By Josh Edelson
By Chris Hall
By Jonathan Curiel
By Jonathan Curiel
By Sherilyn Connelly
By Mollie McWilliams
By Rachel Swan
By Erin Browner
The Diary of Anne Frank.There is probably a special place in hell for obscure, junior-grade theater critics who would use what few column inches they have to pick on a tiny, independent, church-adjacent production of The Diary of Anne Frank. Well, say a prayer for me. But as Wendy Kesselman's "newly adapted" version of the 1955 play by Frances Goodrich and Albert Hackett makes clear, good intentions aren't always enough. Custom Made's production feels a little creaky, and therefore does at least convey the sense of hiding for 25 months in an attic in Nazi-occupied Amsterdam. The hard part is to haul these characters out from under the symbols they've become while keeping them from seeming like just another group of actors awaiting their cues. Casting an African-American actor, Fred Pitts, as Anne's father, Otto, accords well with the play's idea of dignity rebuking bigotry, but director Leah S. Abrams' other choices seem regrettably less bold. Julia Belanoff's performance as Anne is calibrated to amplify the heroine's precocity and optimism, perhaps because the dramatization of destroyed potential is a lot to ask of any teenager, or audience. Through May 1 at the Next Stage, 1620 Gough (at Bush), S.F. $18-$28; 651-4251 or www.custommade.org. (Jonathan Kiefer) Reviewed April 14.
Master Class. Master Class begins strongly, and abruptly, with the appearance of opera's great diva, Maria Callas (played by Michaela Greeley). There is no transition into theatrical "space" — the lights stay on, the actors come onstage, class begins. Greeley has an immediate presence most actresses should envy. She draws you in even as she pushes you away — the hallmark of a diva's charisma. That's a good thing, because Master Class rests entirely on her. There is no plot to follow: Callas is giving a master class to opera singers, and gets through three of them (in two acts, with two monologues) before it ends. There are no other characters to speak of; yes, there are other actors onstage, and they have names and lines, but they're all foils for Callas. This is a one-woman show with human props. Everything hinges on the diva. Doesn't it always? For the most part, Greeley pulls it off: She's charming, abrasive, insightful, and deep, but wonderfully inconsistent. The only thing she can't do as Callas is be vulnerable (which makes the monologues problematic), but generally she embodies the role in grand style. Like her students, you learn nothing about voice or opera. Divas can never really teach you about their art — their only real subject is themselves. But you certainly pay attention during the lesson. Through May 2 at the New Conservatory Theatre Center, 25 Van Ness (at Market), S.F. $22-$40; 861-8972 or www.nctcsf.org. (Benjamin Wachs) Reviewed April 14.
An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus ...: A comedy by Mickle Maher. Starting April 29, Thursdays-Saturdays. Continues through May 22. The Garage, 975 Howard (at Sixth St.), 885-4006, www.975howard.com.
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.
City Solo: Solo artists in the Bay Area. Starting May 2, Sundays. Continues through May 23. Off-Market Theater, 965 Mission (at Fifth St.), 336-0513, www.cafearts.com/offmarket.
DIVAfest: Fest featuring women writers, directors, and performers. Through May 1. Exit Theatre, 156 Eddy (at Taylor), 673-3847, www.theexit.org.
Flying Actor Studio Presents: Physical theater, movement theater, and neoclassic clowning and miming. April 30-May 2. Climate Theater, 285 Ninth St. (at Folsom), 263-0830, www.climatetheater.com.
Hearts on Fire: Thelma Houston, El Vez, and Christine Deaver perform in Teatro ZinZanni's show. Wednesdays-Saturdays, 6 p.m.; Saturdays, 11:30 a.m.; Sundays, 5 p.m. Continues through May 16, $117-$145. Pier 29, Embarcadero (at Battery), 273-1620.
Hot Greeks: Thrillpeddlers' new Cockettes 1972 revival. Starting May 2, Thursdays, Sundays, 8 p.m. Continues through June 27, $30-$69. The Hypnodrome, 575 10th St. (at Bryant), 377-4202, www.thrillpeddlers.com.
Find everything you're looking for in your city
Find the best happy hour deals in your city
Get today's exclusive deals at savings of anywhere from 50-90%
Check out the hottest list of places and things to do around your city