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Our critics weigh in on local theater

"365 Days/365 Plays." One morning in 2002, playwright Suzan-Lori Parks decided to write a play every day for the next year. Covering everything from the war in Iraq to the death of Johnny Cash to a lost sweater, Parks' cycle is a remarkable, audacious achievement. Even though the ideas didn't always flow (as titles like Going Through the Motions and This Is Shit suggest), the pieces (at least on paper) are constantly playful, occasionally dark, and frequently challenging. At their best, they are all three at once. Now, Parks' 365 days are coming 'round again thanks to theater companies all over the U.S., which are staging the works in an enormous, logistically terrifying festival. By Nov. 12, 2007, more than 700 groups will have performed each piece in the cycle. Given the Bay Area's affinity for the lunatic fringe, it's no surprise to see local artists treating Parks' plays like the madcap circus acts they are. Tactics so far have been radically different from company to company. During opening week last November, for example, the Z Space Studio mounted the first seven dramas at Potrero Hill Neighborhood House. Despite being underscored by clanking, didgeridoo-laced sound art and quasi-spiritual dance interludes, the performance exploited Parks' acerbic sense of humor to the fullest. Ten Red Hen took a more improvisatory approach in Week 4, performing the plays in a variety of private residences, with audience members drafted on the fly. It's easy to denounce such an apparently lawless undertaking as being gimmicky and under-rehearsed. But no matter how haphazardly the plays are staged, the combination of Parks' imprimatur and the careening imaginations of the groups involved inspires confidence and hope that transcends skepticism. Through Nov. 12 at locations throughout the Bay Area. All shows are free to the public; call 437-6775 or visit www.zspace.org. (Chloe Veltman) Reviewed Jan. 3.

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.

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.
Altar Boyz
Orpheum Theater, 1192 Market (at Eighth St.), 512-7770.
BATS: Sunday Players
Fort Mason, Bldg. B, Marina & Buchanan, 474-6776.
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.
Bricktop
Lorraine Hansberry Theatre, 620 Sutter (at Mason), 474-8800.
Chemical Imbalance
Exit Theatre, 156 Eddy (at Taylor), 673-3847.
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.
Family Jewels: the Making of Veronica Klaus
Theatre Rhinoceros, 2926 16th St. (at South Van Ness), 861-5079.
Fiction
Phoenix Theatre, 414 Mason (at Geary), Suite 601, 989-0023.
The Fountain of Youth is a 16 Ounce Jar of Vaseline
Bindlestiff Studio, 185 Sixth St. (at Howard), 974-1167.
GayProv Off-Market Studio, 965 Mission (at Fifth St.), 896-6477.
Guys and Dolls
Dean Lesher Regional Center for the Arts, 1601 Civic (at Locust), Walnut Creek, 925-943-7469.
Hardly Breathing
Exit Theatre, 156 Eddy (at Taylor), 673-3847.
Hot House
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
How We First Met
Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero).
H 3-D: The True Tale Of the Haddonfield Babysitter Murderer
Xenodrome, 1320 Potrero (at 25th St.), 285-9366.
Jesus Hopped the A Train
SF Playhouse, 536 Sutter (at Powell), 677-9596.
Lola Montez
Berkeley City Club, 2315 Durant (at Ellsworth), Berkeley, 510-558-1381.
Love, Chaos & Dinner
Pier 29, Embarcadero (at Battery), 273-1620.
Lysistrata
Buriel Clay Theater, 762 Fulton (at Webster), 922-2049.
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.
Emperor Norton, The Musical
Shelton Theater, 533 Sutter (at Powell), 433-1226.
Once Upon a Mattress
Diego Rivera Theater/CCSF, 50 Phelan (at Judson), 239-3100.
A Place to Stand
Intersection for the Arts, 446 Valencia (at 15th St.), 626-3311.
Plain and Fancy
Eureka Theatre, 215 Jackson (at Front), 788-7469.
Pleasure and Pain
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
Purgatorio
The Next Stage, 1620 Gough (at Bush), Trinity Episcopal Church, 333-6389.
The Rose Tattoo
Actors Theatre San Francisco, 533 Sutter (at Powell), 296-9179.
Rust Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
Shopping! The Musical
Shelton Theater, 533 Sutter (at Powell), 433-1226.
To the Lighthouse
Berkeley Repertory's Roda Theatre, 2015 Addison (at Shattuck), Berkeley, 510-647-2949.
Trying
Lucie Stern Theater, 1305 Middlefield (at Embarcadero), Palo Alto, 650-903-6000.
Under the Radar
CounterPULSE, 1310 Mission (at Ninth St.), 626-2060.
Woyzeck
Exit Theatre on Taylor, 277 Taylor (at Ellis), 673-3847.

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