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Our critics weigh in on local theater

American Joe Despite being given life by the same DNA donors and being raised in the same household, siblings often grow into people who bear little resemblance to each other. Liza Raynal explores this tension using the War on Terror as a backdrop in American Joe, her autobiographical solo show at the Marsh directed by David Ford. While she and her younger brother, Joe, grew up in a liberal Bay Area home where organic salad was served, they take radically different paths in adulthood. She becomes a schoolteacher; he drops out of high school and enlists in the military to fight for a cause his pacifist sister doesn't understand. There are some funny moments (such as when “Bad to the Bone” blares from the loudspeakers during Joe's graduation from basic training) and a few touching ones. But overall Raynal delivers an uneven product that loses our interest at times. Through Aug. 15 at the Marsh, 1074 Valencia (at 22nd St.), S.F. $15-$35 on Thursdays; $22-$35 on Fridays and Saturdays. Call 800-838-3006 or visit (Will Harper) Reviewed July 16.

The Listener. Set far in Earth's future in the last remaining human outpost (the majority of the world's population left centuries ago for the Moon, now imaginatively renamed “Nearth”), Liz Duffy Adams' latest world premiere tells an overwrought story of our planet's fate. At the start of the play the inhabitants of Junk City, a trash-strewn metropolis piled high with the detritus of a long-fled civilization, go about their day-to-day business. When enterprising “Finders” (the city's worker bees) Smak and Jelly capture a lone researcher from Nearth by the name of John, the fortunes of Junk City change overnight. John's plan to “save” the abandoned souls marooned on his ancestors' planet by bringing them “home” to Nearth goes awry. But a burgeoning friendship with the city's lonely “Listener” (a Dr.-Spock-meets-the-Dalai-Lama figure who spends her days cooped up in a hermit's cell patiently trying to make contact with life forms beyond the city walls) sets John and his captors on an unlikely course. Overburdened as it is with preachy critiques of everything from celebrity culture to the war in Iraq, this clunky dystopian dramedy tries too hard to be deep and meaningful and ends up bordering on self-parody. Aug. 15-31 at Ashby Stage, 1901 Ashby (at Martin Luther King Jr.), Berkeley. Tickets are $15-$25; call 433-1235 or visit (Chloe Veltman) Reviewed July 23.

Point Break Live! Keanu Reeves' legacy looms large over this most excellent theatrical spoof of Kathryn Bigelow's 1991 film about a Los Angeles cop who goes under cover to infiltrate a gang of adrenaline-junkie surfing bank robbers. Never mind that the shoestring budget puts hiring Reeves, who starred in the film as FBI agent Johnny Utah, beyond the reach of the show's producers, New Rock Theater. While the plucky theatergoer selected at the start of each performance by audience applause to fill in for Reeves may not necessarily possess the star's cheekbones or surfer's physique, he (or she) will very likely manage to turn in at least as convincing a performance. Like Bigelow's movie, the stage adaptation hyperventilates. Familiarity with the film isn't mandatory, but it certainly helps us keep up with the hectic pace. Open run on Sundays at Fat City, 314 11th St. (at Folsom) S.F. Tickets are $25; call 866-811-4111 or visit (C.V.) Reviewed July 9.

Red State. The San Francisco Mime Troupe's latest politically charged musical comedy tackles its worthy subject — citizens must hold government responsible for how their tax dollars are spent — with its usual cheeky pluck. Yet overall the show fails to deliver either a rousing call to arms or a satisfying theatrical tale. On the theatrical front, this 90-minute show takes more than 30 minutes to get off the ground. We spend a lot of time simply hanging out with the hardscrabble folk of Bluebird, Kansas, learning about each one of them in painstaking detail before we get to the meat of the plot: It's Election Day 2008, the rest of the country has voted itself into a dead heat, and only Bluebird's votes can break the tie. Very few people in this country need to be told what hangs in the balance based on what Bluebird does, and yet the story quickly becomes not about the power of the vote but the power of not voting at all. Huh? T Through Sept. 28 at parks and public sites across the Bay Area. Free; call 285-1717 or visit (Molly Rhodes) Reviewed July 9.

