all played out on a delicately managed little table augmented by overhead projection (a set-up that offers various visual opportunities, including use of title cards). Rapid-fire narration (occasionally indistinct but generally articulate) and a laid back, slightly mischievous demeanor combine here with consummate skill in an intimate and very enjoyable evening of crafty little tales. If there’s an overarching theme, it probably has something to do with human folly, the persistence of mystery, and the devil, but then any good fable involving a deck of cards probably should. (Avila)

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

The Real Americans The Marsh MainStage, 1062 Valencia; 282-3055, www.themarsh.org. $25-35. Fri, 8pm; Sat, 8:30pm. Through April 30. Dan Hoyle’s hit show returns for another engagement.

Sea Turtles Exit Theater, 156 Eddy; www.generationtheatre.com. $15-25. Fri-Sat, 8pm; Sun, 3pm (also April 28, 8pm). Through April 30. GenerationTheatre presents an original play by David Valayre.

Secret Identity Crisis SF Playhouse, Stage 2, 533 Sutter; 869-5384, www.un-scripted.com. $10-20. Thurs-Sat, 8pm (no show may 7). Through May 14. Un-Scripted Theater Company presents a story about unmasked heroes.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

*Songs of the Dragons Flying to Heaven The Thick House, 1695 18th St; 255-8746, www.asianamericantheatre.org, www.crowdedfire.org. $15-25. Call for dates and times. Through Sat/16. “They have no idea what the fuck we’re doing,” observes one of the nameless “Korean” characters in Young Jean Lee’s Songs of the Dragons Flying to Heaven. In rapid succession the audience has witnessed a video clip of the playwright being slapped repeatedly in the face, a westernized Korean woman (Cindy Im) ranting about her “retarded monkey” parents and minority rage yet promising her Grandmother that she’ll give Jesus a whirl, bafflingly banal interactions between two “white” people (Alexis Papedo and Josh Schell) struggling with their floundering romance, and cartoonish interludes of exaggerated sex, consumerism, and violence enacted by three gaudily-dressed Korean women (Mimu Tsujimura, Lily Tung Crystal, Katie Chan)—none of whom are actually played by Koreans. It’s a play you have to surrender yourself to, a roller-coaster ride of sharp curves and nausea-inducing plunges (especially twisted is the gross-out contest of suicide methods in which each character takes a turn at dying in an unimaginably gruesome yet hilarious manner). Oddly, the piece ends on a rather lackluster note, with the two “white” people exploring the mutual contempt they pretend is love, which might be the playwright’s method of showing that white people can ruin anything without half trying, but the ride before their dead end is a thrilling one. (Gluckstern)

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through June 4. Actors Theatre of San Francisco presents the Tennessee Williams tale.

Talking With Angels Royce Gallery, 2901 Mariposa; (800) 838-3006, www.brownpapertickets.com. $21-35. Thurs-Sat, 8pm. Through May 21. A play by Shelley Mitchell set in Nazi-occupied Hungary.

Tape The Dark room, 2263 Mission; www.darkroomsf.com. $10-20. Fri-Sat, 8pm (also Sat/16, 10pm). Through April 23. The 4th Mirror presents a production of the play by Stephen Belber.

Twelfth Night African American Art & Culture Complex, 762 Fulton; (800) 838-3006, www.African-AmericanShakes.org. $15-35. Sat, 8pm; Sun, 3pm (no performance April 24). Through May 1. African-American Shakespeare Company presents a jazzy interpretation of the Bard.

*Wirehead SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3and 8pm. Through April 23. Perfectionism’s ruthless class dimensions come to the fore in SF Playhouse’s smart, fun, and sharply staged Bay Area premiere about the super-smart posthumans of the near future, and the rest of us. A shady China-based conglomerate with a name that sounds like Sin-Tell sells a scintillating if dangerous procedure for those already well connected: a hardwire boost to the neural circuitry that gives the recipient more than an edge on the competition and something just shy of godlike powers. Two friends and colleagues in a banking firm (Craig Marker and Gabriel Marin) and their variously class-marked but equally ambitious girlfriends (Lauren Grace and Madeleine H.D. Brown) are all drawn into this cyborgian gold rush, and it gets sticky in more ways than one, as meanwhile a brash local DJ named RIP (Scott Coopwood) raps sardonically over the airwaves about this latest twist in an old game. SF Playhouse’s Susi Damilano directs a charismatic cast (including a terrific Cole Alexander Smith in a related series of frenetic roles) in Matt Benjamin and Logan Brown’s culture-jamming riposte to tech-mad humanist hogwash about Progress. It gets you thinking. (Avila)

BAY AREA

*Beardo Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $17-26. Thurs-Sat, 8pm; Sun, 5pm. Through April 24. Shotgun Players present a an original songplay about Rasputin.

East 14th – True Tale of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 8pm; Sun, 7pm. Through May 8. Don Reed’s one-man show continues.

Eccentricities of a Nightingale Aurora Theatre, 2081 Addison; (510) 843-4822, www.auroratheatre.org. $34-45. Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through May 8. Aurora Theatre Company presents a Tennessee Williams drama.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 7:30pm. Through May 5. Brian Copeland’s one-man show continues.

Out of Sight The Marsh Berkeley, Theaterstage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 5pm (no show Sat/9); Sun, 3pm. Through May 8. Sara Felder’s one-woman show returns.

Quidam The Cow Palace 2600 Geneva, Daly City; (415) 404-4100; www.cowpalace.com, www.cirquedusoleil.com. $32-115. Call for dates and times. Through Sun/17. In Albert Lamorisse’s 1956 short film The Red Balloon, a child’s love affair with a mischievous toy takes place on the streets of Paris, a rough gray place that weirdly foreshadows the subterranean world inhabited by the mysterious creatures of Quidam. Here the silent child toting a giant red balloon is Zoe (Alessandra Gonzalez), who’s been spirited away to their underworld from her neglectful, oblivious parents. Her participation in their antics basically amounts to her looking on as acrobats, contortionists, and clowns strut their stuff, in the uninviting, under-populated confines of the Cow Palace, a far from ideal venue for a show that relies so much on audience participation and intimacy. In general the acts involving more performers work better in the cavernous space—an inventive diabolo juggling act, a complicated twenty-person jump rope exhibition, a five-person aerial Spanish Webs ensemble, and a highly-acrobatic fifteen-person Banquine act: synchronized, rapid-fire flinging of bodies to, fro, high, and low without missing a beat or (thankfully) a catch. There is much to admire in Cirque du Soleil’s dedication to legitimizing the Circus as a higher art form, but this presentation of Quidam aims unfortunately low. (Gluckstern)

Singing at the Edge of the World The Cabaret at The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.brownpapertickets.com. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through Sat/16. The Marsh presents a one-man show by Randy Rutherford.

Slices 2011 pear Avenue Theatre, 1220 Pear, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Sat, 8pm; Sun, 2pm. Through April 24. Pear Avenue Theatre presents its annual festival of short plays.

Snow Falling on Cedars TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $24-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through April 24. TheatreWorks presents a stage adaptation of the David Guterson novel.

Three Sisters Berkeley Reperory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Dates and times vary. Through May 22. The creators of Eurydice and In the Next Room present a new take on Chekhov.

The World’s Funniest Bubble Show The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-50. Through July 10. The bubbles keep flowing.

 

Male lingerie: The proof is in the panties

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Lingerie has long been a lady thing. Lots of lace, ribbons and girly details ideally made to display womanly humps and lumps. Dudes can easily purchase a pair of Vicky’s panties to pretty up their anatomy but not all bodies can or want to rock their cock in female style. Options do exist.

These options, of course, vary from the stereotypical intimates that women are presented with — guy lingerie, at least the kind available ready-made in San Francisco, strips away the uber femme touches and gets down to business in a more functional way.

“We sell underwear that enhances. It lifts, supports, and projects forward,” says Bill Tull, owner of Injeanious, a Castro shop with 20-plus years of catering to men’s need for awesome underthings. 

Tull tells it like it is: “Men want to look bigger.”

There are lots of chicks out there shopping for sturdy underwires and promising push-ups, and their male counterparts are looking to make their junk more visually appealing, too. Injeanious has got answers for any department that needs a little boost: padded fronts, padded backs, control tops, girdles, back-less, front-less, briefs, trunks, thongs, ball danglers, built-in jock-straps with added ass-lifting and even pairs that promise ample dick-lifting.

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Injeanious employee Thomas Williams is currently obsessed with a pair of Andrew Christian briefs that feature a ‘hang free pouch.’ These hott briefs are a one-up on the traditional silk stunners—they’re made from bamboo! Earth friendly and delightfully soft.

“Underwear has come such a long way. It’s not just Hanes and Fruit of the Loom anymore.”

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Color options run the gamut from stark white to naughty brights, but there isn’t a pinch of lace to be found at Injeanious. Black mesh presents a more badass choice and a few sheer, transparent fabrics (even one with polka dots) account for the more decorative options — nothing too sparkly or sweet for the family jewels. Toll says there are no plans to include such items on his shelves.

“The customers are not interested. It’s just a bit beyond the pale.”

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What they do want is obvious from one glace in the store windows: plump, engorged pouches. This is why they purposely overstuff the mannequins with big ol’ wads of potential penis. Guys are visual and they want to see it — theirs or that of another, hanging out in a glorified satchel. Who needs bows and lace when you’ve got a bulge like that? It’s simply unnecessary frill. 

Threads of change

3

rebeccab@sfbg.com ; caitlin@sfbg.com

GREEN ISSUE Planting indigo seedlings in a leaky greenhouse in the mist of a cold Marin County afternoon, Rebecca Burgess thinks about what she’s going to wear. She’s not a fashion model, or a clotheshorse, but she is on a yearlong quest to attire herself only in garments that were sourced and produced bio-regionally — or within a 150-mile radius of home — an area she calls her local fibershed.

Why take on such a challenge? “If we don’t want BP oil spills, it’s about more than just not fueling our cars with it,” Burgess says. While many activists seeking to unplug from oil dependency have worked to encourage bicycles, local agriculture, and reusable shopping bags, her approach takes on the materials we use to clothe our bodies.

Half of all jeans sold annually in the United States — around 200 million pairs — are produced in the Xintang township in China’s Pearl River Delta, where a Greenpeace study found hazardous organic chemicals and acidic runoff in the watershed, both of which may contribute to profound health risks for factory workers and their communities.

Of course, oil is consumed in the transport of factory-made garments halfway across the globe. But as Burgess notes, that’s only part of the reason for her project, which so far has yielded a book on the making of natural dyes and a plan for a community cotton mill in Point Reyes.

She’s also concerned about the synthetic fibers mass-manufactured clothes are made of. “We’re wearing a lot of plastic,” she notes. Not just plastic: petrochemicals, formaldehyde, and carcinogenic polycrylonitriles can all be used to produce your outfit— materials that seep into your pores when you’re active and can hardly be considered ideal to wear against your skin.

