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Our critics weigh in on local theater

Big Death & Little Death. When "Dad" walks onstage freshly returned from fighting in Desert Storm, his all-American pot-smoking son asks, "How was the war?" He answers quickly, "Sometimes you have to kill people to help them. At one point, I caught on fire." Without missing a beat "Mom" pipes in: "I had an affair with another man involving lots of heavy petting and oral sex!" This is the typical, rapid-fire dialogue that playwright Mickey Birnbaum writes, wasting no time getting hilariously to the point. Big Death was originally conceived as a short opening act for death-metal bands and revolves around two likable teenage siblings caught in a bizarrely dysfunctional family. They charismatically try to navigate illicit drugs (plenty of brilliant tweaker philosophy), inappropriate sex (blowjobs from the school guidance counselor), and inappropriate parenting (Dad likes to photograph his daughter in sexy crime-scene scenarios). Birnbaum is a successful Los Angeles screenwriter, which explains his penchant for using disjointed, short vignettes to accelerate the action. While some sections lag and are derivative of Beavis & Butt-head, there is an exciting, palpable energy reminiscent of Mamet's Suburbia, and the brooding, doomsday flavor of Donnie Darko. It's a sharp satire that in its final moments turns into an apocalyptic fairy tale. Through March 4 at the Traveling Jewish Theatre, 470 Florida (between 17th and Mariposa), S.F. Tickets are $20; call 439-2456 or visit www.crowdedfire.org. (N.E.) Reviewed Feb. 21.

The Dying Gaul. Before he penned The Dying Gaul in 1995, Craig Lucas was best known as a romantic playwright with a knack for sly social commentary. Lucas took an angry, dark turn with The Dying Gaul, which depicts the destructiveness of AIDS compounded by the soul-sucking nature of Hollywood. Sadly, Lucas' heartfelt story fails to earn its shocking end. It doesn't help that he's probing a well-worn topic — the mean things people in Hollywood do. As the protagonist, a young gay screenwriter, actor Michael Phillis, has a sweet, alluring aura that draws us into his tale, and the production has an easy, bubbly pace that works well against all the tricks Lucas has up his sleeve. But the production also suffers from an utter lack of sexual chemistry between the three leads. (Moaning in the dark before a scene that climaxes in an awkward office-chair-to-office-chair embrace only makes matters worse.) Without the visible lust for fame and money and power that brings these people together, the repulsion that eventually drives them to screw each other over becomes tepid at best. Without the fire underneath, the final moment of tragic destiny only earns a shrug and a passing thought of, well, you sold out to Hollywood — what did you expect? Through March 4 at the New Conservatory Theatre Center, 25 Van Ness Ave. (at Market St.), S.F. Tickets are $22-34; call 861-8972 or visit www.nctcsf.org. (M.R.) Reviewed Feb. 21.

Emperor Norton the Musical. San Francisco has long been a haven for eccentrics. But even the most colorful of today's local characters, such as Pink Man and the Brown Twins pale in comparison to 19th-century San Francisco luminary Joshua A. Norton — failed businessman, friend to stray dogs, and self-proclaimed Emperor of the United States. Which is why lyricist Kim Ohanneson, composer Marty Axelrod, and director David Stein's collective impulse to create a musical out of Norton's made-for-the-stage narrative (and transfer it from the Dark Room Theater where the work received its premiere to the more tourist-friendly Shelton Theater) is supremely sane. If only the execution of the production were less so. Ohanneson's book rambunctiously captures the frontier, anything-goes spirit of post-Gold Rush San Francisco and Axelrod's evocative score combines a honky-tonk, piano-bar feel and snippets of traditional tunes such as "Turkey in the Straw" with arias alternately indebted to Gilbert & Sullivan and Lloyd-Webber & Rice. Yet despite Ohanneson and Axelrod's fine sense of the surreal and some bracingly bonkers performances (especially from the shaggy-looking Peter Doty and Steffanos X as Norton's dogs), Emperor Norton remains a curiously staid affair. The production seems intent on downplaying the madness. The performers mostly move about the stage and sing their lines as if carrying out instructions rather than being fully present in their roles. Stein's staging ultimately makes Norton more of an Everyman than an Emperor. Through April 1 at the Shelton Theater, 533 Sutter (between Mason and Powell), S.F. Tickets are $30; call 433-1226 or visit www.emperornortonthemusical.com. (C.V.) Reviewed Feb. 7.

Joe Turner's Come and Gone. There will come a time, oh yes, there will come a time, deep in the heart of the first act, when you will wonder where playwright August Wilson and director Stanley E. Williams are leading you. You will wonder why Mr. Williams staged so much talking as sitting and if Mr. Wilson ever met a mythical metaphor that did not suit his taste. You will wonder who is this Herald Loomis and why does he stalk around so. The spirit will rise up in you to stretch your legs and visit the theater lobby. But if you allow the words to wash over you, and if you hold those words somewhere within you until the second act, then all that seemed small and obscure will come together before your eyes. Your spirit will marvel to see actor Bernard K. Addison take what has been closed and dark in Herald and wrench it open with his own two hands. You will bear witness to the story of a man who learns to stand on his own two legs and be. Through March 4 at Lorraine Hansberry Theatre, 620 Sutter St. (at Mason), S.F. Tickets are $16-32; call 474-8800 or visit www.LHTSF.org. (M.R.) Reviewed Feb.14.