Theodora, She-Bitch of Byzantium. Charles Busch's loving 1984 spoof of a similarly titled 19th-century melodrama by Victorien Sardou tells the story of a cross-dressed drag queen who fucks and finagles her way across 6th-century Greece until a Gypsy potion wreaks havoc on her plans. As a product of the “ridiculous theater” movement, a mid-20th-century offshoot of Dadaism, Surrealism, and the theaters of Cruelty and the Absurd, Theodora certainly wears silliness on its sleeve. Sardou wrote his version for the great stage actor Sarah Bernhardt. Busch, in turn, penned his adaptation to slake his own Bernhardt obsession. Director Russell Blackwood's somewhat slipshod pacing and rhythm prevents some of the scenes from achieving their full impact. But the heavily made-up actors in Thrillpeddlers' scrappy production attack their roles with such aplomb that the dementedness of Busch's narrative shines through the greasepaint anyway. Through Aug. 16 at the Hypnodrome, 575 10th St. (at Bryant), S.F. Tickets are $25-$34.50; call 377-4202 or visit Reviewed July 2.

What You Will. At the start of his Shakespeare-infused solo show, venerable English thespian Roger Rees saunters onstage with Shakespeare's bust tucked under his arm, which he carefully places on a plinth. Lit like the Crown Jewels, the Bard's head remains a permanent fixture throughout the performance. Yet as much as Rees demonstrates his love for the dramatist throughout the crowd-pleasing 90-minute production, he's quick to pull the Bard off his pedestal. “Your plays kind of suck, actually,” the actor says, reading from an exercise book filled with quotes by Shakespeare-hating high schoolers culled from the Internet. Rees reserves equal amounts of comical disrespect for his early spear-carrying days at the Royal Shakespeare Company (of which he was a member for 22 years). Yet Rees has clearly been living with Shakespeare's language for too long. He seems to forget that people need to decipher the words in order to keep up. Through Aug. 9 at American Conservatory Theater, 415 Geary (at Taylor), S.F. Tickets are $20-$85; call 749-2228 or visit (C.V.) Reviewed July 30. Burlesque, video, opera, show tunes, and old films combine in this show by Stephen Lawson and Aaron Pollard. Through Aug. 31. New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.

Bad Habits: Square MaMa presents a play about bad habits, written by Terrence McNally. Aug. 8-30. Theatre Rhinoceros, 2926 16th St. (at South Van Ness), 861-5079.

Ballad of Edgar Cayce: A musical by Gary Aylesworth, produced by Construction Crew Theater. Aug. 8-30. Traveling Jewish Theatre, 470 Florida (at Mariposa), 285-8282.

Beauty and the Beast: A RubberMatchSeriez production, adapted by Rey Carolino. Sat., Aug. 9. Shotwell Studios, 3252A 19th St. (at Folsom), 289-2000.

Brand New Me!: Connie Champagne interprets Dusty Springfield. Through Aug. 10, 2 p.m. $18-$28. New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.

Emo! the Musical: A Beards Beards Beards production about angst-ridden teenagers. Aug. 7-30. Boxcar Playhouse, 505 Natoma (at Sixth St.), 776-1747.

Fool for Love: Jean Shelton directs Sam Shepard's play. Through Sept. 6. $10-$30. Actors Theatre San Francisco, 855 Bush (at Taylor), 345-1287.

The Last Voyage of the Omega: Through Aug. 9, 10:15 p.m. $12. Stage Werx, 533 Sutter (at Powell).

Misery: Simon Moore's adaption of the Stephen King book. Through Aug. 16. Eureka Theatre, 215 Jackson (at Front), 788-7469.

The Pandora Experiment: Award-winning magician and illusionist Christian Cagigal returns with his popular show. Through Aug. 16. $20. Exit Stage Left, 156 Eddy (between Taylor & Mason), 673-3847.

Pride & Succubus: A comedy about vampires from the Thunderbird Theatre Company. Aug. 7-23. New Langton Arts, 1246 Folsom (at Eighth St.), 626-5416.

Skittish: Six one-acts by Bruce Moody. Through Aug. 31. Stage Werx, 533 Sutter (at Powell).

Stories High Showcase 2008: A showcase from the year's crop of writing, acting, and directing workshop participants. Through Aug. 16. Bindlestiff Studio, 185 Sixth St. (at Howard), 974-1167.

Subrosa-Subliminal Joy, the Ego out-ted!: A work of queer theory, human consciousness, and self-identity, directed by Peter Griggs and presented by the Burning Monk Collective. Aug. 7-17. $20. Mama Calizo's Voice Factory, 1519 Mission (at Van Ness), 690-9410.

This Is the Thing: Kirk Read's semi-experimental autobiographical one-man show about religion and sex work. Aug. 7-16. $12-$20. Shotwell Studios, 3252A 19th St. (at Folsom), 289-2000.

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