Our critics weigh in on local theatre

"100 Years of Political Theatre, Series A." Eastenders' fifth annual One-Act Festival has a political theme this year. The troupe offers a century's worth of dissident playwriting, from early Soviet Russia through South Africa to the present-day United States. But the first thing to point out about The Bedbug -- a satire by Vladimir Mayakovsky that kicks things off in "Series A" (there are three "series," or nights, to choose from) -- is that it's not a one-act: It has an intermission. As a satire of communist Russia it's also not very funny. A true-believing Soviet bureaucrat in 1929 falls into a deep freeze and wakes up 50 years later, in a 1979 imagined by Mayakovsky to be sterile and almost robotic, where functionaries vote after being plugged in. Compared to these hollow men, the bureaucrat, Prisypkin, resembles Dean Martin after a bender. He wears a rumpled tuxedo -- loose bow tie, untucked shirt, infested with a still-living bedbug -- and likes to drink and smoke. The 1979 Russians put him in a zoo as a specimen of "bourgeois man." The concept is funny, but director Susan Evans should have cut the script radically for a one-act festival. Her cast overplays, diluting all the humor in a mess of forced vehemence and exaggerated gestures, and a lot of the satire is dated. The play exhausts the audience for The Informer, a one-act by Bertolt Brecht from his longer Fear and Misery in the Third Reich. Two German parents, with a portrait of Hitler on the wall, worry that their son has reported them to the Hitler Youth for expressing "reckless" opinions. The acting here is better; Jeff Thompson and Suzan A. Kendall don't have to force their lines, and director Charles E. Polly captures the Germans' ennui. But after Mayakovsky we're not in the mood. "Series A" runs through Sept. 24 at the Eureka Theatre, 215 Jackson (at Front), S.F. Tickets are $10-20; call (510) 568-4118 or visit www.eastenders.org. (Michael Scott Moore) Reviewed Sept. 8.

The Black Rider: The Casting of the Magic Bullets. Director Robert Wilson's "pop opera" deals with a German clerk who makes a pact with a diabolical Black Rider for seven magic bullets. The first six go anywhere the shooter aims; the seventh belongs to the devil. On his wedding day our hero gleefully aims at a bird in a tree, to prove himself as a marksman, but the devil redirects bullet No. 7 into the heart of the bride. On this bare frame Wilson hangs a German expressionist dream that comes alive in the score by Tom Waits more than in the dialogue by William S. Burroughs (who contributed his own dark legend of a wayward bullet). Marianne Faithfull, as the Black Rider, has a mannish, lyrical, whiskey-coarse voice that serves beautifully on songs like "Just the Right Bullets" and "The Last Rose of Summer." Hearing her sing those might be worth the price of admission alone, but other cast members, especially Matt McGrath, do well with the important ballads. Wilson's best shows are spacious dreams, and The Black Rider creates a dark German forest where your imagination can stand up, walk around, and find itself pleasantly lost. Through Oct. 10 at the Geary Theater, 415 Geary (at Mason), S.F. Tickets are $25-80; call 749-2228 or visit www.act-sf.org. (Michael Scott Moore) Reviewed Sept. 8.

Circumnavigator. Dan Hoyle circled the globe on a grant two years ago from the Chicago-based Circumnavigators Club, using its money to develop a piece of "journalistic theater" about globalism. If you've never heard of journalistic theater, don't worry: Hoyle may be its only living practitioner. In Circumnavigatorhe hops from Vietnam to India to Kenya to South Africa to Argentina, talking earnestly to everyone about labor issues. "In India, story is -- big country, small economy," says an editor of India Today. "Sex industry, mon. Mad cash," says a teenager in Kenya. "I'm from Durban, and I fucking rip waves," says a dangerously drunk pro surfer in South Africa, who's proud of his sponsorship by an American company. Many of these miniportraits are entertaining and vivid; Hoyle is a talented mimic. But as a writer he still has a weak sense of climaxes and shapely scenes. His story wanders; his set-pieces peter out. Apparently aware that he goes on too much about globalism, he says he's arrived in Kenya "to quit thinking about American companies and foreign investment." For most of us that wouldn't be hard. But the problem is not that Hoyle thinks too much about what is, after all, the topic of his show; the problem is that he never makes a discernible point. He circles his topic the way he circles the planet -- without quite arriving anywhere. Through Sept. 25 at the Marsh, 1062 Valencia (between 21st and 22nd streets), S.F. Tickets are $10-14; call 826-5750 or visit www.themarsh.org. (Michael Scott Moore) Reviewed Aug. 11.

