By Josh Edelson
By Chris Hall
By Jonathan Curiel
By Jonathan Curiel
By Sherilyn Connelly
By Mollie McWilliams
By Rachel Swan
By Erin Browner
7 Sins. Halfway through James Judd's entertaining 75-minute solo show, it dawns on you: Who the hell is this guy and why am I laughing so hard? While autobiographical one-person shows are nothing new, it's one thing to keep an audience's attention when you're someone famous like Carrie Fisher (whose run at the Berkeley Rep just ended), and quite another when you're a nobody. Judd, the nobody in question here, gets the audience to root for him as he recounts his life's not-so-serious struggles, from his ill-fated attempt in the fifth grade to be honored for giving the best book report (he unwisely chooses My Search for Patty Hearst) to his stint as a stand-up comedian working in sleazy Las Vegas hotels. Along the way, he always manages to say something during his misadventures that, in retrospect, he knows he probably shouldn't have. When, for instance, a man sitting next to him on the ski lift boasts that his woman is waiting for him at the hotel, Judd, who is gay, retorts that his boyfriend is at home doing his taxes. "I'm going to get a blow job and a refund," he gloats. 7 Sins began years ago as a group show; Judd later adapted it for himself and kept the title, which is somewhat misleading. The deadly sins play, at most, a marginal role in his personal stories. The second half of the show wanders some and could be tightened, but this is a minor gripe. In the end, you'll still leave with a smile on your face. Through June 21 at the Exit Theatre, 156 Eddy (at Taylor), S.F. Tickets are $20; call 931-1094 or visit www.theatrebayarea.org. (Will Harper) Reviewed April 16.
Figaro. People are so seduced by Mozart's The Marriage of Figaro that they tend to overlook the opera's anarchic roots. Historians today widely consider the 18th-century French dramatist Beaumarchais' stage play of the same title to have performed a major role in instigating the French Revolution. It is the revolutionary zeal at the heart of Beaumarchais and Mozart's works that audacious Minneapolis-based theater company Theatre de la Jeune Lune aims to restore and explore in its adaptation of the story. Director Dominique Serrand's version takes place nearly 20 years after the events depicted in Marriage, as the decrepit, philandering Count Almaviva (Serrand) thinks wistfully back to the good old days of sexual intrigue and power in the company of his long-suffering servant Figaro (Steven Epp). The music-infused production examines what it's like to live among the embers of a once-blazing revolutionary pyre through a mixture of Mozartian melody, Beaumarchaisian bombast, and Jeune Lunian lunacy. The physically adventurous and linguistically ingenious double-act of Serrand and Epp reveals thoughtful parallels between the staleness of post-revolutionary France and the widespread feeling of sluggish impotence that has become a hallmark of our own times. But being subjected to lengthy flashback sequences involving renditions of arias from Mozart's opera by an uneven cast dampens the fire. Through June 8 at Berkeley Repertory Theatre, 2025 Addison (at Shattuck), Berkeley. Tickets are $16.50-$69; call 510-647-2949 or visit www.berkeleyrep.org.(Chloe Veltman) Reviewed May 7.
Flaming Sin: London's Grand Guignol. The most enticing aspect of Thrillpeddlers' latest Grand Guignol theater spectacle is the way it messes with our emotions. The first of the evening's entertainments, a recently rediscovered one-act by Noel Coward, is anything but a lightweight domestic farce. Set in the home of a wealthy, unhappily married woman, the narrative deals with her attempts to force her superficially dashing and upright husband to get in touch with his dark side. The work feels utterly contemporary for its unconventional views on marital relationships, drawn out by Eddie Muller's tight direction and nuanced performances from Alice Louise and Jonathan Ingbretson. Next on the bill is a macabre drama by Christopher Holland, adapted from a seminal French Grand Guignol play. Unraveling in a lunatic asylum, the story concerns an innocent young inmate's ghastly fate at the hands of three delusional old crones. Through May 31 at the Hypnodrome, 575 10th St. (at Bryant), S.F. Tickets are $20-$34.50; call 377-4202 or visit www.thrillpeddlers.com. (C.V.) Reviewed April 23.
The Ladies of the Camellias. The name of Sarah Bernhardt might not mean much to most theatergoers — at least, not beyond a vague awareness that she was once considered the world's greatest actress. The name Eleonora Duse probably means even less; think of her as Bernhardt's Italian foil. Lillian Groag's 1997 comedy The Ladies of the Camellias considers what might have transpired during the first meeting of these two theatrical legends in 1897 Paris, when they each performed the title role in dueling productions of La Dame aux camélias. Groag spins her premise into a wildly speculative farce, culminating in the entrance of a bomb-wielding Russian anarchist (Vlad Sayenko) who represents, somewhat heavy-handedly, the dawn of the age of Chekhov and Stanislavski. Joyce Henderson directs and stars as Duse in this Off Broadway West production; she's the only member of the ensemble who gives a completely convincing performance. Unfortunately, most of the other actors ensure that the play's zaniness operates at a frustratingly low velocity, especially during the sodden first act. Through May 31 at the Phoenix Theatre, 414 Mason (at Geary), S.F. Tickets are $25-$30; call 510-835-4205 or visit www.offbroadwaywest.org. (Christopher Jensen) Reviewed May 14.
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