To limit support of the oil-reliant garment industry, Burgess envisions a collaboratively created source of clothing made from materials and processes that are — unlike the heavy-metal laden industrial effluent from denim dyes flowing into China’s Pearl River — completely nontoxic. To that end, she’s linking natural fiber artisans and raw material providers throughout the region with the fibershed project, which aims to bolster local clothing production.

Today, she’s the poster child for her effort. Burgess sports striped alpaca kneesocks, an organic cotton skirt sewn by a friend, and a wool sweater her mom knitted with handmade yarn, sourced from a sheep farmer they know. The clothes look well-loved, which makes sense: relying on one’s fibershed for a wardrobe is not easy. When Burgess first embarked on her yearlong bioregional clothing challenge, there wasn’t much in her dresser. “I lived out of three garments for weeks,” she laughs. “People were like, ‘You’re wearing the same thing over and over and over again.'<0x2009>”

But she found that she wasn’t the only one who believed that a change was possible in our closets. Friends, family, and a wider community of shepherds, cotton growers, knitters, seamstresses, and artisans all pitched in to help her along with the project. Burgess says this growing network underlies what it will take for communities to transition to a more sustainable lifestyle. “All this is about encouraging more relationships.”

There’s Sally Fox, whose non-genetically modified colored cotton operation in the Capay Valley is the culmination of years of seed-selecting for natural color tones. There’s the 96-year old sheep farmer in Ukiah. Not to mention the hip fiber artisans based in Oakland and the young fashion students in San Francisco who were inspired by her project.

“It’s not just of value to an old spinster community, it’s of value to a young, hip generation of people who want to live in a carbon-free economy,” Burgess notes. “A bunch of urban young people are really into fibers.” Most, she adds, are women.

Burgess makes her own clothing, too, and to research her book (Harvesting Color, Artisan, 180 p., $22.95) traversed the country learning from female “wisdom-keepers,” women whose craft practices were based on passed-down traditions encouraging the health of their ecosystems.

Today is part of her latest endeavor: growing her own indigo dye so that locally made garments can be dyed blue sustainably. Her day’s work entails planting 400 indigo seeds in flats filled with soil from a ranch down the road. This spring and summer, she plans to raise 1,000 indigo plants in three garden plots just outside the greenhouse. The day the Guardian came to visit, sheep lounged in the pasture beyond her garden plots, as if to illustrate the point that this process won’t require any long-distance transport.

She realizes that few people have a greenhouse to plant indigo in, much less the time necessary to produce their own clothing — or the money needed to dress in handcrafted pieces. But by proving that it’s possible to wear clothes that were created by your own community, she hopes that people will at least “settle for second best, which in this case is wearing organic, American-made materials.”

Even that would be something — right now clothes just aren’t on most of our sustainability compasses. As an example, Burgess recalls a panel discussion she attended at which sustainable food champions Michael Pollan and Joel Salatin were speakers. Someone (“And it wasn’t even me!” she insists) asked them what role garments played in a sustainable lifestyle. “And they were speechless. They didn’t have a thing to say.”

It was a PR challenge Burgess was happy to assume — she has since struck up an e-mail correspondence with Pollan, which she hopes will spread her message further. “Clearly we need some education.”

Join Burgess and other yarn producers for a locally made fashion show and to see plans for their community mill May 1 at Toby’s Feed Barn in Point Reyes. For more information call (415) 259-5849 or visit www.rebeccarburgess.com

 

Stage Listings

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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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

ONGOING

The Busy World is Hushed New Conservatory Theatre Center, 25 Van ness; 861-8972, www.nctcsf,org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through May 1.New Conservatory Theatre Center presents the world premiere of a play by Keith Bunin.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Teatro Zinzanni presents a new production conceived in San Francisco.

*40 Pounds in 12 Weeks The Marsh, Studio Theater, 1074 Valencia; (800) 838-3006, www.themarsh.org. $15-35. Call for dates and times. Through April 30. Pidge Meade’s one-woman show extends its successful run.

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through May 1. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

It is not about pomegranates! Boxcar Playhouse, 505 Natoma; (510) 982-6311, www.darvag.org. $20. s-Sun, 8pm. Through Sun/10. “It’s not about pomegranates,” the exasperated playwright Atoosa (Ana Bayat King) tells dramaturge Sean (Richard Reinholdt), referring to the fact that her play about love doesn’t deal directly with her purported cultural identity as a woman “between two worlds,” Iran and the US. Any artist who has felt the pressure to play an easily marketable role can sympathize with her dilemma. As a woman from the Middle East (“middle of what,” she demands to know), her story is a hot commodity, but only as it fits the preconceived notion of what her story should be. It’s a premise worthy of exploration, but in Darvag Theatre’s awkwardly-staged production, the exposition comes off as being more preachy than genuine, and the characters confined by the very stereotypes they are battling against. Indeed, though the lady doth protest, the play becomes very much about pomegranates as the broad assumptions the protagonists make about each other in the beginning of the play are little dispelled by their actions by the end. Sean is a rude American man, Atoosa a passionate enigma. There is some quiet humor that infuses the dialogue and the actors are a likable pair, but the piece itself feels underdeveloped and unresolved. (Nicole Gluckstern)

Lady Grey (in ever lower light) EXIT on Taylor, 277 Taylor; (800) 838-3006, www.brownpapertickets.com. $15-50. Thurs-Sat, 8pm; Sun, 5pm. Through Sun/10. Cutting Ball Theater presents the Bay Area premiere of three short plays by Will Eno.

Loveland The Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-35. Fri, 8pm; Sat, 8:30pm (also May 1 and 8, 7pm). Through May 8. Ann Rudolph’s one-woman show continues its successful run.

M. Butterfly Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $20-28. Thurs-Sat, 8pm (also Sun/10, 7pm). Through April 16. Custom Made Theatre presents David Henry Hwang’s award-winning play.

*Obscura: A Magic Play Exit Studio, 156 Eddy; 673-3847, www.sffringe.org. $20-25. Fri-Sat, 8pm. Through April 16. Christian Cagigal is back with the magical. Over the last several years, the popular Bay Area writer/performer has developed a series of dramatically structured magic shows (the most recent being the autobiographical Now and at the Hour), each a different attempt at blending expert prestidigitation with elements of narrative theater. Tightly focused and deliberately small-scale, Obscura is in some ways his most successful foray yet. In the Exit Theater’s new studio space, Cagigal (with occasional help from his audience) unfolds a series of sly Gothic stories combined with extremely clever, sometimes dementedly playful card and coin tricks—the majority a collection of favorite pieces from other magicians—all played out on a delicately managed little table augmented by overhead projection (a set-up that offers various visual opportunities, including use of title cards). Rapid-fire narration (occasionally indistinct but generally articulate) and a laid back, slightly mischievous demeanor combine here with consummate skill in an intimate and very enjoyable evening of crafty little tales. If there’s an overarching theme, it probably has something to do with human folly, the persistence of mystery, and the devil, but then any good fable involving a deck of cards probably should. (Avila)

*The Oldest Profession Brava Theater, 2781 24th St; 647-2822, www.brava.org. $10-25. Thurs-Fri, 8pm; Sat, 3 and 8pm. Through Sat/9. Brava Theater presents a play by Paula Vogel, directed by Evren Odcikin. Who says tricks are for kids? Five elderly women of the night (Linda Ayres-Frederick, Lee Brady, Tamar Cohn, Cec Levinson, Patricia Silver) converge by day at a park bench to swap stories, cavil, and defend their turf amid a changing world and one or two last hurrahs in Brava Theater’s production of Paula Vogel’s 1988 play about sex work, aging, and class solidarity. The subject matter is ripe, but the drama feels somewhat undeveloped. Although consciously set on the cusp of the Reagan era—an era culminating now in roiling confrontations everywhere you look—this fitfully amusing if generally well-acted and enjoyable feminist drama-cum-floorshow gives only a gentle political bite, preferring the tickle and caress of heartfelt comedy centered on the seeming incongruity of streetwise matrons. As the group dwindles, each final bow comes as a sexy and/or raunchy swan song—highlights of the evening—accompanied with Old New Orleans ambience by Angela Dwyer’s jaunty upright piano. It’s a bit like Cabaret meets Going in Style, and as directed by Evren Odcikin makes for a short but sweet ride. (Avila) Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through Sat/9. Thrillpeddlers’ acclaimed production of the Cockettes musical ends its successful run.

7 Sins…One More Time! EXIT Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $25-40. Fri-Sat, 8pm. Through Sun/10. James Judd’s long-running comedy hit has a return engagement.

Secret Identity Crisis SF Playhouse, Stage 2, 533 Sutter; 869-5384, www.un-scripted.com. $10-20. Thurs-Sat, 8pm (no show may 7). Through May 14. Un-Scripted Theater Company presents a story about unmasked heroes.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

A Streetcar Named Desire Actors Theatre, 855 Bush; 345-1287, www.actorstheatresf.org. $26-38. Wed-Sat, 8pm. Through May 28. Actors Theatre of San Francisco presents the Tennesse Williams tale.

Talking With Angels Royce Gallery, 2901 Mariposa; (800) 838-3006, www.brownpapertickets.com. $21-35. Thurs-Sat, 8pm. Through may 21. A play by Shelley Mitchell set in Nazi-occupied Hungary.

Twelfth Night African American Art & Culture Complex, 762 Fulton; (800) 838-3006, www.African-AmericanShakes.org. $15-35. Sat, 8pm; Sun, 3pm (no performance April 24). Through may 1. African-American Shakespeare Company presents a jazzy interpretation of the Bard.

*Wirehead SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3and 8pm. Through April 23. Perfectionism’s ruthless class dimensions come to the fore in SF Playhouse’s smart, fun, and sharply staged Bay Area premiere about the super-smart posthumans of the near future, and the rest of us. A shady China-based conglomerate with a name that sounds like Sin-Tell sells a scintillating if dangerous procedure for those already well connected: a hardwire boost to the neural circuitry that gives the recipient more than an edge on the competition and something just shy of godlike powers. Two friends and colleagues in a banking firm (Craig Marker and Gabriel Marin) and their variously class-marked but equally ambitious girlfriends (Lauren Grace and Madeleine H.D. Brown) are all drawn into this cyborgian gold rush, and it gets sticky in more ways than one, as meanwhile a brash local DJ named RIP (Scott Coopwood) raps sardonically over the airwaves about this latest twist in an old game. SF Playhouse’s Susi Damilano directs a charismatic cast (including a terrific Cole Alexander Smith in a related series of frenetic roles) in Matt Benjamin and Logan Brown’s culture-jamming riposte to tech-mad humanist hogwash about Progress. It gets you thinking. (Avila)

BAY AREA

*Beardo Ashby Stage, 1901 Ashby, Berk; (510) 841-6500, www.shotgunplayers.org. $17-26. Thurs-Sat, 8pm; Sun, 5pm. Through Apil 24. Shotgun Players present a an original songplay about Rasputin.

East 14th – True Tale of a Reluctant Player The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 8pm; Sun, 7pm. Through May 8. Don Reed’s one-man show continues.

