Doing Good. The San Francisco Mime Troupe's Doing Good takes its inspiration from John Perkins' controversial memoir Confessions of an Economic Hit Man. The book describes Perkins' years helping the U.S. government and multinational corporations coerce foreign leaders into serving U.S. foreign policy. The troupe's riff on Perkins' real-life John le Carréstyle thriller follows the lives of a young, white, middle-class American couple, James and Molly, and their complicity in the homeland's less-than-benign interests in nations as widespread as Ecuador, Iran, Indonesia, and Panama. To avoid military service in Vietnam in 1968, James marries Molly and the pair move to the remote village of Pobre, Ecuador, on Peace Corps business. Very soon, the couple's innocuous attempts at "doing good" through building schoolhouses and educating local women about childbirth are overtaken by the arrival of a major U.S. corporation, whose aim it is to bring Ecuador "out of the Dark Ages" by building infrastructure with loans calculated to cripple the local economy. Despite some snappy one-liners and the bombastic live musical accompaniment, there's unfortunately little of aesthetic merit in Doing Good to mitigate the terrifying obviousness of its bludgeoning message. Through Oct. 2 at various locations throughout Northern California. Tickets are free; call 285-1717 or visit www.sfmt.org. (Chloe Veltman) Reviewed July 13.
Nicholas Nickleby. California Shakespeare Theater's Nicholas Nickleby, adapted from Charles Dickens' 1838 novel by British playwright David Edgar, manages to wrestle the audience's attention away from rustling picnics and the rising moon through ingeniously theatrical staging and an alacrity of pace that makes you almost forget you've been sitting on a cold seat for more than three hours. Dickens' novel -- which follows the seesaw fortunes of the 19-year-old Nicholas Nickleby and his sister, Kate, in the wake of the death of their kindly but bankrupt father -- was initially adapted by Edgar for a 1980 London production by the Royal Shakespeare Company. Cal Shakes' two-part production, with its 24 actors and 6-1/2-hour running time (both parts together), is a "miniature" version of the original, which employed 48 actors and ran at close to nine hours. Edgar himself pared down his RSC text for Cal Shakes. Nickleby owes much of its magic to the combined creativity of directors Jonathan Moscone and Sean Daniels. Edgar's adaptation, which swings back and forth between different locations, is fluidly rendered through seamless physical and emotional changes. The ensemble scenes are lively and magnetic, but the general high pitch of the performances, in which every sentence is delivered as if it were the punch line to an extremely funny and original joke, backfires in a number of ways, such as undermining some of Dickens' most juicy scenes and characters -- the few that are supposed to be over the top. Part One through Aug. 7, Part Two through Sept. 11, at the Bruns Memorial Amphitheater, 100 Gateway Blvd. (just off Highway 24), Orinda. Tickets are $10-55; call (510) 548-9666 or visit www.calshakes.org. (Chloe Veltman) Reviewed July 27.
Who's Afraid of Virginia Woolf? Edward Albee's Who's Afraid of Virginia Woolf? did for the American theater in 1962 what Shelagh Delaney's A Taste of Honey did for its British equivalent just four years previously. Products of the postwar fracture of traditional family values and gender roles, both plays sent shock waves across their respective cultural landscapes and changed the face of theater forever. But while these days Delaney's play is considered a period piece and rarely performed, Actors Theatre's production (along with, of course, the recent highly lauded Broadway revival starring Bill Irwin and Kathleen Turner) proves Virginia Woolf to be as fresh today as it was when Albee wrote it. The caustically funny and darkly depraved drama takes place over the course of a booze-soaked night at the university-campus home of middle-aged history professor George (Christian Phillips) and his wife, Martha (Julia McNeal), as they play cat and mouse with each other and their newbie guests, the twentysomething biology professor Nick (Daniel Hart Donoghue) and his wife, Honey (Tara Donoghue). The claustrophobic atmosphere of Biz Duncan's living room set enhances the intensity of the couples' relentless "fun and games." Combining incisive, rhythmic direction by Keith Phillips and Kenneth Vandenberg with crisp performances by all four cast members (Tara Donoghue is especially pathetic and hilarious as the "thin-hipped" Honey), Actors Theatre's Virginia Woolf expertly mines the complex nature of marital relationships. Through Sept. 3 at the Actors Theatre, 533 Sutter (between Powell and Mason), S.F. Tickets are $10-30; call 296-9179 or visit www.actorstheatresf.org. (Chloe Veltman) Reviewed June 22.
Are We Almost There? Shelton Theater, 533 Sutter (at Powell), 433-3040.
BATS: Sunday Players Fort Mason, Bldg. B, Marina & Buchanan, 474-6776.
Bay Area Playwrights Festival Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
Beach Blanket Babylon Club Fugazi, 678 Green (at Powell), 421-4222.
Beyond Therapy Shelton Theater, 533 Sutter (at Powell), 433-3040.
Big City Improv Shelton Theater, 533 Sutter (at Powell), 433-3040.
Comedy Improv at Your Disposal Shelton Theater, 533 Sutter (at Powell), 510-595-5597.
Crowns Marines Memorial Theater, 609 Sutter (at Mason), 771-6900.
Cyrano de Bergerac John Hinkel Park, Southampton (between San Diego and Somerset), Berkeley, 510-655-0813.
Dangerous New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Do You Want to Buy My Brain? Exit Theatre, 156 Eddy (at Taylor), 673-3847.
Drunk With Love: A Tribute to Frances Faye New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Executive Order 9066 The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
GayProv Off-Market Studio, 965 Mission (at Fifth St.), 896-6477.
In Bed With Fairy Butch for Women, Transfolks, & Their Pals 12 Galaxies, 2565 Mission (at 22nd St.), 970-9777.
Jesus Hopped the "A" Train The Fellowship Church, 2041 Larkin (at Broadway), 776-4910.
Los Big Names Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.
Love, Chaos & Dinner Pier 29, Embarcadero (at Battery), 273-1620.
Menopause the Musical Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero), 433-3939.
Monday Night Improv Jam Climate Theater, 285 Ninth St. (at Folsom), 364-1411.
Monday Night Marsh The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Regretrosexual Phoenix Theatre, 414 Mason (at Geary), Suite 601, 989-0023.
Richard III Dolores Park, Dolores between 18th & 20th Sts..
Rise and Fall of the Monkey King Exit Stage Left, 156 Eddy (between Taylor & Mason), 673-3847.
Slow Falling Bird Exit Theatre on Taylor, 277 Taylor (at Ellis), 673-3847.
Sore Throats Last Planet Theatre, 351 Turk (at Hyde), 440-3505.
Stomp Golden Gate Theatre, 1 Taylor (at Market), 512-7770.
The Tribute to Frank, Sammy, Joey & Dean Post Street Theatre, 450 Post (at Mason), 321-2900.
The Turkey Season Mechanics' Institute Library, 57 Post (at Market), 393-0101.
Two Gentlemen of Verona Forest Meadows Amphitheatre, Dominican University, 50 Acacia (at Grand), San Rafael, 499-1108.
"Viva Variety" Buriel Clay Theater, 762 Fulton (at Webster), for more information call 863-0741.
Whoop-Dee-Doo! New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Who's Afraid of Virginia Woolf? The Next Stage, 1620 Gough (at Bush), Trinity Episcopal Church, 333-6389.
Wicked Orpheum Theater, 1192 Market (at Eighth St.), 512-7770.