Calling Dr. Love Comedian Scott Capurro taps into his real-life broadcasting experience and the proliferation of call-in radio shows in his solo performance The Doctor Is ON. Capurro, a veteran of international stand-up stages and films like Mrs. Doubtfire, plays a sharp-tongued radio psychologist who doesn't let his lack of professional credentials interfere with the harsh advice he doles out to troubled lovers over the airwaves of a hip, San Francisco-based alternative rock station; he begins to rethink his all-knowing approach to love and sex, however, when his prostitute boyfriend turns his own advice against him. The Doctor Is ON opens at 8 p.m. (continuing through July 28) at Josie's Cabaret & Juice Joint, 3583 16th St., S.F. Admission is $12; call 861-7933.
Prints Among Men If the name Edward Hagedorn sounds unfamiliar, blame it on the controversy of 1927. Hagedorn, a Bay Area native who studied at the San Francisco Art Institute when it was still the California School of Fine Arts, won honors for his work in the '20s and '30s but drew fire when he refused to pull one of his paintings, a female nude, from a 1927 exhibition at the Oakland Art Gallery. Shortly thereafter, he was disowned by his father. Reclusive by nature, Hagedorn pocketed an inheritance from his mother's side and removed himself from the public eye in the late 1930s, refusing from then on to exhibit his work. When he died in 1982, nearly a million dollars and boxes of prints, drawings, and paintings were found in his Berkeley home; the UAM exhibit focuses on the German Expressionist-influenced, anti-war images Hagedorn produced when conflicts like the Spanish Civil War occupied the collective consciousness of early 20th-century America. The exhibit is up through Sept. 29 at the University Art Museum, 2625 Durant, UC Berkeley campus. Admission is free-$6; call (510) 642-0808.
Pas de Quatre Four is the magic number right now for the Robert Henry Johnson Dance Company, which celebrates its fourth season with the premiere of four new works informed by classic and modern technique. The first week's program features Three Women Flying, Blue Light Till Dawn, and Phylia, a partnered duet on a developing relationship, set to music by Prince. Hip-hop collective Midnight Voices joins the company the second week to perform their original score for Johnson's first evening-length piece, Bio, based on Johnson's experiences as a San Francisco Ballet School student and a young dance-maker, incorporating a section from last year's Late Nite at the Upper Room pointing to the influences of African culture on American urban life. The show begins at 7:30 p.m. (continuing Thursday-Saturday at 7:30 p.m., Sunday at 2 & 7:30 p.m., through July 21) at the Cowell Theater, Fort Mason, S.F. Free chartered buses to the show run from the Bayview Opera House and the Center for African & African-American Art and Culture Sunday, July 14. Admission is $10-35; call 392-4400.
Cops and Robbers The Emerald Isle takes center stage when the Penny Farthing Players, directed Damon Poeter, present a theatrical adaptation by Irish transplant Lorcan Keating of Irish novelist Flann O'Brien's book The Third Policeman, accompanied live on selected nights by the mandolin, fiddle, and penny whistle strains of Celtic band Resident Aliens. O'Brien's novel, published a year after his death in 1966, is the tale of a murder motivated by greed, but that is as literal as O'Brien gets in this satirical, philosophical Swiftian comedy: After their crime goes awry and their partnership sours, culprits No Name and his conscience, Joe, find themselves in an otherworld populated by ghosts, mad cops, one-legged robbers, and strangely human bicycles. The Third Policeman premieres at 8 p.m. (continuing through Aug. 4) at New College Theater, 777 Valencia, S.F. Admission is $10-12; call 263-0714.
Black Is Back Pam Grier may exude star power, but blaxploitation films remain popular two decades after their release due mostly to camp value. From Grier's turn as an ass-kicking avenger saddled with a coke-dealing brother in Foxy Brown to Richard Pryor's role as a hustler who enters a pimp beauty pageant in The Mack, the films are loaded with drugs and violence, slick threads, and righteous dialogue from protagonists who aren't afraid to stick it to the man. These were meant as action films with social commentary, although at least one, The Mack, found itself embroiled in an actual socially charged situation, resulting in a truce between gang and crew members while the film was shot on location in Oakland. The Red Vic's "Blaxploitation Classics" series, the second of what could become an annual event, begins with Sheba Baby at 7:15 and 9:15 p.m. at the Red Vic, 1727 Haight, S.F. Admission is $3-6; call 668-8999.
Ehn Visions Local playwright Erik Ehn plants one foot in the troubled present and one foot in a surreal future with Tailings, a fable in play form about a North Carolinian farm family torn apart when the Appalachians become submerged under the Atlantic and rural children are recruited to work in the vapor mine of Uranus. Director Steven Cosson and Smart Mouth Theater (the team that produced 1994's Stupid Kids) and contributors from several disciplines -- composer Bob Ostertag and visual artist D-L Alvarez among them -- have collaborated to mount Ehn's work at 8 p.m. (continuing through July 28) at Intersection for the Arts, 446 Valencia, S.F. Admission is $10-12; call 273-1069.