Eccentricities of a Nightingale Aurora Theatre, 2081 Addison; (510) 843-4822, www.auroratheatre.org. $34-45. Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through May 8. Aurora Theatre Company presents a Tennessee Williams drama.

Free Range Thinking Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (800) 838-3006, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Through Sat/ 9. The Marsh Berkeley presents a new comedic solo show by Robert Dubac.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Thurs, 7:30pm. Through May 5. Brian Copeland’s one-man show continues.

Out of Sight The Marsh Berkeley, Theaterstage, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $20-50. Sat, 5pm (no show Sat/9); Sun, 3pm. Through May 8. Sara Felder’s one-woman show returns.

*Ruined Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Call for dates and times. Through Sun/10. Berkeley Rep presents Lynn Nottage’s Pulitzer-winning play about the lives of women in Africa.

Singing at the Edge of the World The Cabaret at The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.brownpapertickets.com. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through April 16. The Marsh presents a one-man show by Randy Rutherford.

Snow Falling on Cedars TheatreWorks at Mountain View Center for the Performing Arts, 500 Castro, Mtn View; (650) 463-1960, www.theatreworks.org. $24-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through April 24. TheatreWorks presents a stage adaptation of the David Guterson novel.

The World’s Funniest Bubble Show The Marsh Berkeley, Cabaret, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-50. Through July 10. The bubbles keep flowing.

 

The Performant: The Empire has no clothes

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Adventures in Naked Empire’s bouffonery

An evening spent in the presence of the Naked Empire Bouffon Company is always an unsettling experience. It can be difficult sometimes to assess who is actually performing for whom, as bouffons are wickedly adept at reading individuals and pulling them however briefly into the spotlight not as props, but as human beings with something to hide.

Unlike clowns, who often devise situations during which the oddience may laugh at them, bouffons laugh at the oddience from a position of almost comically aggressive power. It can be as simple as an offhand observation (“recently dyed,” one bouffon sniffed at a blonde streak) or a direct poke at a cultural or time-sensitive taboo (“surely it’s still too early to be referencing radiation in Japan”), but once they’ve got you in the crosshairs of their uniquely confrontational form of physical theatre, a bouffon shoots straight from the hip.

“As a citizen I am consistently impressed by how much of the “unsayable” the bouffon is allowed to say and by how well people hear it,” writes Naked Empire artistic director Nathaniel Justiniano. Justiniano first experienced the art form at the Dell’Arte International School of Physical Theatre and was immediately attracted to its audacious commitment to the truth.

“(It’s) a corkscrew type of energy…boring into the audience and sniffing out the muck we try to hide.” But despite the element of improv, Bouffon performance is also tightly scripted, allowing the performers a tightly structured framework to work within, and break out from when it becomes relevant to do so.

Performing as part of the Home Theatre festival in an artist’s warehouse dubbed the Main Street Theatre, Justiniano and company member Ross Travis performed two solo shows starring their Bouffon alter egos: Zooka Splat and Cousin Cruelty. 

Nathanial Justiniano’s Cousin Cruelty addresses his audience. Photo by Ross Travis 

Ross as Zooka burst into the room, screaming a war cry and dressed in tattered camouflage. He circled the crowd knowingly, leaping on the backs of the sofas they sat in, leering at their shock. Like a one-man Mad Max, he ably deconstructed the post-apocalypse genre of action films and doomsayer surrender in a series of vignettes that mapped out the bizarre terrains of alien abduction, zombie uprisings, nuclear holocaust, and macho bullshit. 

Justiniano’s Cousin Cruelty, a lewd giggling juggernaut of murderous impulse and fart jokes bounded out, shopping bag in hand, looking for trouble. Trouble came in the form of an orgy of mimed bloodshed — until from the shopping bag, a querulous puppet demanded to be released. 

Between the puppet’s script – a passionate, twelve-minute long speech denouncing the death penalty, delivered by Orson Welles in the 1959 film “Compulsion”— and Cousin Cruelty’s gleefully chaotic depictions of the origins and implications of violence, the oddience would have been pushed out of their “theatre-going” comfort zone even without the addition of the personal attentions bestowed on them by puppet and puppet-master alike. 

The laughter these twisted creatures provoked was genuine, but with an edge of unease, which is exactly the effect Justiniano is looking for.

“This laughter is uncomfortable….(It’s) the laughter that humans tend to find comforting when the silence or truth is too heavy.”

Intrigued by buffoonery? Check Naked Empire’s website for upcoming classes in this uncomfortable art

 

Stage Listings

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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

THEATER

OPENING

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Opens Thurs/31. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through May 1. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

ONGOING

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Teatro Zinzanni presents a new production conceived in San Francisco.

Lady Grey (in ever lower light) EXIT on Taylor, 277 Taylor; (800) 838-3006, www.brownpapertickets.com. $15-50. Thurs-Sat, 8pm; Sun, 5pm. Through April 10. Cutting Ball Theater presents the Bay Area premiere of three short plays by Will Eno.

M. Butterfly Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $20-28. Thurs-Sat, 8pm (also April 3 and 10, 7pm). Through April 16. Custom Made Theatre presents David Henry Hwang’s award-winning play.

*Obscura: A Magic Play Exit Studio, 156 Eddy; 673-3847, www.sffringe.org. $20-25. Fri-Sat, 8pm. Through April 16. Christian Cagigal is back with the magical. Over the last several years, the popular Bay Area writer/performer has developed a series of dramatically structured magic shows (the most recent being the autobiographical Now and at the Hour), each a different attempt at blending expert prestidigitation with elements of narrative theater. Tightly focused and deliberately small-scale, Obscura is in some ways his most successful foray yet. In the Exit Theater’s new studio space, Cagigal (with occasional help from his audience) unfolds a series of sly Gothic stories combined with extremely clever, sometimes dementedly playful card and coin tricks—the majority a collection of favorite pieces from other magicians—all played out on a delicately managed little table augmented by overhead projection (a set-up that offers various visual opportunities, including use of title cards). Rapid-fire narration (occasionally indistinct but generally articulate) and a laid back, slightly mischievous demeanor combine here with consummate skill in an intimate and very enjoyable evening of crafty little tales. If there’s an overarching theme, it probably has something to do with human folly, the persistence of mystery, and the devil, but then any good fable involving a deck of cards probably should. (Avila)

*The Oldest Profession Brava Theater, 2781 24th St; 647-2822, www.brava.org. $10-25. Brava Theater presents a play by Paula Vogel, directed by Evren Odcikin. Who says tricks are for kids? Five elderly women of the night (Linda Ayres-Frederick, Lee Brady, Tamar Cohn, Cec Levinson, Patricia Silver) converge by day at a park bench to swap stories, cavil, and defend their turf amid a changing world and one or two last hurrahs in Brava Theater’s production of Paula Vogel’s 1988 play about sex work, aging, and class solidarity. The subject matter is ripe, but the drama feels somewhat undeveloped. Although consciously set on the cusp of the Reagan era—an era culminating now in roiling confrontations everywhere you look—this fitfully amusing if generally well-acted and enjoyable feminist drama-cum-floorshow gives only a gentle political bite, preferring the tickle and caress of heartfelt comedy centered on the seeming incongruity of streetwise matrons. As the group dwindles, each final bow comes as a sexy and/or raunchy swan song—highlights of the evening—accompanied with Old New Orleans ambience by Angela Dwyer’s jaunty upright piano. It’s a bit like Cabaret meets Going in Style, and as directed by Evren Odcikin makes for a short but sweet ride. (Avila)

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Regrets Only New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through Sun/3. New Conservatory Theatre presents a play by Paul Rudnick, directed by Andrew Nance.

7 Sins…One More Time! EXIT Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $25-40. Fri-Sat, 8pm. Through April 10. James Judd’s long-running comedy hit has a return engagement.

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

*Wirehead SF Playhouse, 533 Sutter; 677-9596, www.sfplayhouse.org. $30-50. Tues-Wed, 7pm; Thurs-Fri, 8pm; Sat, 3and 8pm. Through April Perfectionism’s ruthless class dimensions come to the fore in SF Playhouse’s smart, fun, and sharply staged Bay Area premiere about the super-smart posthumans of the near future, and the rest of us. A shady China-based conglomerate with a name that sounds like Sin-Tell sells a scintillating if dangerous procedure for those already well connected: a hardwire boost to the neural circuitry that gives the recipient more than an edge on the competition and something just shy of godlike powers. Two friends and colleagues in a banking firm (Craig Marker and Gabriel Marin) and their variously class-marked but equally ambitious girlfriends (Lauren Grace and Madeline H.D. Brown) are all drawn into this cyborgian gold rush, and it gets sticky in more ways than one, as meanwhile a brash local DJ named RIP (Scott Coopwood) raps sardonically over the airwaves about this latest twist in an old game. SF Playhouse’s Susi Damilano directs a charismatic cast (including a terrific Cole Alexander Smith in a related series of frenetic roles) in Matt Benjamin and Logan Brown’s culture-jamming riposte to tech-mad humanist hogwash about Progress. It gets you thinking. (Avila)

BAY AREA

Free Range Thinking Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Through April 9. The Marsh Berkeley presents a new comedic solo show by Robert Dubac.

The Iliad Berkeley City Club, 1802 Fairview, Berk; (510) 698-4030. $12-24. Thurs-Sat, 8pm; Sun, 2pm. Through Sun/3. Inferno Theatre Company presents an adaptation of Homer’s ancient tale.

Narnia: The Lion, the Witch, and the Wardrobe Berkeley Playhouse, 2640 College; (510) 845-8542, www.berkeleyplayhouse.org. $15-33. Call for dates and times. Through Sun/3. Berkeley Playhouse presents a musical fantasy based on the C.S. Lewis story.

The North Pool TheatreWorks at Lucie Stern Theater, 1305 Middlefiled, Palo Alto; (650) 463-1960, www.theatreworks.org. $24-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through Sun/3. TheatreWorks presents a psychological thriller by Rajiv Joseph.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; 826-5750, www.themarsh.org. $20-35. Thurs, 7:30pm. Through Thurs/31. Brian Copeland’s one-man show returns to the stage.

*Ruined Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Call for dates and times. Through April 10. Berkeley Rep presents Lynn Nottage’s Pulitzer-winning play about the lives of women in Africa.

Singing at the Edge of the World The Cabaret at The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.brownpapertickets.com. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through April 16. The Marsh presents a one-man show by Randy Rutherford.

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; 1-800-838-3006, www.themarsh.org. $8-11. Sun, 11am. Through Sun/3. The Amazing Bubble Man extends the bubble-making celebration. 

Stage Listings

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. For further information on how to submit items for the listings, see Picks. 

THEATER

OPENING

*Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Previews Thurs, 8pm; Sat, 5pm; Sun, 3pm (through March 27). Opens March 31. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through May 1. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

ONGOING

As Always Eureka Theatre, 215 Jackson; www.AsAlwaysTickets.com. $25. Thurs-Sun, 8pm. Through March 27. Tracy Ward directs a new musical by Peter W. Tucker.

*Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Open-ended. Teatro Zinzanni presents a new production conceived in San Francisco.