The Magnificence of the Disaster.The material doesn't get any more raw or emotionally wrought than the content of Rebecca Fisher's new solo show. In 1995, Fisher lost her mother in a brutal and highly publicized murder that rocked Memphis. Four years later she lost her brother in another devastating and tragic episode. The title is drawn from the premise that Southerners have "an inherently different approach to tragedy because [they] lost the Civil War. There's a magnificence in how bad it got." This is dark and heavy material, but Fisher employs plenty of Southern-styled comedy and physical humor to relate the tender details of her late mother (social drinking at "Margarita Mondays" and jazzercise workouts at the Baptist Healthplex). The show veers sharply back and forth between despair and an almost forced joviality — much like the reality of mourning — that can be an emotionally confusing narrative arc for an audience to connect with. This, most likely, is due to the shocking fact that the murder trial has been ongoing and just concluded three weeks ago. Magnificence offers up an unresolved, yet unnerving and unflinching look into one family's tragedy. Fisher has absolutely no distance from these heartbreaking events and she points out that the plot doesn't wrap up neatly like a Law & Orderepisode. Though this monologue feels understandably unfinished, both in structure and tone, it is a moving and unique experience to witness a performer act out scenarios onstage that she is still working through in present-day life. Extended run through March 25 at the Marsh Theater, 1602 Valencia (between 21st & 22nd), S.F. Tickets are $15-22; call 800-838-3006 or visit www.themarsh.org. (N.E.) Reviewed Feb. 14.

Tings Dey Happen. Based on his experiences as a Fulbright Scholar studying oil politics in Nigeria (American's fifth-biggest oil supplier), solo performer Dan Hoyle drills deep beneath the surface of media hype and NGO cant to help us understand the forces at work behind the oil-rich country's escalating cycle of corruption and violence. On his journey backward and forward between Nigeria's oil capital, Port Harcourt, and the lawless hinterlands of the Niger Delta, Hoyle — with acute attention to physical detail (and an ear for pidgin) — embodies a soft-spoken, 23-year-old rebel sniper whose chief desire is to obtain a university degree; a warlord armed with four cellphones and a family photo album, like Marlon Brando in The Godfather; and a nerdy Japanese member of the Young Diplomats Club in Lagos working on a thesis about the Tanzanian cashew nut, among many others. Like Anna Deavere Smith, one of the most famous practitioners of this style of show, Hoyle takes a journalistic approach. But unlike Smith, whose slavish impersonation of the speech nuances of her interviewees seems more stenography than artistry, Hoyle filters his Nigerian experience through his vivid imagination, creating full-blooded characters that are as theatrical as they are real. Through March 31 at the Marsh, 1062 Valencia (between 21st and 22nd sts.), S.F. Tickets are $15-22; call 826-5750 or visit www.themarsh.org. (C.V.) Reviewed Jan. 10.

365 Plays/365 Days
New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Actors Reading Writers Berkeley City Club, 2315 Durant (at Ellsworth), Berkeley, 510-843-4822.
All the Great Books (Abridged)
Dean Lesher Regional Center for the Arts, 1601 Civic (at Locust), Walnut Creek, 925-943-7469.
American $uicide
The Thick House, 1695 18th St. (at Arkansas), 401-8081.
BATS: Sunday Players
Fort Mason, Bldg. B, Marina & Buchanan, 474-6776.
Bay One-Acts Festival
Eureka Theatre, 215 Jackson (at Front), 788-7469.
Beach Blanket Babylon
Club Fugazi, 678 Green (at Powell), 421-4222.
Beyond Therapy
Shelton Theater, 533 Sutter (at Powell), 433-1226.
Big City Improv
Shelton Theater, 533 Sutter (at Powell), 433-1226.
The Birthday Party
Aurora Theatre, 2081 Addison (at Shattuck), Berkeley, 510-843-4822.
'Bot
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
The Cider House Rules
Zeum Theater, 221 Fourth St. (at Howard), 820-3320.
Dead Certain
Off-Market Theater, 965 Mission (at Fifth St.), 896-6477.
Family Jewels
Theatre Rhinoceros, 2926 16th St. (at South Van Ness), 861-5079.
Fiction
Phoenix Theatre, 414 Mason (at Geary), Suite 601, 989-0023.
GayProv
Off-Market Studio, 965 Mission (at Fifth St.), 896-6477.
In Bed With Fairy Butch for Women, Transfolks, & Their Pals
12 Galaxies, 2565 Mission (at 22nd St.), 970-9777.
Jersey Boys
Curran Theatre, 445 Geary (between Taylor and Mason), 551-2000.
Jesus Hopped the A Train
SF Playhouse, 536 Sutter (at Powell), 677-9596.
Killing My Lobster Kabaret
Make-Out Room, 3225 22nd St. (at Mission), 647-2888.
Lola Montez
Berkeley City Club, 2315 Durant (at Ellsworth), Berkeley, 510-558-1381.
Love, Chaos & Dinner
Pier 29, Embarcadero (at Battery), 273-1620.
Menopause the Musical
Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero), 433-3939.
Monday Night Improv Jam
Off-Market Theater, 965 Mission (at Fifth St.), 368-9909.
Monday Night Make Em Ups
San Francisco Comedy College, 414 Mason, #705 (at Geary), 921-2051.
Monday Night Marsh
The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Murder Mystery Dinner
The Archbishop's Mansion, 1000 Fulton (at Steiner), 563-7872.
Naught But Pirates
Exit Theatre, 156 Eddy (at Taylor), 673-3847.
One-Man Star Wars Trilogy
Post Street Theatre, 450 Post (at Mason), 321-2900.
A Place to Stand
Intersection for the Arts, 446 Valencia (at 15th St.), 626-3311.
Pleasure and Pain
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
The Rose Tattoo
Actors Theatre San Francisco, 533 Sutter (at Powell), 296-9179.
Rust
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
To the Lighthouse
Berkeley Repertory's Roda Theatre, 2015 Addison (at Shattuck), Berkeley, 510-647-2949.
Uncle Gunjiro's Girlfriend
Jewish Community Center of San Francisco, 3200 California (at Presidio), 292-1200.

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