Bloody good opening of a spiffy new Playhouse
Opening nights don't come much more momentous than Saturday's gala celebrating three things:
1. San Francisco Playhouse's new theater space in the former Post Street Theatre (formerly the Theatre on the Square, formerly an Elks Lodge ballroom)
2. The launch of the Playhouse's 10th anniversary season
3. And opening night of the rock musical Bloody Bloody Andrew Jackson
TheatreWorks offers Variations on a scheme
When Moisés Kaufman gets to the point in his play 33 Variations, there's resonance, beauty and purpose in it. For nearly 2 ½hours we've been tracking parallel stories: one in the present as a terminally ill musicologist delves into the mystery of why Beethoven wrote 33 variations on a waltz theme by music publisher Anton Diabelli. And the other in the early 19th century as we watch Beethoven, his health and hearing failing him, tackle major late-career works (his Mass, his Ninth Symphony) all while succumbing to an obsession with the Diabelli variations. The two stories do fuse in an interesting way eventually as issues of time, mortality and attention to detail bridge past and present while offering a spark of inspiration and insight into the nature of obsession.
Kafuman's 2007 drama, produced by TheatreWorks and directed by Artistic Director Robert Kelley, takes its time getting to the point. Kelley's production is thoroughly enjoyable and features some sharp performances, but the play itself doesn't cut very deep, and the whole past/present cohabiting the stage thing doesn't really work. In the crudest of terms, the play is an uneasy mash-up of Wit and Amadeus.
Marin's Topdog makes power plays into powerful play
"Know what is and what ain't," one brother advises another in Suzan-Lori Parks' mesmerizing play Topdog/Underdog. Telling what is from what ain't is a tricky business in this deceptively straightforward play about an older brother named Lincoln and a younger brother named Booth. You don't expect men with those names – chosen by their father, who liked a joke – not to come to blows, and given we see a pistol within the first few minutes of the play, it's not really surprising when Parks goes from contemporary to Greek drama in a single gunshot.
Parks' Topdog won the Pulitzer Prize for Drama in 2002, and shortly after the play's run on Broadway, it stopped in at San Francisco's Curran Theatre, where Parks' extraordinary language, rich with urban slang frothed into gritty poetry and laced with deeply felt emotion, made a huge impression and justified all the fuss being made over the play.
Cal Shakes ends season with a moody Hamlet
On exactly the kind of temperate night for which they invented outdoor theater, California Shakespeare Theater opened the final show of the summer season. Hamlet, directed by Liesl Tommy (best known for her direction of Ruined at Berkeley Repertory Theatre in spring of last year) clocks in at about 3 hours and 10 minutes, and there are some glorious things in it. But on the whole, this Hamlet left me curiously unmoved.
But first here's what's good. Leroy McClain as Hamlet delivers a fascinating performance, pouring his heart and mind into the torrent of words that continuously pours out of the moody Dane's mouth. You don't have much of a Hamlet if you're not riveted by the title character, and McClain certainly puts on a good show.
Magic between a tricky spot and The Other Place
There's a slippery quality to Sharr White's The Other Place, the drama opening the Magic Theatre season. The first half of this 80-minute one-act is especially slick as we try to gain our bearings, but White and director Loretta Greco keep tilting the playing field. Just when we think we know what's really going on in the story of a brilliant scientist's life, along comes new information or a trip to the past that reconfigures what we thought we knew.
Memory is a tricky, tricky thing. How accurate or trustworthy are our memories? That's a question that Juliana Smithton should be asking herself, but she's not, because she doesn't know anything's wrong.
ACT’s Normal Heart aches with passion, grief, history
In some ways, Larry Kramer's landmark play The Normal Heart is just a lot of yelling. Characters don't simply raise their voices, they scream, sometimes from the depths of their souls. And that's what makes this drama profoundly affecting rather than just loud. These characters have good reason to yell. Some do it from rage, some from fear, some from frustration, some from all of the above combined with grief and utter exhaustion.
To watch The Normal Heart, especially the stunning production directed by George C. Wolfethat opens the American Conservatory Theater season, is to experience a particularly dark chapter in American history – one that, in many ways, continues to this day.
A new arts season, a free SF Symphony concert
Ah, the excitement of a new season. We may not have the dramatic foliage color changes here in San Francisco. We may not have the crisp fall air slowly pushing out the hot, dry summer air (it's pretty much cold and foggy with intermittent sun here all the time). But we do have an exciting fall arts season, and it's under way.
The season started a little earlier this year with Berkeley Repertory Theatre and Aurora Theatre Company opening shows in the last week of August (the excellent Chinglish and The Elaborate Entrance of Chad Deity respectively), then there was a wee break.
But this week, the new season starts with a vengeance. The acclaimed revival of The Normal Heart opens at American Conservatory Theater, Sharr White's Broadway-bound The Other Place opens at the Magic Theatre and, because man and woman cannot live by theater alone, the San Francisco Symphony begins its 101st season with one of the highlights of the social set meets great art parties of the year: the opening gala.
