All the holiday feels in SF Opera's wonderful Life
Not being an opera aficionado, I was interested in San Francisco Opera's adaptation of It's a Wonderful Life for a number of reasons. First and foremost is the power of the original 1946 Frank Capra movie, a durable staple of the holiday season right up there with Dickens' A Christmas Carol.
High-voltage acts power Cirque's new Volta
The new touring spectacle, Volta, opened Thursday night under a gray-and-white-striped tent in the AT&T Park for a nearly three-month run before heading down to San Jose. It's a high energy show with more sparkle and verve than the requisite Cirque pretension, and it was a welcome relief to the smoke-choked air that was strangling the world outside the tent.
Shooting the rapids and tweaking history in ACT's Men on Boats
Oars up! Oars out! We're going adventuring.
The first thrill of our adventure is the sheer delight of seeing 10 women on stage – 10! – in the American Conservatory Theater production of Men on Boats by Jaclyn Backhaus now at The Strand Theater. How often do we get to see that many marvelous women on a stage together? Hardly ever.
Slice of life served up sweet and tuneful in Waitress
Waitress is very much like one of the wacky pies its title character concocts – an odd combination of ingredients that come together in a surprisingly delightful way. As a musical, it's about ordinary life – low-paying jobs, abusive relationships, childhood trauma, the families we make as opposed to the ones we're born into – but it sings, often beautifully, about the deep pain and the little joys of everyday living, and it finds ways to make the ordinary soar with lyricism and expressive movement.
Slammed door opens in Doll's House, Part 2 at Berkeley Rep
Playwright Lucas Hnath imagines what happened to Nora after she stepped through that door in the audaciously titled A Doll's House, Part 2, which opens the Berkeley Repertory Theatre season in a razor-sharp, vital and funny production directed by Les Waters.
Rhythm almost gets you in On Your Feet
On Your Feet! The Emilio & Gloria Estefan Broadway Musical is exactly what you think it's going to be, and that's not a bad thing. Nor is it a great thing, but this amiable show lands squarely in the middle lane of enjoyable live musical entertainment. Is it a musical? Well, it's a jukebox musical, meaning it mixes pop songs into a narrative, and some of it lands very well and some of it not so much.
Kids rock in Lloyd Webber's middling School
p>What's the primary reason to see Andrew Lloyd Webber's School of Rock? It's elementary: the kids.
This grand-scale musical adaptation of the 2003 movie hit (screenplay by Mike White, direction by Richard Linklater) makes a lot of sense as far as movie-to-musical projects go because music – and a lot of it – is built right into the story of a baby-man who fakes being a substitute teacher at a private school and turns around the lives of his students by helping them form a rock band.
Soft Power electrifies at the Curran
Remarkable. Inspiring. Hilarious. Moving. There aren't enough descriptive words to fully express just how wonderful and fascinating and exhilarating it is to experience Soft Power the new musical by David Henry Hwang and Jeanine Tesori now at the Curran Theatre.
ACT's musical Moon never quite achieves lift off
There's a better musical struggling to emerge from the overgrown but amiable mess that is A Walk on the Moon, the world premiere that American Conservatory Theater is launching on the Geary Theater stage.
Based on the 1999 movie of the same name and featuring a book by Pamela Gray, who also wrote the screenplay, the musical is...
Funny and chilling, it's Humans' nature
There's something so comforting and so terrifying about family. That dichotomy is captured perfectly in Stephen Karam's The Humans, the Tony Award-winning drama that is now touring the country. The superb production is at the Orpheum Theatre as part of the SHN season.
It's a rare enough occurrence these days for a play to go on tour, but to have one this entertaining and unsettling is even more reason for celebration (side note: there are almost four times as many producers listed as actors). Karam's play does something extraordinary by trying to be ultra-ordinary.
Purple reigns at SHN's Orpheum
When I originally reviewed the musical version of The Color Purple based on Alice Walker's Pulitzer Prize-winning novel and the Steven Spielberg's 1985 movie version, I felt the production was too Broadway slick and the score was too bland. The only thing that worked – and indeed the thing that saved that October 2007 touring production – was Walker's story and her powerful characters. (Read the review here.)
That was only 11 years ago, but The Color Purple is back.
Parks finds poetry, drama in epic Father
There's some epic myth-making happening on the stage of American Conservatory Theater's Father Comes Home from the Wars (Parts 1, 2 & 3). Playwright Suzan-Lori Parks – one of those great American playwrights whose mere name should always inspire you to check out her work – nods in the direction of other great epics, most notably The Odyssey, but also, as she has said, The Oresteia and The Mahabharata as she tells the story of a slave who reluctantly follows his master into the Civil War.
Lost in the stars with Annaleigh Ashford
Anyone who laments the lack of spectacular new Broadway stars need look no further than Annaleigh Ashford, a bona fide star if ever there was one. A Tony Award-winner for You Can't Take It with You and former star of Wicked, Kinky Boots and, most recently, Sunday in the Park with George opposite Jake Gyllenhaal, Ashford is smart, charismatic and so loaded with talent it's almost an embarrassment of riches.
Hymns of praise for Kushner's Angels at Berkeley Rep
Angels in America is back in the Bay Area, this time at Berkeley Repertory Theatre, where it is directed by Tony Taccone, who, with Oskar Eustis helped bring this play into the world when it premiered at their Eureka Theatre in 1991. The play's staggering genius is on full display in Taccone's marvelous production, as is Kushner's prescience (Russia, Republican politics, the environmental crisis).
Ga-ga for Go-Go's in giddy Head Over Heels
How thrilling to find the songs of the Go-Go's fashioned into a fizzy new jukebox musical, Head Over Heels with the inventive concept of folding the punky-poppy '80s tunes folded into a (greatly) adapted version of Sir Philip Sidney's late 16th-century Arcadia. You've got song and text separated by more than four centuries, so it's a mash-up of sensibilities with lots of room for cheeky humor and the exploding of gender norms.
Vietgone plays with language, history at ACT
Bold, irreverent, and laugh-out-loud funny, Qui Nguyen's Vietgone, at American Conservatory Theater's Strand Theater, can also be frustratingly scattershot and amateurish.
Complex, human look at gun violence in Berkeley Rep Hours
Julia Cho is exactly the kind of playwright I crave. She's thoughtful, adventurous and fanciful in a way that relates directly to reality (she's not a fantasist – her flights mean something in the day to day). She cares about people and their messes, both internal and external. Her Aubergine at Berkeley Repertory Theatre was a revelation (read my review here) and has become one of my favorite plays in recent memory. Her play Office Hour, now at Berkeley Rep's Peet's Theatre, is a thorny piece of work.
Floating on air in rock musical Weightless
In this version of the story, adapted by Dan Moses and Kate Kilbane, the horrible things aren't quite as godawful as they are in Ovid (the cannibalism, for instance, is absent), but they're still pretty bad, and they (surprise surprise) fit right into our collective #MeToo moment.
Shavian wit still dwells in Aurora's Houses
George Bernard Shaw's Widowers' Houses last played Berkeley's Aurora Theatre Company more than 20 years ago, and though the theater company has come up on the world (bigger, spiffier theater), the satirical world of Shaw's play still reflects badly on our own lack of evolution where greed, poverty and decency are concerned.
Riveting drama in Morisseau's Skeleton Crew
What an incredible talent to balance the dark weight of tragedy and the electrifying light of hope. That's what playwright Dominique Morisseau does in Skeleton Crew, a powerful play now at Marin Theatre Company (in a co-production with TheatreWorks Silicon Valley).