*40 Pounds in 12 Weeks: A Love Story The Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $15-35. Fri, 8pm; Sat, 8:30pm. Through Sat/26. “I hate assumptions,” says Pidge Meade. In fact, her new solo show, about her experience as a young woman of size on a brutal crash diet, goes a long way toward unsettling more than one. Developed and directed by Charlie Varon (Rush Limbaugh in Night School, Rabbi Sam), Meade’s multi-character monologue eschews easy sentiment for a sharply performed, consistently funny and genuine engagement with her younger, bigger self. Framed by a 20-year college reunion during which she suffers an unwanted conversation with an old roommate about her intervening dramatic weight loss, Meade recounts trying to lose 40 unwanted pounds to please her devoted but “harsh” father, an Olympic-level gymnastics coach shocked and appalled by her weight gain while at school. The father-daughter story comes interlarded with a few other encounters and characters measuring the variety of attitudes and approaches to weight among women in her Midwestern milieu. Meanwhile, Meade’s problematic relationship with her demanding if ultimately responsive father finds an unexpected echo in her former roommate’s pushy inquisitiveness (which, we learn, stems from her own desperate concern over a beloved but obese teen nephew). It’s in quietly mingling awkwardness, fear, and love that Meade’s piece can really surprise, and reaffirm that whatever else follows, it’s the usual assumptions that need shedding first. (Avila)

The Homecoming American Conservatory Theater, 415 Geary; 749-2228, www.act-sf.org. Call for times and prices. Through Sun/27. North London in the mid-1960s served Harold Pinter well as an apt location for an enduring vision of familial nightmare, namely a jockeying tribe of self-interested working-class men bent on embracing as much as destroying one another. Into this testy household returns for a visit, unannounced and in the wee hours, one of their own: social climber Teddy (Anthony Fusco) back from America with wife Ruth (René Augesen). What happens next still has real force, even if it’s sometimes missing in American Conservatory Theater’s current revival. A family unit of vipers and sadists and weirdoes is still a family unit, but real connections between the actors are few here. Augesen’s Ruth—startlingly set free from deadening domestic harmony by the braying barnyard she soon comes to dominate—is the riveting center of attention, but the tension overall remains diffuse and inconsistent despite her gravitational pull. As the pugnacious patriarch, Max, slipping mercilessly from his historic spot at the top of the dog pile, Jack Willis is a bit all over the place, sometimes physically—director Carey Perloff has him well across the room in the opening scene’s vital first confrontation, instead of up in the grill of coiled son Lenny (Andrew Polk)—but in tone and register too. Kenneth Welsh’s fine performance as Max’s superficially calm brother Sam goes some way toward grounding the proceedings, but the other performances remain more dutiful than distinguished and the production never quite attains the pressure and threat it should. (Avila)

James Bond: Lady Killer Dark Room Theater, 2263 Mission; 732-9592, www.brownpapertickets.com. $20. Fri-Sat, 8pm. Through Sat/26. Dark Room Theater presents an all-new James Bond adventure.

Lady Grey (in ever lower light) EXIT on Taylor, 277 Taylor; (800) 838-3006, www.brownpapertickets.com. $15-50. Thurs-Sat, 8pm; Sun, 5pm. Through April 10. Cutting Ball Theater presents the Bay Area premiere of three short plays by Will Eno.

*Loveland Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $20-50. Fri, 8pm; Sat, 8:30pm. Through Sat/26. Ann Randolph’s one-woman show extends its run.

M. Butterfly Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $20-28. Thurs-Sat, 8pm (also April 3 and 10, 7pm). Through April 16. Custom Made Theatre presents David Henry Hwang’s award-winning play.

*Obscura: A Magic Play Exit Studio, 156 Eddy; 673-3847, www.sffringe.org. $20-25. Fri-Sat, 8pm. Through April 16. Christian Cagigal is back with the magical. Over the last several years, the popular Bay Area writer/performer has developed a series of dramatically structured magic shows (the most recent being the autobiographical Now and at the Hour), each a different attempt at blending expert prestidigitation with elements of narrative theater. Tightly focused and deliberately small-scale, Obscura is in some ways his most successful foray yet. In the Exit Theater’s new studio space, Cagigal (with occasional help from his audience) unfolds a series of sly Gothic stories combined with extremely clever, sometimes dementedly playful card and coin tricks—the majority a collection of favorite pieces from other magicians—all played out on a delicately managed little table augmented by overhead projection (a set-up that offers various visual opportunities, including use of title cards). Rapid-fire narration (occasionally indistinct but generally articulate) and a laid back, slightly mischievous demeanor combine here with consummate skill in an intimate and very enjoyable evening of crafty little tales. If there’s an overarching theme, it probably has something to do with human folly, the persistence of mystery, and the devil, but then any good fable involving a deck of cards probably should. (Avila)

The Oldest Profession Brava Theater, 2781 24th St; 647-2822, www.brava.org. $10-25. Brava Theater presents a play by Paula Vogel, directed by Evren Odcikin.

Out of Sight Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $15-50. Thurs and Sat, 8pm; Sun, 3pm. Through Sun/27. Sara Felder’s one-woman show extends its run.

Party of 2 — The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Regrets Only New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through April 3. New Conservatory Theatre presents a play by Paul Rudnick, directed by Andrew Nance.

7 Sins…One More Time! EXIT Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $25-40. Fri-Sat, 8pm. Through April 10. James Judd’s long-running comedy hit has a return engagement.

Sex and Death: A Night with Harold Pinter Phoenix Theatre, Suite 601, 414 Mason; 1-800-838-3006, www.offbroadwaywest.org. $35. Thurs-Sat, 8pm. Through Sat/26. The thing with Harold Pinter is you never know for certain whether he means for something to be funny or not. Take his most celebrated one-act, The Dumb Waiter, a rather tense dialogue between two hit-men waiting for their mark to show which veers into disarmingly surrealist territory once they start receiving mysterious lunch orders via a creaky dumbwaiter, despite not having any food, or indeed any gas to cook food on. Is this Pinter’s attempt to lighten the mood in an otherwise joyless examination of two minor functionaries in the criminal underworld, or is it a way for him to interject more unease into their already intractable situation? In Off-Broadway West’s staging they opt mainly for the latter interpretation, neither Gus (Conor Hamill) nor Ben (Shane Fahy) play up much of the sly humor tucked into their lines, and when the “surprise” twist arrives, it feels like a foregone conclusion. More deftly nuanced, the second one-act on the bill, The Lover milks the sex lives of the petty bourgeoisie for all the hidden wit and complicated innuendo that could possibly be excavated. Morphing from chilly society marrieds to shameless afternoon fling and “common garden slut” Chad Stender and Nicole Helfer play out a tightly-wound sexual fantasy with a cool edge, a satisfying end to a low-key revival. (Gluckstern)

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

Tenth Annual Bay One-Acts Festival Boxcar Theatre, 505 Natoma; 891-7235, www.bayoneacts.org. $20-32. Wed-Fri, 8pm; Sat, 3 and 8pm; Sun, 3pm. Through Sat/26. Three Wise Monkeys Theatre Company presents the tenth incarnation of the curated festival.

BAY AREA

Free Range Thinking Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5pm. Through April 9. The Marsh Berkeley presents a new comedic solo show by Robert Dubac.

The Iliad Berkeley City Club, 1802 Fairview, Berk; (510) 698-4030. $12-24. Thurs-Sat, 8pm; Sun, 2pm. Through April 3. Inferno Theatre Company presents an adaptation of Homer’s ancient tale.

Narnia: The Lion, the Witch, and the Wardrobe Berkeley Playhouse, 2640 College; (510) 845-8542, www.berkeleyplayhouse.org. $15-33. Call for dates and times. Through April 3. Berkeley Playhouse presents a musical fantasy based on the C.S. Lewis story.

The North Pool TheatreWorks at Lucie Stern Theater, 1305 Middlefiled, Palo Alto; (650) 463-1960, www.theatreworks.org. $24-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through April 3. TheatreWorks presents a psychological thriller by Rajiv Joseph.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; 826-5750, www.themarsh.org. $20-35. Thurs, 7:30pm. Through March 31. Brian Copeland’s one-man show returns to the stage.

Romeo and Juliet La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through Sat/26. Bet you thought Romeo and Juliet was just a sappy love story at its beating heart. But as Impact Theatre’s artistic director Melissa Hillman, fight director Dave Meier, and production “blood technician” Tunuviel Luv manage to remind us, R&J is known as a tragedy for good reason—full of escalating violence and a bodycount almost as high as Hamlet’s. Before they snuff it though, Romeo (Michael Garret McDonald) and Juliet (Luisa Frasconi) fall in love in a meet-cute, after-school special way: Frasconi exhibiting the coltish excitability of a very young teenager, and doofy McDonald egged on by a pack of uncouth youth (Seth Thygesen as Benvolio, Marilet Martinez as Mercutio, Miyuki Bierlein as Balthasar) who pretty much steal the show with their crass deconstruction of Romeo’s woes. Unfortunately, the Russian mafia angle is less fully fleshed out than the teen romance portion of the show. Yes, the mobsters all sport some great tattoos, carry mean-looking pistols, and occasionally deliver their lines in Russian thanks to language consultant Helen Nesteruk, but setting the show in the ex-pat Russian community “in the Bay Area” dilutes the extreme feudalism that setting the show in Moscow would imply, and allows the production to rely a little too heavily on familiar California-isms—phrases, behaviors, and fashions— rather than committing fully to exploring the vastly different world of the Russkaya Mafiya. (Gluckstern)

*Ruined Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Call for dates and times. Through April 10. Berkeley Rep presents Lynn Nottage’s Pulitzer-winning play about the lives of women in Africa.

Singing at the Edge of the World The Cabaret at The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.brownpapertickets.com. $15-35. Thurs-Fri, 8pm; Sat, 5pm. Through April 16. The Marsh presents a one-man show by Randy Rutherford.

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; 1-800-838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

Marga’s Funny Mondays Cabaret at Marsh Berkeley, 2120 Allston, Berk.; 1-800-838-3006, www.themarsh.org. Mon/28, 8pm. $10. Marga Gomez hosts a Monday night comedy series. *

 

SFBG Radio: What if we stopped shopping?

83

Today, Johnny offers a fascinating idea. The GOP in Arizona has been forced to back down on some of its worst immigration policies — purely because of the economic impact. What if the 26 million or so American consumers who fall into the general category of the Left (and the anti-war Right) just stopped spending money on anything beyond essentials for one week — a boycott against the wars in Iraq and Afghanistan and in favor of taxes on the rich. Would it make anyone in Washington listen? You, of course, can listen all you want, after the jump.

sfbgradio3212011 by endorsements2010

Touching from a distance

0

arts@sfbg.com

HAIRY EYEBALL “Art enables us to meet my parents again after they have departed,” the contemporary Chinese artist Song Dong says in a statement that introduces his current show at Yerba Buena Center of the Arts. “In my art, they have never been away, and will live with us forever. I think they might still be worrying about our children and us. I wanted to have an exhibition where we would bring them back to us and tell them, ‘Dad and Mom, don’t worry about us, we are all well.’ “

Taking its title from that final reassurance of filial piety, this deeply personal and truly monumental exhibit is a testimony to Song’s sincere belief in the power of art as a means to connect. And you will likely leave a believer too. Art, as Song elaborates in the two decades of work collected here along with accompanying explanatory texts commissioned for the exhibit, allowed him to rebuild his once-strained relationship with his parents while they were still alive. It also allowed him to create a record of their lives together as a family who weathered the worst years of the Cultural Revolution (1966-76), and to help himself and his young daughter connect to the stories and the struggles of his parents’ generation.

