By Joseph Geha
By Jonathan Kiefer
By Katie Tandy
By Mollie McWilliams
By Jennifer Baires
By Jonathan Curiel
By Sherilyn Connelly
Art. It's not hard to see why Yasmina Reza's play caused such a fuss when it appeared in Paris, London, New York, and just about everywhere else from the late 1990s onward. The tightly wound, bittersweet comedy in which three middle-aged friends, Yvan, Serge, and Marc, almost come to blows over a painting, is at one level about people's perceptions of art, and at another, the nature of human relationships. The Damien Hirst-size hype that surrounded the play a few years ago makes staging it today feel a bit like arriving at a costume ball just as the last guests are leaving, but SF Playhouse puts on a memorable afterparty. In many ways, Art is tailor-made for this company: Bill English, SF Playhouse's artistic director (who plays the role of Serge in the production), also happens to have designed some of the most stylish sets. The look for Art, which English created, is a study in clean angles and severe, understated elegance, like the interior of a Gucci store. The play is a wonderful chamber piece, too, perfect for performance in SF Playhouse's intimate yet airy space, by a trio of compelling actors. Keith Burkland is adorably shabby as the henpecked Yvan; dressed in a conservative blue pinstriped suit, Louis Parnell (Marc) is suitably outspoken and cynical; and English comes off as suave and ever so slightly smarmy as Serge, the dermatologist who buys the painting that sets the whole thing off. Director Robin Stanton's painterly blocking adds the final touch to this sublimely composed canvas. Through Sept. 3 at SF Playhouse, 536 Sutter (between Powell and Mason), S.F. Tickets are $30; call 677-9596 or visit www.sfplayhouse.org. (Chloe Veltman) Reviewed July 6.
Crowns. In TheatreWorks' jubilant production of Regina Taylor's musical play, a Brooklyn teenager sent to live with her grandmother in South Carolina following the death of her brother learns that a hat isn't just something you wear on your head; it's an entire mode of self-expression. You can flirt in a hat, pray in a hat, but one thing you must never, ever do is touch or ask to borrow someone else's hat. Channeling the Lord and good fashion sense through high-energy gospel and blues numbers, Grandmother Shaw and her cronies -- five churchgoing queens with crowns -- sing about the profound and not-so-profound role hats play in their lives. Decorated with more colorful headgear than the Macy's and Nordstrom millinery departments combined, the brightly bedecked cast and stage resemble a tropical coral reef. Though lighthearted and bombastically performed, Crowns is not an entirely frivolous affair. The shadow of death and the struggle for civil rights provide a sobering backdrop to all the feisty hattitude. Through Sept. 18 at the Marines Memorial Theatre, 609 Sutter (at Mason), Second Floor, S.F. Tickets are $35-60; call 771-6900 or visit www.marinesmemorialtheatre.com. (Chloe Veltman) Reviewed Aug. 10.
Cyrano de Bergerac. Composed at a time when writers like Ibsen and Chekhov were penning naturalistic works simmering with constipated emotions, Edmond Rostand's 1897 play is steeped in good old-fashioned Romanticism. It ardently champions -- in alexandrine couplets no less -- the power of language to express the passions of the human soul. Set during the reign of Louis XIII at the time of the Thirty Years' War against the Spanish, the story focuses on the idealistic, chaste love of Cyrano for the gorgeous Roxane, whom he is obliged to woo on behalf of a handsome but woefully inarticulate younger man. Over the course of five swashbuckling acts, Cyrano single-handedly vanquishes 100 foes, risks life and limb to deliver billets-doux to his ladylove across enemy lines, and counters rude comments about his nose with rhetorical derring-do. Just like Cyrano throws himself at the business of living, taking risks with flair, so the Shotgun Players' lively yet minimalist production conjures marching armies and raging passions out of little more than bodies in space and thin air. Through Sept. 5 at John Hinkel Park, Southampton (between San Diego and Somerset), Berkeley. Tickets are free (post-show donations kindly accepted); call (510) 841-6500 or visit www.shotgunplayers.org. (Chloe Veltman) Reviewed Aug. 17.
Doing Good. The San Francisco Mime Troupe's Doing Good takes its inspiration from John Perkins' controversial memoir Confessions of an Economic Hit Man. The book describes Perkins' years helping the U.S. government and multinational corporations coerce foreign leaders into serving U.S. foreign policy. The troupe's riff on Perkins' real-life John le Carré-style thriller follows the lives of a young, white, middle-class American couple, James and Molly, and their complicity in the homeland's less-than-benign interests in nations as widespread as Ecuador, Iran, Indonesia, and Panama. To avoid military service in Vietnam in 1968, James marries Molly and the pair move to the remote village of Pobre, Ecuador, on Peace Corps business. Very soon, the couple's innocuous attempts at "doing good" through building schoolhouses and educating local women about childbirth are overtaken by the arrival of a major U.S. corporation, whose aim it is to bring Ecuador "out of the Dark Ages" by building infrastructure with loans calculated to cripple the local economy. Despite some snappy one-liners and the bombastic live musical accompaniment, there's unfortunately little of aesthetic merit in Doing Good to mitigate the terrifying obviousness of its bludgeoning message. Through Oct. 2 at various locations throughout Northern California. Tickets are free; call 285-1717 or visit www.sfmt.org. (Chloe Veltman) Reviewed July 13.
Find everything you're looking for in your city
Find the best happy hour deals in your city
Get today's exclusive deals at savings of anywhere from 50-90%
Check out the hottest list of places and things to do around your city