The Lion King. How do you turn a decent cartoon about African wildlife into a lame Broadway musical? 1) Puzzle carefully about the problem of costumes and sets. Pour millions of dollars and hours of mental energy into making your actors look like lions, hyenas, elephants, wildebeests, giraffes, and birds. Solve the problem brilliantly. Hire Julie Taymor to design the magnificent costumes and masks (and to direct the show). Hire Garth Fagan to choreograph elegant, exciting, Afro-Caribbean dance routines. Make sure Donald Holder lights the stage with an eloquent feeling for African distances and sunshine. In general make the show a visual feast. Then, 2) squint in confusion at the script, and 3) carve it up to make room for appalling songs by Tim Rice and Elton John. You'll have a profitable bunch of nonsense with more than one God-soaked number that sounds indistinguishable from bad Whitney Houston. The only cast member who can transcend this mess and give a stirring performance is Thandazile Soni, as Rafiki the monkey shaman, who gets to sing songs like "Nants' Ingonyama," by Lebo M, and other African chants originated by Tsidii Le Loka on Broadway. Bob Bouchard is also funny as Pumbaa the warthog, and Derek Smith plays a perfectly arrogant, sinister Scar, the pretender lion king. Otherwise the show is forced and childish. Adults looking for good theater will be happier when the performers dance instead of trying to act. Through Nov. 21 at the Orpheum Theatre, 1182 Market (at Eighth Street), S.F. Tickets are $26-160; call 512-7770 or visit www.bestofbroadway-sf.com. (Michael Scott Moore) Reviewed Feb. 11.

Not a Genuine Black Man. It's not easy being green, but try being a black kid in San Leandro in the early '70s. When Brian Copeland got there -- just a few months after the Summer of Love, he points out -- it was one of the most viciously racist suburbs in America. Now it's officially the most diverse. "Take that, San Francisco," Copeland chides. He's earned that attitude, not just for going through his hell of growing up, but also for extracting from it such affirmative, hilarious stuff. Copeland's rightfully popular one-man show is wrought from pain and rage, but never really succumbs to bitterness. "Is that black?" he asks, and proves that it is. Some of his best stereotype-busting material doesn't feel especially new, but it does feel good. Besides, it's the stereotypes that have passed their expiration dates: Copeland's title comes from an accusation recently flung at him by a cranky listener who called in to his KGO radio program. This show is his response. With help from declarative lighting and David Ford's direction, Copeland creates an affecting hybrid of the dramatic monologue and the rollicking stand-up act. Through Oct. 30 at the Marsh, 1062 Valencia (at 22nd Street), S.F. Tickets are $15-22; call 826-5750 or visit www.themarsh.org. (Jonathan Kiefer) Reviewed June 2.

Also Playing

AfroSolo Arts Festival: The 11th edition of the annual arts festival features African-American artists and their visual arts exhibitions, dance, music, theater, spoken word, and performance art. Through Oct. 15, free-$50, www.afrosolo.org. Multiple locations, multiple addresses within San Francisco.

All's Well That Ends Well: Lisa Peterson directs the Cal Shakes performance of Shakespeare's comic drama. Starting Sept. 18, Sundays, 4 p.m.; Saturdays, 2 p.m.; Fri., Sat., 8 p.m.; Tue.-Thur., 7:30 p.m. Continues through Oct. 10, $10-52. Bruns Memorial Amphitheater, Siesta Valley, Shakespeare Festival Way/Gateway Blvd., Hwy. 24, Orinda, 510-548-9666.

Are We Almost There?: Morris Bobrow's rollicking, long-running musical comedy about the trials and tribulations of travel. Fri., Sat., 8 p.m., $20-22. Shelton Theater, 533 Sutter (at Powell), 433-3040.

Cat on a Hot Tin Roof: Actors Theatre of San Francisco's production of the Tennessee Williams classic. Starting Sept. 17, Sundays, 7 p.m.; Thur.-Sat., 8 p.m. Continues through Oct. 23, $10-40. Actors Theatre San Francisco, 533 Sutter (at Powell), 296-9179.

Charge of the Night Brigade: With anti-war songs, live robotics, and 3-D animation, OmniCircus riffs on the Abu Ghraib-inspired prison scandal in this scary performance. Saturdays, 9:30 p.m. Continues through Sept. 18, $10 suggested donation, www.omnicircus.com, 701-0686. OmniCircus, 550 Natoma (near Sixth St.), 621-4068.

Clue: The Play: A second staging of the silly whodunit based on the classic Parker Bros. board game, following sold-out summertime shows. Fri., Sat., 8 p.m. Continues through Sept. 25, $12.50-16. Dark Room Theater, 2263 Mission (at 18th St.), 401-7987.