Making daily life the stuff of creative practice has its art historical precedents in conceptual art, a label that has often been attached to Song’s output. But such contextualization is largely beside the point in the face of the electric current of emotions — sadness, longing, remorse, gratitude — that it’s hard not to feel while watching the earlier video pieces Song made with and about his father, or surveying the massive installation piece, titled Waste Not, that he collaborated on with his mother.

The video works, the first pieces viewers encounter, offer variations on a simple yet effective technique: Song films himself or someone else sitting in front of a projection of an earlier recorded interview (usually with his father), continually having the person align their face with the face of whoever is speaking in the projected video. Sometimes it is Song aligning himself with his father; sometimes with his father and mother. And in one piece, a viewer can put himself in a Song family portrait via a similar process (the resulting snapshots are uploaded to YBCA’s Flickr account). The effect is ghostly, blurring the projected subject and the filmed subject into a new, purely virtual being.

The sprawling Waste Not is undoubtedly the heart of “Dad and Mom,” which displays the entire contents of the house Song’s mother lived in for 60 years, and where she married and raised Song and his younger sister. Here, organized into neat piles that fill up YBCA’s entire large gallery, are the contents of a life: clothes, kitchen utensils, toiletries, school supplies, shopping bags, toys, shoes, furniture. At the center of the space hang the remains of the house’s walls and room, a skeleton of beams that seems an impossible vessel given the sheer volume of its former contents.

Having grown up amid the lean years of the Great Leap Forward, Song’s mother subscribed to the belief that nothing should go to waste (from which the installation takes it title), so she recycled and saved everything she could, from plastic bottles and fabric scraps to gasoline canisters and balls of string. Song, in turn, saw creating the installation with her as a way to continue this practice. By turning her accumulated junk into a traveling archive, nothing would have to be discarded and everything would be meaningfully preserved.

Originally conceived by Song in 2005 as a way to help his mother cope with the grief over her husband’s sudden death three years earlier, the work has now become a memorial to her memory as well. SONG DONG: DAD AND MOM, DON’T WORRY ABOUT US, WE ARE ALL WELL

Through June 12 Yerba Buena Center for the Arts 701 Mission, SF

(415) 978-2787

ww.ybca.org

Seven for spring

1

marke@sfbg.com

FASHION/SHOPPING Everything seems so chill in men’s street wear lately, no? The harsh electro neons and jittery MySpace fabrics of the past few years have gone the way of shutter shades and full-print tees. Flashiness — on the dance floor, on the streets, online — is fading into a style of subtle sparks, complex yet unfussy, mixing high-tech winks with a comfy, endlessly expandable base. Menswear is going deep on us, and taking our sensibilities with it: if you’re still using irony to justify your outfit, then you need to back slowly away from your Tumblr and take a look around.

This makes it harder to binge shop for your wardrobe at thrift stores, of course, unless you’ve got a great connection to a super-hip tailor who won’t go overboard. And I fear that by jettisoning the devil-may-care attitude of WTF bricolage ensembles, we’re quaffing any sense of humor altogether. Still, the burst of, dare I say, modesty after a decade of gaudy attention-whoring comes as a relief. It feels like menswear in 2011 just totally deleted the comments section and moved on.

Another worry, though: how much does all this cost? It’s true that the new look and feel hearkens back to the old model of class, taste, and, yes, accounts. Fortunately, you can get by just fine matching neutral-leaning thrift and vintage finds — some holes or split seams, no problem — with newer touches. Yay for casual deconstruction! Lately San Francisco, previously by no means an oasis of menswear shopping, has opened up in the cool men’s streetwear department, adding to its handful of staples (Nomads, Upper Playground, Density, Unionmade, Azalea, Brooklyn Circus, etc.) a batch of new places and sites to search for spring inspiration. Below are some of my faves.

 

SUI GENERIS “ILLE”

This is the coolest place to vintage shop in the city right now. Castro men’s designer consignment boutique Sui Generis isn’t new, but it just moved, doubling its size as well as its offerings, and adding “Ille,” a Latin masculine declension, after its name. (Owners Miguel Lopez and Gabriel Yanez have turned the old location, at 2265 Market St., into “Illa,” a gorgeous upscale women’s consignment shop.) I’m far from a label whore, but I can appreciate when my friends gush over the selection of repriced Prada, etc. on offer here, all of it chosen with an excellent eye. Beyond the brand worship, you’ll find everything you need to construct a look here — just add your own futuristic flourishes — and the prices aren’t too shabby.

2265 Market, SF. (415) 437-2231, www.suigenerisconsignment.com

 

NICE COLLECTIVE MSU

Just down the street from Sui Generis is this rad pop-up shop from the boys at the fantastic local Nice Collective label, showcasing their particular genius for deconstructed clothing that radiates raffish gentility. (I’m living for their anarcho-utopian push-up cargo pants.) The tech details in most of their designs are fascinating, and the interior of this shop, with its disassembled drop ceiling, billowing canvas tunnel entrance, and digital projections, is a work of art in itself. Nice Collective is a real, big time design house, though, so expect related price points and quality.

2111 Market, SF. (415) 200-5322, www.nicecollective.com

 

HANGR 16

Go to this just-opened Mission District store if only to bask in the incredible friendliness, not pushiness, of the people who work there. As well as carrying unique items from local design wunderkinds Turk + Taylor — I’m still drooling over this one heavy felt Army jacket there — Hangr 16 offers an array of super-affordable button-ups, western shirts, plaid flannels, jeans, and nifty tees in its immaculate little white hangar of a space. More shopping options in the Mission? Oh yeah.

3128 16th St., SF. (415) 626-5522. www.faceboook.com/hangr16

 

BUSH + LEAVENWORTH

A smooth take on classic Americana from this online design house, founded by Neth Nom at his apartment guess where. Light plaid button-ups and some mouthwatering tee designs based on chess pieces (queen for me!) are highlights, as is the ultra-sporty nylon Fillmore windbreaker, combining Members Only stylishness with team jacket masculinity.

www.bushandleavenworth.com

 

MISSION WORKSHOP

Bike enthusiasts with chronic Chrome fatigue should fixie-fly to this hidden little warehouse outlet immediately. Beautifully crafted messenger bags and backpacks in unique styles are the draw, but the supplementary Quoc Pham, DZR, and house footwear, plus a good selection of outerwear, transcend utility to style bliss.

40 Rondel Place, SF. (415) 864-7225, www.missionworkshop.com

 

REVOLVER

I am crying, weeping with want, over this kickass pair of Yuketen Maine Guide OX Red shoes that look like Docksides on steroids. They are $440 at Revolver, a cute little joint that just opened in Lower Haight, and, alas, I sold my first-born for a baggie in the 1990s. But I am going to try them on with a pair of $199 Denham Mohawk chinos and a post-prepster $160 ecru Vassan 2-Tone jacket and yacht rock the fuck out for a few minutes.

136 Fillmore, SF. (415) 871-0665, www.revolversf.com

 

ALLSAINTS SPITALFIELDS

I really hate to recommend a chain, even one from Britain that’s just launching on these shores. But hey, I can’t afford anything here anyway (basic shirts start at around $140), so I’m going to tell you to go and check it out, if only because of the stunning interior that mixes steampunk accents with actual Victoriana. The clothes represent the complete yet fascinating gentrification of a certain postapocalyptic Burning Man aesthetic (the one without the sex clowns and fun fur). Everything is perfectly distressed — work boots, for instance, that gleam vermilion in certain slants of light.

140 Geary, SF. (415) 762-0702, www.allsaints.com

Stage Listings

0

THEATER

OPENING

Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Previews Thurs, 8pm; Sat, 5pm; Sun, 3pm (through March 27). Opens March 31. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through May 1. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

M. Butterfly Gough Street Playhouse, 1620 Gough; (510) 207-5774, www.custommade.org. $20-28. Thurs-Sat, 8pm (also April 3 and 10, 7pm). Custom Made Theatre presents David Henry Hwang’s award-winning play.

BAY AREA

Free Range Thinking Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $15-50. Previews Fri, 8pm; Sat, 5pm (through Sat/12). Opens Fri/18, 8pm. Runs Fri, 8pm; Sat, 5pm. Through April 9. The Marsh Berkeley presents a new comedic solo show by Robert Dubac.

The Iliad Berkeley City Club, 1802 Fairview, Berk; (510) 698-4030. $12-24. Opens Fri/18, 8pm. Runs Thurs-Sat, 8pm; Sun, 2pm. Through April 3. Inferno Theatre Company presents an adaptation of Homer’s ancient tale.

ONGOING

As Always Eureka Theatre, 215 Jackson; www.AsAlwaysTickets.com. $25. Thurs-Sun, 8pm. Through March 27. Tracy Ward directs a new musical by Peter W. Tucker.

Caliente Pier 29, The Embarcadero; 438-2668, www.love.zinzanni.org. $117-145. Wed-Sat, 6pm; Sun, 5pm. Teatro Zinzanni presents a new production conceived in San Francisco.

*40 Pounds in 12 Weeks: A Love Story The Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $15-35. Fri, 8pm; Sat, 8:30pm. Through March 26. “I hate assumptions,” says Pidge Meade. In fact, her new solo show, about her experience as a young woman of size on a brutal crash diet, goes a long way toward unsettling more than one. Developed and directed by Charlie Varon (Rush Limbaugh in Night School, Rabbi Sam), Meade’s multi-character monologue eschews easy sentiment for a sharply performed, consistently funny and genuine engagement with her younger, bigger self. Framed by a 20-year college reunion during which she suffers an unwanted conversation with an old roommate about her intervening dramatic weight loss, Meade recounts trying to lose 40 unwanted pounds to please her devoted but “harsh” father, an Olympic-level gymnastics coach shocked and appalled by her weight gain while at school. The father-daughter story comes interlarded with a few other encounters and characters measuring the variety of attitudes and approaches to weight among women in her Midwestern milieu. Meanwhile, Meade’s problematic relationship with her demanding if ultimately responsive father finds an unexpected echo in her former roommate’s pushy inquisitiveness (which, we learn, stems from her own desperate concern over a beloved but obese teen nephew). It’s in quietly mingling awkwardness, fear, and love that Meade’s piece can really surprise, and reaffirm that whatever else follows, it’s the usual assumptions that need shedding first. (Avila)

James Bond: Lady Killer Dark Room Theater, 2263 Mission; 732-9592, www.brownpapertickets.com. $20. Fri-Sat, 8pm. Through March 26. Dark Room Theater presents an all-new James Bond adventure.