Crowded Fire’s Invasion!, or Abulkasem on my mind
The thing to know about Crowded Fire's Invasion! is that it's best not to know too much. There's comedy, mystery, surprises and sinister darkness all lurking about director Evren Odcikin's sharp, crisply performed production. And if you have no idea what's really going on or what could possibly happen next, well, that's all for the better.
Even though the play is only about 80 minutes, it feels substantial – not heavy but not frivolous either. Playwright Jonas Hassen Khemiri wants to explore the power of language and how that power is fueled by ego, fear, racism and the speed at which words enter and exit the lexicon.
Aurora scores a smackdown with Chad Deity
In professional wrestling, we're told, you can't kick a guy's ass without the help of the guy whose ass you're kicking. Talk about a democracy! Perhaps there's more to learn from the gaudy world of professional wrestling than we thought.
Playwright Kristoffer Diaz, a self-confessed fan of the fake-out body slams and outsize characters of the pro-wrestling world, seems to think there's an allegorical relationship between that world and the United States, especially when it comes to racism and the exploitation of labor in the name of almighty capitalism. His play The Elaborate Entrance of Chad Deity opens the Aurora Theatre Company's 21st season.
There's certainly truth in advertising with this play – it's incredibly elaborate, and director Jon Tracy's production is enormous.
Talking the talk, or not, in Berkeley Rep's Chinglish
Berkeley Repertory Theatre's season-opening production of Chinglish by David Henry Hwang presents the best possible circumstances to witness communication happening under the worst possible circumstances.
This is what you'd call a serious comedy, which is to say there are big laughs generated by a serious subject. That subject is, essentially, how hard it is for people to listen to and understand one another, and Hwang takes us into an extreme situation to demonstrate the many layers of communication.
If it looks and smells like fish, it must be The Fisherman’s Wife
You don't really expect Japanese erotic tentacle art to be the inspiration for a feel-good treatise on saving a broken marriage. But that's just what Steve Yockey delivers in the world premiere of The Fisherman's Wife, the season opener from Berkeley's Impact Theatre. Taking his cue from the Hokusai woodcut known as "Dream of the Fisherman's Wife," in which a happy lady is serviced by two octopi, Yockey spins a fast-paced, mostly comic adult fairy tale that begins with an epically unhappy husband and wife.
Cooper Minnow (Maro Guevara) is the titular fisherman. He comes from a long line of successful fisher folk, but he's a failure. His wife, Vanessa (Eliza Leoni), couldn't agree more. She claims her seaside life is "undercooked" and she hurls hurtful diatribes at her husband like, "I was bamboozled by the man I thought you were." Ouch.
Mark Nadler is crazy for 1961
Cabaret dazzler Mark Nadler is on the road both literally and figuratively. In the figurative sense, Nadler is on the road to the past in his new show. That shouldn't be a surprise for a piano-playing, singing raconteur like Nadler who mines the Great American Songbook for all it's worth. What is surprising is that Nadler is not heading back quite as far this time. He's heading to 1961, his birth year, in Crazy 1961, which bows at San Francisco's Rrazz Room on Aug. 31 and Sept. 1.
In the words of a song written in 1961, it was a very good year.
High on Cal Shakes' spiffy Spirit
Noël Coward was a man of his time in many ways and maybe even ahead of his time in others. For instance, in the delightful 1941 play Blithe Spirit, now gracing the Orinda Hills in a handsome and well-tuned production from California Shakespeare Theater, Coward was way ahead of the ghastly Twilight curve.
No, he wasn't dealing with pale but attractive vampires and shirtless werewolves, but he did understand a little something about mixing mortality and romance. In the play, the ghost of a dead wife returns to haunt her husband and his new wife, but her real aim is to get her beloved to join her on the other side, and she's not above trying to kill him herself to accomplish that goal. To love someone enough to want to spend eternity with them is an intriguing concept, and thankfully Coward played it for laughs, with only a trace of the shadows poking through the peaked meringue of his comedy.
Annie Baker's brilliant, reflective Circle Mirror
At once the antithesis of drama (nothing's happening!) and a complete exposure of the theater's guts and bones, Annie Baker's has a particular genius for creating simplicity of the most complex variety.
Earlier this year, the Aurora Theatre Company got the unofficial Annie Baker Bay Area Festival off to a strong start with her Body Awareness about sexual politics in the small university town of Shirley, Vermont. Then SF Playhouse dazzled with the low-key but brilliant The Aliens, also set in the fictional Shirley, about three unlikely friends, music, death and growing up.
Now Marin Theatre Company in a co-production with Encore Theatre Company conclude the Bay-ker Area Fest with what has become her most popular play, Circle Mirror Transformation. Even more than the previous two Baker plays we've seen so far, this one feels even less like a play and more like an actual experience – something carefully captured in the real world and observed within the artful frame of a proscenium stage.
