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Our critics weigh in on local theater

South Pacific. There are so many wonderful songs in South Pacific that it's almost impossible to experience a revival of Richard Rodgers and Oscar Hammerstein's 1949 musical set on an exotic island during World War II without humming along and tapping your feet. The national tour of the 2008 Lincoln Center Theater production directed by Bartlett Sher in some ways provides the perfect setting for maximum enjoyment of hits like "Bali Ha'i," "Some Enchanted Evening," "Happy Talk," "Younger than Springtime," and "I'm in Love with a Wonderful Guy." Set designer Michael Yeargen's simple, almost dowdy-looking island backdrops, Catherine Zuber's period costumes, and Donald Holder's warm, sunset-tinted lighting design are all calibrated to create a balmy, old-fashioned atmosphere without upstaging the music and performers. There are no complicated or flashy scenic effects. Unfortunately, the audience's enjoyment of the singing is hampered by two major details: fussy, extraneous movement by background characters during the production numbers and a lack of any really strong voices onstage. Through Oct. 25 at Golden Gate Theatre, 1 Taylor (at Market), S.F. $30-$99; 512-7770 or www.shnsf.com. (Chloe Veltman) Reviewed Sept. 30.

Under the Gypsy Moon. Storylines don't really matter in a Teatro ZinZanni production; they just provide a loose framework for the circuslike acts everyone comes to see while they enjoy a fancy five-course meal. In the group's latest three-hour show, the Spiegeltent is invaded by thieving gypsies (so much for political correctness), who, in addition to being skilled swindlers, are also (surprise) skilled blues singers, jugglers, and acrobats. As one would expect, the trapeze work is impressive, especially the comic rope-play by Sabine Maier and Joachim Mohr, who manage to fall over themselves without falling down. The evening's most satisfying moments, however, happen on the ground. A juggling number set to Prince's "Kiss" is simple but delightful, and Mat Plendl dazzled the audience with his mastery of the hula hoop. Unfortunately, too many of the cabaret's comedy bits are lame. Punny punchlines delivered by a Henny Youngman-like character played by Geoff Hoyle (the original Zazu in the Broadway production of The Lion King) are especially groan-inducing. Those cheesy moments leave a bad taste in your mouth, as does some of the food, which is passable but not stellar. While Under the Gypsy Moon does deliver some magical moments, unless you've got a lot of disposable cash, it's an evening perhaps best left to the tourists to enjoy. Through Jan. 17 at the Spiegeltent, Pier 29 (at Battery), S.F. $117-$195; 438-2668 or www.zinzanni.org. (Will Harper) Reviewed Sept. 30.

#5 Angry Red Drum: Philip Kan Gotanda's play about a post-apocalyptic universe. Thursdays-Sundays. Continues through Oct. 17. The Thick House, 1695 18th St. (at Arkansas), 401-8081, www.thickhouse.org.

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Beach Blanket Babylon: A North Beach perennial featuring crazy hats, media personality caricatures, a splash of romance, and little substance. Now with Rod Blagojevich! Wednesdays, Thursdays, 8 p.m.; Saturdays, 6:30 & 9:30 p.m.; Sundays, 2 & 5 p.m.; Fridays, 6:30 p.m., $25-$80, www.beachblanketbabylon.com. Club Fugazi, 678 Green (at Powell), 421-4222.

Big City Improv: Actors take audience suggestions and create comedy from nothing. Fridays, 10 p.m., $15-$20, www.bigcityimprov.com. Shelton Theater, 533 Sutter (at Powell), 882-9100, www.sheltontheater.com.

Breve: An abbreviated version of Under the Gypsy Moon, for lunch. Saturdays. Continues through Nov. 21, $73-$94. Teatro ZinZanni, Piers 27 and 29 (Embarcadero & Battery), 438-2668, www.zinzanni.org.

The Bride of Frankenstein: The Foul Play theater company performs the classic film in black and white. Through Oct. 17, 8 p.m., $20-$25. Stage Werx, 533 Sutter (at Powell), 730-3433, www.stagewerx.org.

Brief Encounter: Emma Rice adapts the work of Noël Coward in this theater/film/music extravaganza. Tuesdays-Sundays. Continues through Oct. 17. American Conservatory Theater, 415 Geary (at Mason), 749-2228, www.act-sfbay.org.

Brilliant Traces: Cindy Lou Johnson's play about loss and loneliness. Thursdays-Sundays. Continues through Oct. 17. The Phoenix Theatre, 414 Mason (at Post), 989-0023, www.phoenixtheatresf.org.

Call Me Madam: Irving Berlin's 1950 musical. Through Oct. 18. Eureka Theatre, 215 Jackson (at Front), 788-7469, www.eurekatheatre.org.

Clean House: A Woman's Will production of Sarah Ruhl's play. Starting Oct. 16, Fridays-Sundays. Continues through Oct. 24. Buriel Clay Theater, 762 Fulton (at Webster), 762-2071, www.african-americanshakes.org.

First Day of School: Billy Aronson's comedy about the iconic day. Tuesdays-Saturdays. Continues through Nov. 7. SF Playhouse, 533 Sutter (at Powell), 677-9596, www.sfplayhouse.org.

The Future Project: Sunday Will Come: A collaboration between Sean San Jose and dancer Erika Chong Shuch, among others. Oct. 17-Nov. 7, 8 p.m., $15-$25. Intersection for the Arts, 446 Valencia (at 15th St.), 626-3311, www.theintersection.org.

Goldfish: A comedy by John Kolvenbach. Through Nov. 8. Magic Theatre, Fort Mason, Bldg. D (Marina & Buchanan), 441-8822, www.magictheatre.org.

Hasheesh Eater: Fritz Hugh Ludlow's play, set in old San Francisco. Starting Oct. 16, Fridays-Sundays. Continues through Oct. 31, www.sfbuffoons.com. Mama Calizo's Voice Factory, 1519 Mission (at Van Ness), 690-9410, www.voicefactorysf.org.

Heidi Chronicles: Wendy Wasserstein's award-winning play. Thursdays-Sundays. Continues through Oct. 24. The Next Stage, 1620 Gough (at Bush), 333-6389.

Her Naked Skin: A performance by the A.C.T. Master of Fine Arts Program. Starting Oct. 15, Wednesdays-Sundays. Continues through Oct. 31. Zeum Theater, 221 Fourth St. (at Howard), 820-3320, www.zeum.org/visitor/zeumTheater.html.

Hold Me Closer Tiny Dionysus: A retelling of Euripides' The Bacchaee, with Ms. Trixxie Carr. Starting Oct. 15, Thursdays-Saturdays. Continues through Oct. 24. Mama Calizo's Voice Factory, 1519 Mission (at Van Ness), 690-9410, www.voicefactorysf.org.

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