Lady Grey (in ever lower light) EXIT on Taylor, 277 Taylor; (800) 838-3006, www.brownpapertickets.com. $15-50. Thurs-Sat, 8pm; Sun, 5pm. ThroughApril 10. Cutting Ball Theater presents the Bay Area premiere of three short plays by Will Eno.

*Loveland Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $20-50. Fri, 8pm; Sat, 8:30pm. Through March 26. Ann Randolph’s one-woman show extends its run.

The Oldest Profession Brava Thater, 2781 24th St; 647-2822, www.brava.org. $10-25. Brava Theater presents a play by Paula Vogel, directed by Evren Odcikin.

Out of Sight Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $15-50. Thurs and Sat, 8pm; Sun, 3pm. Through March 27. Sara Felder’s one-woman show extends its run.

Party of 2 — The New Mating Musical Shelton T8eater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Fri, 9pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Regrets Only New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through April 3. New Conservatory Theatre presents a play by Paul Rudnick, directed by Andrew Nance.

7 Sins…One More Time! EXIT Theatre, 156 Eddy; (800) 838-3006, www.brownpapertickets.com. $25-40. Fri-Sat, 8pm. Through April 10. James Judd’s long-running comedy hit has a return engagement.

Sex and Death: A Night with Harold Pinter Phoenix Theatre, Suite 601, 414 Mason; 1-800-838-3006, www.offbroadwaywest.org. $35. Thurs-Sat, 8pm. Through March 26. The thing with Harold Pinter is you never know for certain whether he means for something to be funny or not. Take his most celebrated one-act, The Dumb Waiter, a rather tense dialogue between two hit-men waiting for their mark to show which veers into disarmingly surrealist territory once they start receiving mysterious lunch orders via a creaky dumbwaiter, despite not having any food, or indeed any gas to cook food on. Is this Pinter’s attempt to lighten the mood in an otherwise joyless examination of two minor functionaries in the criminal underworld, or is it a way for him to interject more unease into their already intractable situation? In Off-Broadway West’s staging they opt mainly for the latter interpretation, neither Gus (Conor Hamill) nor Ben (Shane Fahy) play up much of the sly humor tucked into their lines, and when the “surprise” twist arrives, it feels like a foregone conclusion. More deftly nuanced, the second one-act on the bill, The Lover milks the sex lives of the petty bourgeoisie for all the hidden wit and complicated innuendo that could possibly be excavated. Morphing from chilly society marrieds to shameless afternoon fling and “common garden slut” Chad Stender and Nicole Helfer play out a tightly-wound sexual fantasy with a cool edge, a satisfying end to a low-key revival. (Gluckstern)

Shopping! The Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.shoppingthemusical.com. $27-29. Sat, 8pm. Open-ended. A musical comedy revue about shopping by Morris Bobrow.

Tenth Annual Bay One-Acts Festival Boxcar Theatre, 505 Natoma; 891-7235, www.bayoneacts.org. $20-32. Wed-Fri, 8pm; Sat, 3 and 8pm; Sun, 3pm. Through March 26. Three Wise Monkeys Theatre Company presents the tenth incarnation of the curated festival.

BAY AREA

Death of a Salesman Pear Avenue Theatre, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Sat, 8pm; Sun, 2pm. Through Sun/20. Pear Avenue Theatre presents the Arthur Miller classic.

Narnia: The Lion, the Witch, and the Wardrobe Berkeley Playhouse, 2640 College; (510) 845-8542, www.berkeleyplayhouse.org. $15-33. Call for dates and times. Through April 3. Berkeley Playhouse presents a musical fantasy based on the C.S. Lewis story.

The North Pool TheatreWorks at Lucie Stern Theater, 1305 Middlefiled, Palo Alto; (650) 463-1960, www.theatreworks.org. $24-67. Tues-Wed, 7:30pm; Thurs-Fri, 8pm; Sat, 2 and 8pm; Sun, 2 and 7pm. Through April 3. TheatreWorks presents a psychological thriller by Rajiv Joseph.

Not a Genuine Black Man The Marsh Berkeley, TheaterStage, 2120 Allston Way, Berk; 826-5750, www.themarsh.org. $20-35. Thurs, 7:30pm. Brian Copeland’s one-man show returns to the stage.

Romeo and Juliet La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through March 26. Bet you thought Romeo and Juliet was just a sappy love story at its beating heart. But as Impact Theatre’s artistic director Melissa Hillman, fight director Dave Meier, and production “blood technician” Tunuviel Luv manage to remind us, R&J is known as a tragedy for good reason—full of escalating violence and a bodycount almost as high as Hamlet’s. Before they snuff it though, Romeo (Michael Garret McDonald) and Juliet (Luisa Frasconi) fall in love in a meet-cute, after-school special way: Frasconi exhibiting the coltish excitability of a very young teenager, and doofy McDonald egged on by a pack of uncouth youth (Seth Thygesen as Benvolio, Marilet Martinez as Mercutio, Miyuki Bierlein as Balthasar) who pretty much steal the show with their crass deconstruction of Romeo’s woes. Unfortunately, the Russian mafia angle is less fully fleshed out than the teen romance portion of the show. Yes, the mobsters all sport some great tattoos, carry mean-looking pistols, and occasionally deliver their lines in Russian thanks to language consultant Helen Nesteruk, but setting the show in the ex-pat Russian community “in the Bay Area” dilutes the extreme feudalism that setting the show in Moscow would imply, and allows the production to rely a little too heavily on familiar California-isms—phrases, behaviors, and fashions— rather than committing fully to exploring the vastly different world of the Russkaya Mafiya. (Gluckstern)

*Ruined Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Call for dates and times. Through April 10. Berkeley Rep presents Lynn Nottage’s Pulitzer-winning play about the lives of women in Africa.

Singing at the Edge of the World The Cabaret at The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.brownpapertickets.com. $15-35. Thurs-Fri, 8pm; Sat, 5pm. The Marsh presents a one-man show by Randy Rutherford.

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; 1-800-838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

Marga’s Funny Mondays Cabaret at Marsh Berkeley, 2120 Allston, Berk.; 1-800-838-3006, www.themarsh.org. Mon/21, 8pm. $10. Marga Gomez hosts a Monday night comedy series.

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. For further information on how to submit items for the listings, see Picks. 

Stage Listings

0

THEATER

OPENING

Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Previews Thurs, 8pm; Sat, 5pm; Sun, 3pm (through March 27). Opens March 31. Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through May 1. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

BAY AREA

Free Range Thinking Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $15-50. Previews Fri, 8pm; Sat, 5pm (through Sat/12). Opens March 18, 8pm. Runs Fri, 8pm; Sat, 5pm. Through April 9. The Marsh Berkeley presents a new comedic solo show by Robert Dubac.

ONGOING

*40 Pounds in 12 Weeks: A Love Story The Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $15-35. Fri, 8pm; Sat, 8:30pm. Through March 26. “I hate assumptions,” says Pidge Meade. In fact, her new solo show, about her experience as a young woman of size on a brutal crash diet, goes a long way toward unsettling more than one. Developed and directed by Charlie Varon (Rush Limbaugh in Night School, Rabbi Sam), Meade’s multi-character monologue eschews easy sentiment for a sharply performed, consistently funny and genuine engagement with her younger, bigger self. Framed by a 20-year college reunion during which she suffers an unwanted conversation with an old roommate about her intervening dramatic weight loss, Meade recounts trying to lose 40 unwanted pounds to please her devoted but “harsh” father, an Olympic-level gymnastics coach shocked and appalled by her weight gain while at school. The father-daughter story comes interlarded with a few other encounters and characters measuring the variety of attitudes and approaches to weight among women in her Midwestern milieu. Meanwhile, Meade’s problematic relationship with her demanding if ultimately responsive father finds an unexpected echo in her former roommate’s pushy inquisitiveness (which, we learn, stems from her own desperate concern over a beloved but obese teen nephew). It’s in quietly mingling awkwardness, fear, and love that Meade’s piece can really surprise, and reaffirm that whatever else follows, it’s the usual assumptions that need shedding first. (Avila)

James Bond: Lady Killer Dark Room Theater, 2263 Mission; 732-9592, www.brownpapertickets.com. $20. Fri-Sat, 8pm. Through March 26. Dark Room Theater presents an all-new James Bond adventure.

*Loveland Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $20-50. Fri, 8pm; Sat, 8:30pm. Through March 26. Ann Randolph’s one-woman show extends its run.

Out of Sight Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $15-50. Thurs and Sat, 8pm; Sun, 3pm. Through March 27. Sara Felder’s one-woman show extends its run.

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Regrets Only New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Wed-Sat, 8pm; Sun, 2pm. Through April 3. New Conservatory Threatre presents a play by Paul Rudnick, directed by Andrew Nance.

Sex and Death: A Night with Harold Pinter Phoenix Theatre, Suite 601, 414 Mason; 1-800-838-3006, www.offbroadwaywest.org. $35. Thurs-Sat, 8pm. Through March 26. The thing with Harold Pinter is you never know for certain whether he means for something to be funny or not. Take his most celebrated one-act, The Dumb Waiter, a rather tense dialogue between two hit-men waiting for their mark to show which veers into disarmingly surrealist territory once they start receiving mysterious lunch orders via a creaky dumbwaiter, despite not having any food, or indeed any gas to cook food on. Is this Pinter’s attempt to lighten the mood in an otherwise joyless examination of two minor functionaries in the criminal underworld, or is it a way for him to interject more unease into their already intractable situation? In Off-Broadway West’s staging they opt mainly for the latter interpretation, neither Gus (Conor Hamill) nor Ben (Shane Fahy) play up much of the sly humor tucked into their lines, and when the “surprise” twist arrives, it feels like a foregone conclusion. More deftly nuanced, the second one-act on the bill, The Lover milks the sex lives of the petty bourgeoisie for all the hidden wit and complicated innuendo that could possibly be excavated. Morphing from chilly society marrieds to shameless afternoon fling and “common garden slut” Chad Stender and Nicole Helfer play out a tightly-wound sexual fantasy with a cool edge, a satisfying end to a low-key revival. (Gluckstern)

Tenth Annual Bay One-Acts Festival Boxcar Theatre, 505 Natoma; 891-7235, www.bayoneacts.org. $20-32. Wed-Fri, 8pm; Sat, 3 and 8pm; Sun, 3pm. Through March 26. Three Wise Monkeys Theatre Company presents the tenth incarnation of the curated festival.

BAY AREA

Death of a Salesman Pear Avenue Theatre, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Sat, 8pm; Sun, 2pm. Through March 20. Pear Avenue Theatre presents the Arthur Miller classic.

