Deco Dance Romain de Tirtoff's ladies were lovely, long-stemmed beauties, dramatically accessorized with ropes of pearls, matching greyhounds, ostrich fans, and sumptuous wraps trailing languorously behind them. Tirtoff is the Russian-born painter better known as Erte, the name he created for himself from the French pronunciation of his initials, long before artists with single names were popular. What most people know of the remarkable and prolific designer are the Jazz Age fashion drawings he did for Harper's Bazaar during the relative calm between two world wars, and the lavish sets and costumes he created for opera, theater, and cabaret -- the Folies-Bergere in Paris and George White's Scandals in New York. The historical context and lesser-known personal details emerge in an Art Deco Society slide-show lecture delivered by the similarly one-named Erte expert Stephan. The lecture begins with a no-host cocktail reception at 7 p.m. at the Hotel Rex, 562 Sutter (at Mason), S.F. Admission is free-$5; call 982-DECO.
Add It Up The post-boomer generation got its Big Chill two summers ago with Grosse Pointe Blank, a black comedy about a hit man who attends his high school reunion. It was packed with requisite '80s elements -- excessive irony, geeky dancing, John Cusack -- and set against a quintessentially '80s college-radio soundtrack that begins and ends with two versions of the Violent Femmes hit "Blister in the Sun." The Femmes, a folk-punk trio whose careers were launched after the Pretenders caught them busking outside a Milwaukee theater, should be so much more than a nostalgia act, but it's been four years since they've released a record, and nothing else they've done has approached the cult appeal of their eponymous 1982 debut, which secured their spot in rock history and inextricably linked them to that era. In song after song on that arguably perfect record, singer Gordon Gano teased and tormented, venting his anguish with a ragged howl and a torrent of smart, funny, mean lyrics. After smartass songs like "Add It Up," the follow-up album Hallowed Ground, with its old-time religious overtones, came as something of a surprise. So what have they been doing since Guy Hoffman (one of the original Bodeans) replaced Femmes drummer Victor DeLorenzo? Find out at 8 p.m. at the Fillmore, 1805 Geary (at Fillmore), S.F. Admission is $21.50; call 346-6000.
Welcome to Neverland Once upon a time, before self-help books and Julia Roberts came along, J.M. Barrie's Peter Pan was still a magical tale about man-eating crocodiles, fairy dust, and a boy who stubbornly refuses to surrender to an unimaginative adulthood. In 1911, seven years after he wrote the play, Barrie fleshed out Pan's characters and the story itself in the novel Peter and Wendy, and it's that work that inspires a 3-D musical production of the same name by New York theater collective Mabou Mines. With an oversized pop-up book set as a backdrop, seven puppeteers manipulate Japanese bunraku puppets and Balinese wayang kulit shadow puppets representing Captain Hook and his pirates, the Darling family, and their dog Nana, whose voices are done by actor Karen Kandel. Fiddle player Johnny Cunningham performs his original Celtic score live onstage throughout the action, accompanied by singer Susan McKeown. The show, for viewers age 9 and older, opens with a preview (and runs through Feb. 21) at the Florence Schwimley Little Theater, 1920 Allston & MLK, Berkeley. Admission is $19.50-35; call (510) 845-4700.
Are You Ready to Trock? Not since last month, when Mark Morris roasted the holiday chestnut that is The Nutcracker, have audiences seen ballet parodied so lovingly, by such fine dancers, as they're about to see with the return of Les Ballets Trockadero de Monte Carlo. The all-male company, which dances both male and female roles, has worn out truckloads of indelicately large pointe shoes since 1974, when they began poking fun at the Russian old school with stage names like Mikhail Mypanserov (sound it out) and revamping the classical repertoire. This time, along with fine-feathered dramatic standards including The Dying Swan and Swan Lake Act II, the Trocks divine camp value in selections from Petipa's Gypsy romance Paquita. Modern dance, every inch as guilty as ballet of taking itself overseriously, gets its turn when the Trocks spoof the Merce Cunningham-John Cage collaboration Variations IV. The show begins at 8 p.m. (also Saturday, preceded both nights at 7 p.m. by a "Sightlines" discussion) at Zellerbach Hall, Bancroft & Telegraph, Berkeley. Admission is $24-42; call (510) 642-9988.
Swing That Thing Austin, Texas, is the place for barbecue joints, swimming holes, and cold beer beading up with perspiration on a hot night. It's also home to the Hot Club of Cow Town, who, like their neighbors the Asylum Street Spankers, would sound just fine at an old-fashioned barn dance. The all-acoustic string trio makes lively work of Texas swing tunes, Bob Wills favorites like "End of the Line," and Tin Pan Alley standards on its album Swingin' Stampede. Stand-up bass player Billy Horton Fiddler anchors fiddler Elana Fremerman's lilting melodies and guitarist Whit Smith's expert fingerpicking. (Squirrel Nut Zippers fans will like 'em too.) Andrea Hurley and her Very Attractive Band open for the Hot Club at 9:45 p.m. at the Starry Plough, 3101 Shattuck, Berkeley. Admission is $6; call (510) 841-2082. The Kuntry Kunts open for the Hot Club at 10 p.m. Saturday at Cafe Du Nord, 2170 Market (at Sanchez), S.F. Admission is $7; call 861-5016. "Swing for Choice," meanwhile, features the local talents of Steve Lucky & the Rhumba Bums and Lavay Smith & Her Red Hot Skillet Lickers in a swinging dance and cocktail party benefiting the California Abortion Rights Action League. Doors open at 6:30 p.m. Monday, Feb. 1, at Bimbo's 365 Club, 1025 Columbus (at Chestnut), S.F. Admission is $25 ($50-100) with pre-show reception and entertainment); call 546-7211.