I love it Mike Daisey's .zings.es
By Josh Edelson
By Chris Hall
By Jonathan Curiel
By Jonathan Curiel
By Sherilyn Connelly
By Mollie McWilliams
By Rachel Swan
By Erin Browner
Clue. It's worrisome when the preshow announcement to a play based on a 1985 cult classic film includes a caveat that audience-goers should probably be drunk, and also that we should watch the movie at least five times in order to "get" the play. Luckily, neither of those prerequisites were necessary to enjoy Clue, the ribald and disorderly murder mystery based on the popular board game (and film). The play stays faithful to the film's plot, while also mocking its wonky editing and mysteriously disappearing accents in asides to the audience, which adds a boisterous freshness to the whodunit spoof. Big ups go to Mrs. Peacock (J. Conrad Frank aka Katya Smirnoff-Skyy) for a spot-on, hysterical impression of film icon Eileen Brennan, and to Mrs. White (Michelle Ianiro), whose unhinged sauciness adds a delightful layer of bring-it to the role. The stage itself is a life-size board that the audience looks down at from above, creating a visually arresting Petri dish effect (after the Friday show, the cast plays Clue-the-game as life-size playing pieces). For all the play's pleasant predictability, one minor grievance was the unnecessary use of blackface for a minor character. Barring that, however, Clue is a highly energetic spectacle that definitely holds up a candlestick to the movie. Through Feb. 19 at the Boxcar Theater, 505 Natoma (at Sixth St.), S.F. $25-$35; 776-1747 or www.boxcartheatre.org. (Anna Pulley) Reviewed Jan. 26.
Mike Daisey's The Last Cargo Cult. Let me be audacious. Theater is about storytelling, and Mike Daisey is the best storyteller out there. He has a simple style, similar to Spalding Gray's monologues, of sitting at a wooden desk, with a glass of water and some notes he occasionally refers to. He doesn't stutter, search "naturally" for lines, or ever say "umm"; he is intense, has a barely contained madness behind his eyes, and hardly pauses for two thrilling hours. The subject of this monologue is money, the "liquid that bonds us together and corrodes all our relationships" and yet lets us obsessively buy "awesome shit." While weaving a fascinating, Indiana Jones–style tale of traveling to the South Pacific to an "island just beyond the reach of money," Daisey confronts us, as well as himself, with funny and painful anecdotes of our devotion to the religion of the dollar, educates us about the recent financial crash, and celebrates our obsession with "wanting." It's clear all along that Daisey is a masterful artist, unafraid to be unsympathetic, and to be the perpetrator and as well as the victim in his stories. This is a must-see theatrical experience. Through Feb. 27 at Berkeley Rep, 2025 Addison (at Shattuck), Berkeley. $29-$73; 510-647-2949 or www.berkeleyrep.org. (Nathaniel Eaton) Reviewed Jan. 26.
Treefall. It's the end of the world as we know it, and three teenage boys who've formed a happenstance family don't feel fine at all. In Henry Murray's postapocalyptic doomfest directed by Ben Ranle, sunlight can kill you, foraging for abandoned canned tomatoes is your best shot at dinner, and people are scarce, hostile, or infected with a mysterious deadly virus. In this world, three boys attempt to carve meaning out of chaos by adopting traditional gender roles and daily rituals: Flynn (Evan Johnson) plays the father, August (Josh Schell) the mother, and Craig (Sal Mattos) the son. Their uneasy familial ceremonies are soon disrupted by a wayward scavenger named Bug (Corinne Robkin), the first girl they have encountered in years, and who swiftly, yet unintentionally, upends the tenuous identities they've created. The dilapidated, near-absence of a set adeptly conveys the bleakness of the play's tone. Though the writing could be sharper, Treefall's provocative confrontations mostly conquer a few overwrought lines of dialogue. I could've done without Craig's continual recitations from Romeo and Juliet, as well as his irritating ruminations with a doll, but his escapism wasn't entirely unwarranted, and the struggle to come to grips with his homosexuality heightened the tension of the already fraught norms of his all-male nuclear family. Expect nudity and violence, but also a sense of hope amid the cultural and spiritual decay. Through Feb. 27 at the New Conservatory Theater, 25 Van Ness (at Market), S.F. $24-$40; 861-8972 or www.nctcsf.org. (Anna Pulley) Reviewed Feb. 9.
40 Pounds in 12 Weeks: A Love Story: Pidge Mead's solo performance about weight loss, body issues, parental relationships, and the dynamics of friendship. Starting Feb. 18. Fridays, Saturdays. Continues through March 26. $15-$50. The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Beach Blanket Babylon: Steve Silver's musical revue spoofs pop culture with extravagant costumes. Wednesdays-Sundays. $25-$130. Club Fugazi, 678 Green (at Powell), 421-4222.
Clybourne Park: Story of differing racial tensions over home ownership in the same neighborhood in two generations. Through Feb. 20. $7.50-$83. American Conservatory Theater, 415 Geary (at Mason), 749-2228.
The Dog and Pony Show: Solo show by Holly Hughes. Thursdays, Saturdays, Sundays. Continues through Feb. 27. $15-$50. The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
"Fauxgirls!": Third Saturday of every month, 10 p.m. free. www.fauxgirls.com. Kimo's, 1351 Polk (at Pine), 885-4535.
Hobo Grunt Cycle: Production mixes life-size puppets and performers and deals with wounded soldiers and illegal dog fighting in addition to hierarchies of military personnel and circus performers. Starting Feb. 17. Thursdays-Saturdays. Continues through March 5. $15-$25. Exit Theatre, 156 Eddy (at Taylor), 673-3847.
Monday Night Marsh: On select Mondays a different lineup of musicians, actors, performance artists, and others takes the stage at this regular event that's hosted local celebs like Josh Kornbluth and Marga Gomez in the past; see www.themarsh.org for a lineup of future shows. Mondays. $7. The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Neverlution: Christopher Titus. Through Feb. 19, 8 p.m. $42. Marines Memorial Theatre, 609 Sutter (at Mason), 771-6900.
Obscura: A Magic Show: Christian Cagigal's one-person narrative involving magic and audience participation. Fridays, Saturdays. Continues through April 16. $15-$25. Exit Theatre, 156 Eddy (at Taylor), 673-3847.
Pearls over Shanghai: Thrillpeddlers brings back the Cockettes. Fridays, Saturdays. Continues through April 9. $30. The Hypnodrome, 575 10th St. (at Bryant), 377-4202.
Secret Improv Society: Underground improvisational theater. Saturdays, 10 p.m. $15. Shelton Theater, 533 Sutter (at Powell), 882-9100.
Shopping! The Musical: Songs and sketches about shopping. Fridays, Saturdays, 8 p.m. $23-$29. www.shoppingthemusical.com. Shelton Theater, 533 Sutter (at Powell), 882-9100.
Spalding Gray: Stories Left to Tell: The Custom Made Theatre Company presents a new play. Thursdays-Saturdays, 8 p.m. Continues through Feb. 19. $20-$25. The Next Stage, 1620 Gough (at Bush), 333-6389.
Under the Crust: Romance at the Gas & Gulp: The return of Sean Owens as Cora Values. Fridays, Saturdays. Continues through Feb. 19. $15-$25. Exit Theatre, 156 Eddy (at Taylor), 673-3847.
Upper Cut Improv Showcase: Improv and sketch comedy. Fridays, 7 p.m. $5. San Francisco Comedy College, 414 Mason (at Geary), 921-2051.
What We're Up Against: A play about architects, deadlines, office politics, and gender equity. Tuesdays-Sundays. Continues through March 6. $20-$60. Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
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