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 Beggars. I have no idea why Tim Barsky is not a huge household name; he is a megatalent. The Oakland-based Barsky is an unbelievable beatboxer, heartfelt storyteller, poet, flutist, and even a hip-hop harpist. This show is an urban reworking of a 19th-century epic folktale by Reb Nachman. The story has many levels, involving magical visits from a series of beggars who each impart wisdom about love and justice, war and revolution. At times the plot can be confusing to follow, but it serves as a loose structure for Barsky to combine his personal narrative and beliefs in quite an emotionally affecting show. He shares the stage with the very talented Brandi Brandes, who plays all sorts of live percussion while Barsky electronically loops a sound tapestry of rain, wind, traffic sounds, and beats created live with his voice to underscore the story. He switches easily from some clowning worthy of Cirque du Soleil to syncopated poetry about Oakland's violence. The small and unassuming Climate Theater, under the new and thoughtful direction of Jessica Heidt, makes true to its motto: Small Theater, Big Art. Through Oct. 18 at the Climate Theater, 285 Ninth St. (at Folsom), S.F. $20; www.climatetheater.com. (Nathaniel Eaton) Reviewed Oct. 8.
A Bronx Tale. Chazz Palminteri's warm-hearted autobiographical 1989 solo play is, theoretically, about an Italian-American boy's relationship with two father figures – a hard-working, morally upstanding bus driver by the name of Lorenzo, and Sonny, the neighborhood wiseguy. In reality, it's about young Cologio's relationship with Sonny. It doesn't matter that Lorenzo, the 9-year-old protagonist's actual dad, is a genuinely lovable fellow who stands up to bullies and attempts to imbue a firm sense of right and wrong in his young offspring. As likable as he is, Lorenzo fades to gray next to the colorful, complex, and ultimately more engrossing figure of Sonny. Revived by the now-56-year-old actor on a post-Broadway tour, the play exudes warmth and narrative drive. But Sonny's domination threatens to undermine the solo show format. A few tweaks to Palminteri's text and director Jerry Zaks' staging would create a better balance among Sonny, Lorenzo, and the other characters. For one thing, the descriptions of Sonny's coterie of sidekicks such as Frankie Coffee Cake (so called owing to his acne-scarred face), Eddie Mush (who turns everything to "mush" because of his bad luck), and Jojo the Whale (no explanation necessary) feel belabored. For another, there's something boringly formulaic about the way in which many solo performers — Palminteri included — spin around and clap to indicate when they're switching roles. Through Oct 19 at the Golden Gate Theatre, 1 Taylor (at Market), S.F. Tickets are $40-$85; 512-7770 or www.shnshf.com.(Chloe Veltman) Reviewed Oct. 8.
I'm Yours! Or: Deranged by Love. In Precarious Theatre's original production, it's all fun and games until people start singing. Freely adapted from an episode in Don Quixote, the show concerns two pairs of young lovers who stumble through a long series of misunderstandings and mistaken identities en route to true love. (The plot wouldn't be out of place in Shakespeare, and in fact served as the basis for a lost play he possibly co-wrote.) There's much to admire here, from Christian Cagigal's ingenious puppet work to the precise, energetic performances by the cast. The problem is that writer and director Matthew Graham Smith decided a mere romantic comedy wasn't enough — what we really needed, apparently, was a musical. That's a shame, because from the unnecessary opening number to the uninspired love songs, the original music by H.P. Mendoza (Colma: The Musical) is far too earnest and conventional for an otherwise irreverent and inventive play. Almost every time somebody starts singing, the show's tone and pace get thrown out of whack; it would have been better for everyone involved to drop the musical and just focus on the comedy. Through October 25 at EXIT Theatre, 156 Eddy (at Taylor), S.F. Tickets are $10-$30; call 800-838-3006 or visit www.precarioustheatre.com. (Chris Jensen) Reviewed Oct. 15.
Eight Sketches, One Portrait of Arley Levine: A staged reading of a play by Ruth Kirschner, produced by Artists Development Lab. Wed., Oct. 15, 1 p.m. free. Z Space Studio, 131 10th St. (at Mission), 626-0453.
Flux: San Francisco–based Dohee Lee explores metaphysical questions about life through Korean-influenced dance and music. Oct. 16-18. Yerba Buena Center for the Arts, 701 Mission (at Third St.), 978-2787.
Good Breeding: In Robert O'Hara's erotic and feminist new adaptation of the Greek Oresteia, the House of Atreus becomes a New York club resembling Studio 54. Through Oct. 25. Zeum Theater, 221 Fourth St. (at Howard), 820-3320.
The History Boys: A drama by Alan Bennett about eight English schoolboys vying for admittance to prestigious universities. Through Oct. 26. New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Last Christmas: A staged reading of a play by Jon Brooks. Tue., Oct. 21, 7:30 p.m. Stage Werx, 533 Sutter (at Powell).
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