I Dream of Chang and Eng Zellerbach Playhouse, UC Berkeley campus; Berk; (510) 642-8827. $10-15. Fri-Sat, 8pm; Sun, 2pm. Through Sun/13. The original “Siamese twins”—Thailand-born Chinese conjoined twins and living “freak” exhibition of the American 19th century, Chang and Eng Bunker (Josemari Saenz and Andy Chan)—are bountiful subjects for this fictional re-imagining of their lives by internationally esteemed Bay Area playwright Philip Kan Gotanda. Slipping in and out of a poetical dreamscape and back again into history, the brothers are much more than metaphor, as their intersected lives the basis for a larger canvas of human connection, discovery, and strife. Characters from the King of Siam to P.T. Barnum populate the large beautifully detailed stage at UC Berkeley, against a historical backdrop that includes such resonant episodes of fraternal friction and racialized violence as the Civil War. At the same time, Gotanda takes care to craft two specific and very different individuals (the actors sometimes float away from one another in their solitary imaginations, but are otherwise joined by a band linking two slim harnesses). Indeed, this sprawling, fitful but often beautiful three-act play—imaginatively staged by Peter Glazer for the Department of Theater, Dance, and Performance Studies—works best when the drama gets intimate and concrete, as in a fascinating encounter between the brothers and a worldly, beguiled and beguiling English woman who briefly becomes their lover. She literally puts them before a rare full-length mirror at one point, to their amazement, but the three people in this scene are acting as mirrors to one another in so many ways. (Avila)

A Man’s Home…an Ode to Kafka’s Castle Berkeley City Club, 2315 Durant; (510) 558-1381, www.centralworks.org. $14-25. Thurs-Sat, 8pm; Sun 5pm (also Sat/12, 5pm). Through Sun/13. Central Works pays homage to Franz.

Romeo and Juliet La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through March 26. Bet you thought Romeo and Juliet was just a sappy love story at its beating heart. But as Impact Theatre’s artistic director Melissa Hillman, fight director Dave Meier, and production “blood technician” Tunuviel Luv manage to remind us, R&J is known as a tragedy for good reason—full of escalating violence and a bodycount almost as high as Hamlet’s. Before they snuff it though, Romeo (Michael Garret McDonald) and Juliet (Luisa Frasconi) fall in love in a meet-cute, after-school special way: Frasconi exhibiting the coltish excitability of a very young teenager, and doofy McDonald egged on by a pack of uncouth youth (Seth Thygesen as Benvolio, Marilet Martinez as Mercutio, Miyuki Bierlein as Balthasar) who pretty much steal the show with their crass deconstruction of Romeo’s woes. Unfortunately, the Russian mafia angle is less fully fleshed out than the teen romance portion of the show. Yes, the mobsters all sport some great tattoos, carry mean-looking pistols, and occasionally deliver their lines in Russian thanks to language consultant Helen Nesteruk, but setting the show in the ex-pat Russian community “in the Bay Area” dilutes the extreme feudalism that setting the show in Moscow would imply, and allows the production to rely a little too heavily on familiar California-isms—phrases, behaviors, and fashions— rather than committing fully to exploring the vastly different world of the Russkaya Mafiya. (Gluckstern)

Ruined Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Call for dates and times. Through April 10. Berkeley Rep presents Lynn Nottage’s Pulitzer-winning play about the lives of women in Africa.

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; 1-800-838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

BAY AREA

Marga’s Funny Mondays Cabaret at Marsh Berkeley, 2120 Allston; 1-800-838-3006, www.themarsh.org. Mon/28, 8pm. $10. Marga Gomez hosts a Monday night comedy series.

 

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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

Stage Listings

0

THEATER

OPENING

Beauty and the Beast Young Performers Theatre, Fort Mason Theatre, Bldg C; 346-5550, www.ypt.org. $7-10. opens Sat/5, 1pm. Runs Sat, 1pm; Sun 1 and 3:30pm. Young Performers Theatre presents the classic fairy tale.

Geezer Marsh, 1062 Valencia; (800) 838-3006, www.themarsh.org. $20-50. Previews Thurs, 8pm; Sat, 5pm; Sun, 3pm (through March 27). Opens March 31, 8pm. Runs Thurs, 8pm; Sat, 5pm; Sun, 3pm. Through May 1. The Marsh presents a new solo show about aging and mortality by Geoff Hoyle.

James Bond: Lady Killer Dark Room Theater, 2263 Mission; 732-9592, www.brownpapertickets.com. $20. Opens Fri/4, 8pm. Runs Fri-Sat, 8pm. Through March 26. Dark Room Theater presents an all-new James Bond adventure.

Regrets Only New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctcsf.org. $24-40. Previews Wed/2-Fri/4, 8pm. Opens Sat/5, 8pm. Runs Wed-Sat, 8pm; Sun, 2pm. Through April 3. New Conservatory Threatre presents a play by Paul Rudnick, directed by Andrew Nance.

Tenth Annual Bay One-Acts Festival Boxcar Theatre, 505 Natoma; 891-7235, www.bayoneacts.org. $20-32. Opens Wed/6, 8pm. Runs Wed-Fri, 8pm; Sat, 3 and 8pm; Sun, 3pm. Through March 26. Three Wise Monkeys Theatre Company presents the tenth incarnation of the curated festival.

BAY AREA

Free Range Thinking Marsh Berkeley, TheaterStage, 2120 Allston, Berk; 1-800-838-3006, www.themarsh.org. $15-50. Previews Fri, 8pm; Sat, 5pm (through March 12). Opens March 18, 8pm. Runs Fri, 8pm; Sat, 5pm. Through April 9. The Marsh Berkeley presents a new comedic solo show by Robert Dubac.

ONGOING

Devil/Fish Brava Theater, 2781 24th St; www.criquenoveau.com. $26. Thurs/3-Sat/5, 7pm; Sun/6, 6pm. Cirque Noveau presents a contemporary circus that riffs off of the Faust legend.

*Farragut North NOHSpace, 2840 Mariposa; www.opentabproductions.com. $25. Thurs/3-Sat/5, 8pm. Former Howard Dean speechwriter Beau Willimon’s formulaic but solidly crafted 2008 play about backroom politics and the seamy side of what’s euphemistically called the American democratic process seems like it’d make a good George Clooney movie. George Clooney thought so too. He’s making it now under the title The Ides of March. You can see it sooner and without all those goddamn movie stars in this low-budget, high-octane staging by OpenTab Productions (Fishing). Stephen (Ben Euphrat) is a 25-year-old wiz of a press secretary for a “maverick” governor heading into a major primary battle on the road to the White House. But an unexpected phone call leads “idealistic” power-lover Stephen into temptation, even as it reveals the real dynamics of the electoral system he thought he’d mastered. A battle for career survival ensues with his former boss (Alex Plant), in which loyalty is a password and decency the first sandbag to drop. Opening night had one or two timing issues and some actors lost in shadow, but director Dave Sikula builds the action well and gets strong performances from an uneven but generally winning cast. Particularly nice work comes from a convincingly unraveling Euphant, a coolly compassionate Carla Pauli (as precocious intern–turned–unwitting pawn), and the formidable Nathan Tucker as Stephen’s slickly conniving counterpart and Mephistopheles of the moment.

40 Pounds in 12 Weeks: A Love Story The Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $15-35. Fri, 8pm; Sat, 8:30pm. Through March 26. A one-woman show about eating and weight loss, by Pidge Meade.

*Loveland Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $20-50. Fri, 8pm; Sat, 8:30pm. Through March 26. Ann Randolph’s one-woman show extends its run.

Out of Sight Marsh, 1062 Valencia; 1-800-838-3006, www.themarsh.org. $15-50. Thurs and Sat, 8pm; Sun, 3pm. Through March 27. Sara Felder’s one-woman show extends its run.

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; 1-800-838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Sex and Death: A Night with Harold Pinter Phoenix Theatre, ste 601, 414 Mason; 1-800-838-3006, www.offbraodwaywest.org. $35. Thurs-Sat, 8pm. Through March 26. Off Broadway West Theatre Company presents two Pinter one-acts: The Dumb Waiter and The Lover.

What We’re Up Against Magic Theatre, Fort Mason Center, bldg D; 441-8822, www.magictheatre.org. Wed/2-Fri/4, 8pm; Sat/5, 2:30 and 8pm; Sun/6, 2:30pm. Following the popularity of Theresa Rebeck’s Mauritius in 2009, Magic Theatre brings the New York playwright back for the world premiere of a decidedly flimsy comedy about sexual discrimination at a busy architecture firm. Eliza (Sarah Nealis) is the bright and brash new employee who finds herself shut out by an old boys network. Sodden boss Stu (Warren David Keith) resents her heartily for her competence and ambition, while ass-kissing power-jockey Weber (James Wagner) uses the leverage for all its worth. Gender solidarity with sole (but soulless) sister Janice (Pamela Gaye Walker) doesn’t get Eliza very far either. One guy at the firm, Ben (Rod Gnapp), alone knows better (among what amounts to an unbelievably inept staff). Eliza, meanwhile, crafts a form of revenge from her well-guarded solution to the otherwise stymieing “duct problem” in the plans for a new mall, a major account hitting the skids. Ben’s obsession with ducts is something of a key joke here, which ends up being characteristic of a play that stretches its not-very-new conceits thinly over two acts. The glass ceiling, ducts and all, is a bit too transparent in this bloodless production (helmed by artistic director Loretta Greco), leaving precious little to wonder or worry about. (Avila)

William Blake Sings the Blues Actors Theatre of SF, 855 Bush; 345-1287, www.brownpapertickets.com. $26-38. Wed-Sat, 8pm. Through Sat/5. Actors Theatre of San Francisco presents the world premiere of a play by Keith Philips.

BAY AREA

Collapse Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $34-55. Wed/2-Sat/5, 8pm; Sun/6, 2 and 7pm. Aurora Theatre presents a comedy by Allison Moore.

Death of a Salesman Pear Avenue Theatre, Mtn View; (650) 254-1148, www.thepear.org. $15-30. Thurs-Sat, 8pm; Sun, 2pm. Through March 20. Pear Avenue Theatre presents the Arthur Miller classic.

A Man’s Home…an Ode to Kafka’s Castle Berkeley City Club, 2315 Durant; (510) 558-1381, www.centralworks.org. $14-25. Thurs-Sat, 8pm; Sun 5pm (also Sat/5 and March 12, 5pm). Through March 13. Central Works

Romeo and Juliet La Val’s Subterranean, 1834 Euclid, Berk; www.impacttheatre.com. $10-20. Thurs-Sat, 8pm. Through March 26. Impact Theatre presents a Russian mafia interpreation of the tragic romantic classic.

Ruined Berkeley Repertory Theatre, Roda Theatre, 2015 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $29-73. Call for dates and times. Through April 10. Berkeley Rep presents Lynn Nottage’s Pulitzer-winning play about the lives of women in Africa.

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; 1-800-838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

Comedy Brains The Cabaret at the Marsh Berkeley, 2120 Allston Way, Berk; 1-800-838-3006, www.themarsh.org. Sat/5, 8:30pm. $15-35. Scott Capurro and Piano Fight’s ForePlays are this week’s lineup.

Devotion ODC Theater, 3153 17th St; 863-9834, www.odctheater.org. Fri/4-Sun/6, 8pm. $15-18. Sarah Michelson and Richard Maxwell present a new dance work.

Halau o Keikiali’i City Hall; 920-9181, www.dancersgroup.org. Fri/4, noon. Free. The first installment in a monthly lunchtime dance series.