Hot to trot: Can War Horse survive the hype?
As a showcase for mind-blowing stagecraft, you will not find a better example than War Horse, the National Theatre of Great Britain hit that is trampling audience's tear ducts around the world. Everything you've heard about the life-size horse puppets from South Africa's Handspring Puppet Company is true – there isn't a more powerful fusion of design, movement and emotion on a stage anywhere. The horses – and especially the puppeteers who bring them to life – balance the weight of imagination and reality with such skill that the pretend beasts are the most vital beings on stage (not to slight the capable human cast, but the horses win by more than a nose).
Now at the Curran Theatre as part of the SHN season, War Horse arrives with a staggering amount of hype. Is the show everything we've been led to expect? The answer is yes. And no.
Gettin’ to the git in Cal Shakes’ glorious Spunk
Zora Neale Hurston writes with zest and zeal. She can move from joy to anguish in a second and still find her way back to hope. All of this is readily apparent in California Shakespeare Company's production of Spunk at the Bruns Amphitheater in Orinda. Sharp and spirited and brimming with talent, these three Hurston stories, adapted for the stage by George C. Wolfe, are poetry and drama and jubilation and as much stirring music as you're likely to hear in 90 minutes in the foggy Orinda Hills.
Wolfe honors Hurston by making sure the audience knows these are short stories – not plays – being brought to life so that we, as a group, can appreciate Hurston's rich, beautiful and musical language. Each of the three stories includes narration of some kind, so the evening never strays from its literary roots. But this is no storytime theater. This is theater that moves. And sings. Boy, does it sing.
Still Misérables after all these years
The 25th anniversary production of Les Misérables now at the Orpheum Theatre as part of the SHN season is annoying and gratifying, pretty much in equal measure.
You have to give credit to super producer Cameron Mackintosh for even attempting something new with such a tried-and-true money maker as Les Miz. He hired new directors and a raft of new designers. They 86-ed the turntable, such a memorable (and thematically important) element of the original Royal Shakespeare Company production and added that now inescapable 21st-century plague, projections.
This musical war horse is certainly refreshed if not necessarily strengthened.
Terri White's Great White Way (and a perfect martini!)
Palo Alto native Terri White grew up and became a Broadway star, thanks largely to her big break in 1972's musical hit Two Gentlemen of Verona, which she also performed on tour at the Geary Theater. There have been dramatic ups and downs in White's career – it is a theater career, after all – but her journey has brought her back to the Bay Area several times, including a double stint in 1994 at the then-named Theatre on the Square in Make Someone Happy composer Jule Styne's last hurrah (White remembers it more as Make Someone Run because it wasn't Styne's best work; he died several weeks after the show), followed by Nunsense 2.
But White's most memorable San Francisco stage experience, at least until she makes her cabaret debut July 10 at the Rrazz Room was in the Cy Coleman musical Barnum in which she originated the role of Joice Heth (singing the memorable song "Thank God I'm Old").
Razzle dazzle and outrage in Kander and Ebb's Scottsboro Boys
The Scottsboro Boys is a musical on crusade. Not for the first time in their storied career, composers John Kander and the late Fred Ebb make some of the worst human traits entertaining all the while championing the underdog and giving splendid voice to those who might be otherwise ignored or forgotten.
The crusade at hand is two-fold: Kander and Ebb, working with book writer David Thompson and choreographer/director Susan Stroman – a copacetic dream team if ever there was one – want to rescue the victims of a particularly ignominious chapter in American history from obscurity. And they want nothing short of exposing the roots of the Civil Rights Movement. They accomplish both goals, and The Scottsboro Boys is as powerful as it is entertaining, and that's saying a lot on both counts.
We've seen Kander and Ebb working this particular vein before: politics, horror, victimization and good, old razzle-dazzle. We saw it in Cabaret, where singing Nazis made the blood run cold; we saw it in Chicago, where cynicism and celebrity trumped humanity; we saw it in Kiss of the Spider Woman, where revolutionary zeal was squashed but the human spirit is not. This is not to say that Scottsboro is a re-tread in any way. There are echoes of other shows, other songs, but this compact, deeply felt show ratchets up the disturbance factor with its very form.
David Thompson on racism, history and making it all sing
David Thompson is the first to admit that regardless of the show itself, he would do anything to work with John Kander, Fred Ebb and Susan Stroman, three major theater artists with whom he had collaborated on And the World Goes 'Round, the 1987 revival of Flora the Red Menace and Steel Pier.
"Working with John, Fred and Stro has been an extraordinary gift and privilege," Thompson says on the phone from his home in Millburn, N.J. "They come from a kind of theater that really understands the craft of telling a story and telling it well. We begin every work session with 'what if' and just throw ideas out there. Working with them, they've always found a way to inspire me to do better and bigger work – not in a grand way – their talent is so huge that everybody they work with brings the best possible work they can to the table."