Couch: Celik Kayalar wrote and directs this comedy about the strange problems faced by patients and long-suffering mental health professionals. Thur.-Sat., 8 p.m. Continues through Sept. 25, $10-20. Shelton Theater, 533 Sutter (at Powell), 433-3040.

A Couple of Blaguards: Based on Frank and Malachy McCourt's book of the same name, the play is a comedy about an Irish family. Starting Sept. 21, Sundays, 2 p.m. & 7 p.m.; Saturdays, 2 p.m. & 8 p.m.; Tue.-Fri., 8 p.m. Continues through Oct. 17, $30-50. Post Street Theatre, 450 Post (at Mason), 321-2900.

Dame Edna: Back With a Vengeance: Ablaze with sequins, rhinestones, and 1950s-era cat-eyed specs, the drag queen deluxe provides counseling, psychic readings, brassy song, and a brand new wardrobe to die for. See www.bestofbroadway-sf.com for a schedule of performances. Tue.-Sun. Continues through Oct. 8, $40-72, 512-7770. Geary Theater, 415 Geary (at Mason), 749-2228.

Fluffy Bunnies in a Field of Daisies: Matt Chaffee's sex comedy looks at a group of old friends who dissect their erotic lives together. Thur.-Sat., 8 p.m. Continues through Oct. 2, $10-15. La Val's Subterranean Theater, 1834 Euclid (at Hearst), Berkeley, 510-234-6046.

Free Shakespeare in the Park Festival: This year the players take on Shakespeare's daffy crossdressing comedy Twelfth Night with live music and René Magritte's ethereal images as backdrop visuals. Sat., Sun., 7:30 p.m. Continues through Sept. 26, free, 422-2222, www.sfshakes.org. Presidio Parade Grounds, Lincoln & Montgomery.

A Little Princess: TheatreWorks launches a musical production of the classic play adapted from Frances Hodgson Burnett's treasured children's novel. Wed.-Sat., 8 p.m.; Sundays, 2 p.m.; Every other Saturday, 2 p.m. Continues through Sept. 18, $20-50. Mountain View Center for the Performing Arts, 500 Castro (at Mercy), Mountain View, 650-903-6000.

Persians: A revamp of Greek playwright Aeschylus' tales of the ancient Persian Wars. Wed.-Sat., 8 p.m.; Sundays, 2 p.m. & 7 p.m. Continues through Oct. 10, $28-45. Aurora Theatre, 2081 Addison (at Shattuck), Berkeley, 510-843-4822, www.auroratheatre.org.

The Secret in the Wings: Mary Zimmerman's latest work is billed as a kind of surreal fairy tale for adults, inspired partly by "Beauty and the Beast." Tue.-Sun. Continues through Oct. 17, $39-55. Berkeley Repertory's Roda Theatre, 2015 Addison (at Shattuck), Berkeley, 510-647-2949.

Showdown at Crawford Ranch: This year's sly Bush-bashing San Francisco Mime Troupe production is set on the tumbleweed-strewn prairies of Texas, where, to protect their tribal lands, Comanche Indians must fight robber baron Cyrus T. Bogspavin and his ally, Mayor Canem. Through Sept. 26, free, for more information call 285-1717, www.sfmt.org. Multiple locations, multiple addresses within San Francisco.

The Taming of the Shrew: Marin Shakespeare Company mounts a Wild West-themed production of Shakespeare's comic romance. Fri.-Sun., 8 p.m.; Sundays, 4 p.m. Continues through Sept. 25, free-$26. Forest Meadows Amphitheatre, Dominican University, 50 Acacia (at Grand), San Rafael, 499-1108.

Victim of a Mind Trap: Eric Barry's new play delves into the lives of three San Francisco teenagers who use a dangerous and compelling "dream machine" to play out their fantasies. Thur.-Sat., 8 p.m. Continues through Sept. 25, $13-15. Xenodrome, 1320 Potrero (at 25th St.), 285-9366, www.xenodrome.com.

The Violet Hour: A Jazz-Age comedy about a publisher whose future depends on his next book who receives mysterious messages from the future. Starting Sept. 17, Saturdays, 3 p.m. & 8 p.m.; Wed.-Fri., 8 p.m. Continues through Oct. 23, $30-50. SF Playhouse, 536 Sutter (at Powell), 677-9596, www.sfplayhouse.org.

The White House Murder Case: Jules Feiffer's political satire concerns a President who finds himself embroiled in a futuristic war in Brazil on the eve of the elections. Wed.-Sat., 8 p.m.; Sundays, 2:30 p.m. Continues through Sept. 26, $18-29. Lucie Stern Theater, 1305 Middlefield (at Embarcadero), Palo Alto, 650-903-6000.

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