Hope Mohr Dance Z Space at Theater Artaud, 450 Florida; 1-800-838-3006, www.hopemohr.org. Thurs/3-Sat/5, 8pm; Sun/6, 2pm. The company presents its fourth home season with the world premiere of The Unsayable.

Miss Toolbox Pageant Club 93, 93 Ninth St; www.club93sf.com. Thurs/3, 11pm. Free. Witness performers of all genders and sexualities utilizing their style, talent, beauty, and star wattage.

Qcomedy Showcase Martuni’s, 4 Valencia; www.Qcomedy.com. Mon/7, 8pm. $5-16. Performers include Kat Evasco, Dana Cory, Cookie Dough, Maggie Dolan, and Nick Leonard.

Stephen Petronio Company Novellus Theater, Yerba Buena Center for the Arts, 701 Mission; 392-6449, www.sfperformances.org. Thurs/4-Fri/5, 8pm. $30-50. SF Performances presents Stephen Petronio Dance Company’s 25th anniversary work, I Drink the Air Before Me.

BAY AREA

Bale Folklorico Da Bahia Zellerbach Hall, UC Berkeley campus, Berk; (510) 642-9988, www.calperformances.org. Sun/6, 7pm; Mon/7, 11am. $5-52. The Brazilian troupe of dancers, musicians, and singers performs Sacred Heritage.

Body of Knowledge Western Sky Studio, Eighth St. and Dwight, Berk; www.bodyresearch.org. Thurs/4-Fri/5, 8pm. $12-20. Karl Frost/Body rearch presents a new work and a happening.

Marga’s Funny Mondays Cabaret at Marsh Berkeley, 2120 Allston; 1-800-838-3006, www.themarsh.org. Mon/28, 8pm. $10. Marga Gomez hosts a Monday night comedy series.

Merce Cunningham Dance Company Zellerbach hall, UC Berkeley campus, Berk; (510) 642-9988, www.calperformances.org. Thurs/3-Sat/5, 8pm. The legendary company makes its final Bay Area appearance.

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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.

 

Stage Listings

0

THEATER

ONGOING

The Dog and Pony Show The Marsh, 1062 Valencia; 826-5750, www.themarsh.org. $15-35. Thurs, 8pm; Sat, 8:30pm; Sun, 7pm. Through Sun/27. No horses in this show, actually, and no people either, just dogs. That’s the claim anyway. But while she manages to largely steer clear of ponies, in her new solo show, Michigan-based performance artist and NEA Four alum Holly Hughes ultimately segues not so subtly from her lifelong obsession with dogs to the life lessons we might glean from them. Treats along the way can take the form of amusing personal observations about Dorothy and Toto’s misadventure in the Wizard of Oz, a clip of the Obamas wagging the White House dog on Barbara Walters, or Hughes and her partner of 16 years at home in cozy domesticity—just two women, nine animals, and one sectional sofa. Her own family’s love for animals developed in the absence of much love for anyone else, Hughes tells us. Fortunately her monologue, directed by Dan Hurlin, resists being a bummer thanks to Hughes’ indomitable good nature. It’s her very cute and talented Norfolk terrier who steals the show, however, via a video segment at a Michigan dog competition. Maybe that’s as it should be in this unabashed bow to the bowwow. (Avila)

*Farragut North NOHSpace, 2840 Mariposa. www.opentabproductions.com. $25. Thurs-Sat, 8pm. Through March 5. Former Howard Dean speechwriter Beau Willimon’s formulaic but solidly crafted 2008 play about backroom politics and the seamy side of what’s euphemistically called the American democratic process seems like it’d make a good George Clooney movie. George Clooney thought so too. He’s making it now under the title The Ides of March. You can see it sooner and without all those goddamn movie stars in this low-budget, high-octane staging by OpenTab Productions (Fishing). Stephen (Ben Euphrat) is a 25-year-old wiz of a press secretary for a “maverick” governor heading into a major primary battle on the road to the White House. But an unexpected phone call leads “idealistic” power-lover Stephen into temptation, even as it reveals the real dynamics of the electoral system he thought he’d mastered. A battle for career survival ensues with his former boss (Alex Plant), in which loyalty is a password and decency the first sandbag to drop. Opening night had one or two timing issues and some actors lost in shadow, but director Dave Sikula builds the action well and gets strong performances from an uneven but generally winning cast. Particularly nice work comes from a convincingly unraveling Euphant, a coolly compassionate Carla Pauli (as precocious intern–turned–unwitting pawn), and the formidable Nathan Tucker as Stephen’s slickly conniving counterpart and Mephistopheles of the moment.

*The Last Night of the Barbary Coast SOMArts,934 Brannan; (800) 838-3006, www.brownpapertickets.com. $20. Thurs-Fri, 8pm; Sat, 5 and 9pm. Through Sat/26. A fresh theatrical breeze blows in from the rank and churlish alleyways of Gold Rush San Francisco’s notorious red light district in writer/director Jessa Brie Berkner and Idora Park Theatre Company’s beautifully detailed musical tale. Set on and around a gorgeous rotating roulette-wheel stage (crafted by Simon Cheffins and Jack Ruszel, and hauntingly illuminated by lighting designer Zoltan DeWitt), Last Night of the Barbary Coast tells the story of a young Midwestern woman (Tristan Cunningham) who joins a traveling troupe of vaudevillians, searching for an unknown freedom in the chaotic landscape of the Old West as a performer and prostitute. A set of 49er archetypes (smartly outfitted by costumer Lucid Dawn) overflow the ample SOMArts stage with the all the flouncing brawn, sashaying bodices and boozy bluster of a saloon floorshow, alongside live musical accompaniment from vocalist-instrumentalist Freddi Price’s lush and moody nine-piece Alchemical Orchestra. Told in snatches of dialogue, song and pantomime (smooth choreography by Ena Dallas), Berkner weaves an inspired narrative from personal family legend and characters derived from the tarot deck’s Major Arcana. The result is a dynamically staged, alternately somber and spirited exploration of the precarious freedom possible in life and art. (Avila)

Party of 2 – The New Mating Musical Shelton Theater, 533 Sutter; (800) 838-3006, www.partyof2themusical.com. $27-29. Sun, 3pm. Open-ended. A musical about relationships by Shopping! The Musical author Morris Bobrow.

*Pearls Over Shanghai Thrillpeddlers’ Hypnodrome, 575 Tenth St; 1-800-838-3006, www.brownpapertickets.com. $30-69. Sat, 8pm. Through April 9. Thrillpeddlers’ acclaimed production of the Cockettes musical continues its successful run.

Treefall New Conservatory Theatre Center, 25 Van Ness; 861-8972, www.nctsf.org. $24-40. Call for dates and times. Through Sun/27. New Conservatory Theatre Center presents a tale of erotic attraction by Henry Murray.

What We’re Up Against Magic Theatre, Fort Mason Center, bldg D; 441-8822, www.magictheatre.org. Wed-Fri, 8pm; Sat, 2:30 and 8pm; Sun, 2:30pm; Tues, 7pm. Through March 6. Following the popularity of Theresa Rebeck’s Mauritius in 2009, Magic Theatre brings the New York playwright back for the world premiere of a decidedly flimsy comedy about sexual discrimination at a busy architecture firm. Eliza (Sarah Nealis) is the bright and brash new employee who finds herself shut out by an old boys network. Sodden boss Stu (Warren David Keith) resents her heartily for her competence and ambition, while ass-kissing power-jockey Weber (James Wagner) uses the leverage for all its worth. Gender solidarity with sole (but soulless) sister Janice (Pamela Gaye Walker) doesn’t get Eliza very far either. One guy at the firm, Ben (Rod Gnapp), alone knows better (among what amounts to an unbelievably inept staff). Eliza, meanwhile, crafts a form of revenge from her well-guarded solution to the otherwise stymieing “duct problem” in the plans for a new mall, a major account hitting the skids. Ben’s obsession with ducts is something of a key joke here, which ends up being characteristic of a play that stretches its not-very-new conceits thinly over two acts. The glass ceiling, ducts and all, is a bit too transparent in this bloodless production (helmed by artistic director Loretta Greco), leaving precious little to wonder or worry about. (Avila)

 

BAY AREA

The Agony and the Ecstasy of Steve Jobs Berkeley Rep, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Call for dates and times. Through Sun/27. In his latest monologue (playing in repertory with another, The Last Cargo Cult), Mike Daisey explores the deeper implications of his own, and our, obsession with technology through a parallel look at the career of Apple’s megalomaniacal founder, and Daisey’s own reconnaissance trip to Apple’s manufacturing center in southern China. The story is well-crafted, Daisey’s delivery dependably expert—even if his humor occasionally strays into the more obvious, belabored humor of the office water-cooler wag—and the real-world vision of hell he paints in a behemoth suicide-ridden factory called Foxconn (apt if understated name there) all too salient. But the story gives us back as revelation what we already know, surely, about the horrifying labor system behind our various electronic gizmos and much else besides. It’s a kind of liberal conceit to play along with the indignation and head back out into the world fully willing to do battle against corporate capital, or at least sign an online petition. As a performer, meanwhile, Daisey has not budged from the formula he originally borrowed from Spalding Gray but made it even more his own. Indeed, to call his approach “indebted” to Gray is like saying the black market iPhone knock-offs he describes are merely an homage to Apple’s product. Beside his professed love for the latest high tech wizardry comes this uncanny attachment to the utterly low-tech, analog-monologue style of the late master.

Collapse Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $34-55. Wed-Sat, 8pm; Sun, 2 and 7pm; Tues, 7pm. Through March 6. Aurora Theatre presents a comedy by Allison Moore.

Seagull Wed, 7:30pm, Thurs-Sat, 8pm; Sun, 7pm; Tues, 8pm. Through Sun/27. Marin Theatre Company presents a new translation of Chekhov’s great play from former Oregon Shakespeare Festival artistic director Libby Appel. The translation feels crisp and lucid, but artistic director Jasson Minadakis’s production remains fairly unmoving despite some effective moments among a skilled cast, including the dependably charismatic Howard Swain (as the doctor). The surprising lack of connection or spark between the principal characters—especially the jaded writer (Craig Marker) and the infatuated, soon-to-be-ruined Masha (an otherwise vivacious Liz Sklar)—results in a dutiful production without that pent-up Chekhovian atmosphere that should envelop and follow you for hours if not days to come. (Avila)

World’s Funniest Bubble Show The Marsh Berkeley, 2120 Allston Way, Berk; (800) 838-3006, www.themarsh.org. $8-11. Sun, 11am. Through April 3. The Amazing Bubble Man extends the bubble-making celebration.

PERFORMANCE/DANCE

BAY AREA

Marga’s Funny Mondays The Cabaret at The Marsh Berkeley, 2120 Allston; (800) 838-3006, www.themarsh.org. Mon/28, 8pm. $10. Marga Gomez hosts a Monday night comedy series.

 

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. For further information on how to submit items for the listings, see Picks. For complete listings, see www.sfbg.com.