By Josh Edelson
By Chris Hall
By Jonathan Curiel
By Jonathan Curiel
By Sherilyn Connelly
By Mollie McWilliams
By Rachel Swan
By Erin Browner
Killer Joe. Marin Theatre Company's sold-out production of playwright Tracy Letts' Killer Joe has moved to the Magic Theatre, and reactions couldn't be stronger. It's essentially a hillbilly noir set in a Texas trailer park, in which members of the white-trash Smith family (giving new meaning to skid-marked tighty-whities and greasy wife-beater tank tops) hire a contract killer with "eyes that hurt" (a sinister Cully Fredricksen) to kill the dim-witted dad Ansel's ex-wife in order to cash in on a $50,000 insurance policy. But Lee Sankowich's directorial pacing is erratic, and the performers use vastly different styles. The hilarious Howard Swain (as Ansel) appears to have fallen out of a Cheech & Chong movie, while Stacy Ross (as Ansel's new wife, Sharla) is superb in her adulterous realism. The first act ends in a beguiling, slow seduction between the killer and the virginal underage daughter (Anna Bullard); after intermission the show cranks the violence up so high that it rivals the most gleefully disturbing moments of a Tarantino flick. But the excruciating and titillating difference is that this is live theater, not the relative safety of celluloid. Killer Joe's visceral punch to the privates may explain the two outraged audience walkouts on the night I attended as well as the mini-standing ovation, marking what I'd call a successful night at the theater. Through July 23 at the Magic Theatre, Fort Mason Center, Marina & Buchanan, S.F. Tickets are $30-45; call 441-8822 or visit www.killerjoesf.com. (Nathaniel Eaton) Reviewed June 21.
Like a Dog on Linoleum. Solo performances often teeter on the uncomfortable edge between tiresome personal confessional and manic multiple personality disorder, but Leslie Jordan transcends the genre by bringing a performance to the Lorraine Hansberry Theatre that is hysterical, poignant, and, dare I say, endlessly entertaining. If David Sedaris and Tennessee Williams sat down to write a play, it would be Jordan's life as he fashions it. Linoleum presents the veteran character actor and Will & Gracestar seamlessly weaving tales from his childhood in Tennessee, where he twirled his baton on the front lawn ("I was the gayest man I knew"); his lifelong love affairs with bad boys and narcotics ("I'm so grateful to drugs and alcohol I wouldn't have made it through adolescence without them"); and on into his long career in Hollywood ("I arrived with 200 bucks sewn in my underpants"). The storytelling is effortless, especially as Jordan slips in and out of the characters of various Southern eccentrics. "We don't put crazy people away in the South," he says. "We put them on the porch so everyone can enjoy them." Even as Jordan gets more introspective toward the end, touching on addiction and friends lost to AIDS, he never loses the joyous playfulness of telling a wonderful yarn. Through July 30 at the Lorraine Hansberry Theatre, 620 Sutter (at Mason), S.F. Tickets are $35-50; call 474-8800 or visit www.lorrainehansberrytheatre.com. (Nathaniel Eaton) Reviewed June 14.
Menopause the Musical. Set in Bloomingdale's department store, this play unites four contrasting female characters an Iowa housewife, an executive, a soap star, and a hippie through the combined forces of cut-price lingerie and hormone replacement therapy. Singing doctored versions of 1960s and '70s pop favorites like "Stayin' Alive" ("Stayin' Awake") and "Puff, the Magic Dragon" ("Puff, My God I'm Draggin'"), the ladies potter from floor to floor, sharing their worst menopausal hang-ups as they try on clothes, rifle through sales racks, and run in and out of the store's many strategically placed powder rooms. Although Menopause is entertaining and energetically performed, it's unabashedly tacky. An ode to the delights of masturbation, sung down a pink microphone to an adaptation of the Beach Boys' "Good Vibrations," for instance, makes one think that all that's missing from this (very) belated bachelorette party is a male stripper. And as much as the show makes its largely 40-plus female audience feel more comfortable about getting older, it doesn't go far enough. Menopause is euphemistically referred to as "the change," which just seems to reinforce taboos. And its obsession with shopping, sex, and cellulite makes Menopause feel a lot like a geriatric issue of Cosmo. Rather than empowering women, the musical ends up underscoring clichés. In an open-ended run at Theatre 39, Pier 39, Beach & Embarcadero, S.F. Tickets are $46.50; call 433-3939 or visit www.menopausethemusical.com. (Chloe Veltman) Reviewed Jan. 11.
San Francisco Improv Festival. Most people shudder when they hear the words "improv comedy" it's about as popular as a steak in Berkeley. Shaun Landry, the producer of the 2006 San Francisco Improv Festival, obviously doesn't care; she's determined to pull this series of shows off anyway. Last weekend ImprovBoston brought us ÁAy Diego!, featuring Will Lurea and Zabeth Russell. The performers started off as Latin characters Juanita and Diego, then morphed into everything from a psychiatrist who prescribes a "pirate disguise" as a cure for shyness to a professional sock man who tells his customer, "Ma'am, I like you ... and I like your feet." In a few spots their rhythm was slightly off, but Lurea and Russell have an easy chemistry and a seemingly endless supply of funny material. Next on the bill was True Fiction Magazine, a group of five actors who construct noir comedy shows around titles called out by audience members. The rapport between these performers and the subtle keyboardist who accompanied them was impressive as they crafted a story out of the title "My Ass." This year the festival features improvisational talent from all over America: Keep your eyes peeled for Dad's Garage out of Atlanta; N.Y.C.'s I Eat Pandas, an acclaimed trio that improvises entire musicals; and L.A.'s The Group, under the guidance of veteran director David Razowsky. These acts give us the experience of watching the creation of something that's never happened before and will never happen again. Through July 29 at the Buriel Clay Theater, 762 Fulton (between Webster and Buchanan), S.F. Tickets are $10-20; call 863-1076 or visit www.sfimprovfestival.com. (Frank Wortham) Reviewed June 21.
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