THEATREWORLD

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LIST OF CURRENT BROADWAY SHOWS

(last updated July 1, 2010)

The Addams Family – Musical – Lunt-Fontanne Theatre

American Idiot – Rock Opera – St James’ (adaption of rock band Green Day’s album of the same name)

Billy Elliott - Musical - Imperial Theatre

Brief Encounter - Drama – Studio 54 (Sept 28 thru Dec 5)

Chicago - Musical - Ambassador Theatre

Come Fly Away – Dance - Marquis Theatre – Directed and Choreographed by Twyla Tharp to the music of Frank Sinatra

Driving Miss Daisy – Drama – John Golden Theatre - stars Vanessa Redgrave and James Earl Jones (Oct 25 thru Jan 30)

Elf - Musical - Al Hirschfeld Theatre (Nov 10 thru Jan 2)

Fela! – Musical - Eugene O'Neill Theatre

A Free Man of Color – Drama - Vivian Beaumont Theater (Nov 18 thru Jan 2)

Good People – Drama - Samuel J. Friedman Theatre

In The Heights - Musical - Richard Rogers Theatre

Jersey Boys - Musical - August Wilson Theatre

La Cage aux Folles – Musical - Longacre Theatre

Lend Me A Tenor – Comedy – Music Box Theatre

A Life in the Theatre – Drama - Gerald Schoenfeld Theatre – Stars Patrick Stewart and T K Knight (Opens October 12)

The Lion King - Musical  - Minskoff Theatre

A Little Night Music – Musical - Walter Kerr Theatre - (stars Catherine Zeta-Jones and Angela Lansbury)

Lombardi – Drama - Circle in the Square Theatre (Opens October 21)

Love Never Dies – Musical – Neil Simon Theatre

Mamma Mia! - Musical - Winter Garden Theatre (check performance schedule)

Mary Poppins - Musical - New Amsterdam Theatre

Mrs. Warren's Profession - Drama - American Airlines Theatre – Stars Cherry Jones - (closes December 5)

Memphis – Musical – Sam S Shubert Theatre

Million Dollar Quartet – Musical, compilation - Nederlander Theatre

Next Fall – Drama - Helen Hayes Theatre

Next To Normal – Drama – Booth Theatre

The Phantom of the Opera - Musical - Majestic Theatre

The Pitmen Painters – Drama - Samuel J. Friedman Theatre (Sept 30 thru Dec 12)

Promises, Promises – Musical revival - Broadway Theatre - (stars Kristin Chenoweth and Sean Hayes)

Race – Drama - Ethel Barrymore Theatre

Rock of Ages – (Musical, compilation) – Brooks Atkinson Theatre

The Scottsboro Boys – (Kander/Ebb) Musical / Drama - Lyceum Theatre (Opens October 30)

South Pacific - Musical - Vivian Beaumont Theatre

Spider-Man: Turn Off the Dark – Musical – Foxwoods Theatre (used to be Hilton Theatre) - (opens December 21)

Time Stands Still – Drama – Cort Theatre – Stars Laura Linney - (Oct 7 thru Jan 23)

Unchain My Heart: The Ray Charles Musical – Musical / Drama - Ethel Barrymore Theatre (Opens November 7)

West Side Story - Musical - Palace Theatre

Wicked - Musical - Gershwin Theatre

Women on the Verge of a Nervous Breakdown – Musical - Belasco Theatre (Opens November 4)

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WASHINGTON DC

THEATRE NEWS & REVIEWS

(kindly provided by Meaghan Greyson)

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Dates, titles, and other information subject to change.

SHAKESPEARE THEATRE COMPANY

2009/ 2010 SEASON

September 7-October 24, 2010

All’s Well that Ends Well, by William Shakespeare, directed by Michael Kahn at the Lansburgh Theatre.

 November 26 - January 9, 2011

Candide, by Voltaire, music by Leonard Bernstein, and adapted by Hugh Wheele; lyrics by Stephen Sondheim, John Latouche, Lillian Hellman, Dorothy Parker, and Leonard Bernstein; directed by Mary Zimmerman and co-produced with the Goodman Theatre, at the Sidney Harman Hall.

January 18 – March 6, 2011

Cymbeline, by William Shakespeare, directed Rebecca Bayla Taichman, at the Lansburgh Theatre

March 8-April 10,2011

An Ideal Husband, by Oscar Wilde, directed by Keith Baxter at the Sidney Harman Hall.

May 17-July 3,2011

Old Times, by Harold Pinter , directed by Michael Kahn at the 

Lansburgh Theatre.

June 21- July 24, 2011

The Merchant of Venice, by William Shakespeare, directed by Ethan McSweeney, at the Sidney Harman Hall.

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SAN FRANCISCO BAY AREA

THEATRE NEWS AND REVIEWS

(kindly provided by Dr. Kedar K. Adour, MD)

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PICTURE OF DORIAN GRAY

by Oscar Wilde

Adapted for the stage and directed by John Fisher

Theatre Rhinoceros at Eureka Theatre, 215 Jackson St., San Francisco. (800) 838-3006 or www.therhino.org.

Through September 19, 2010

Unlike Hamlet’s infamous line, “The play’s the thing” meaning the secrets will be revealed in the plot performed by the traveling players. The only secret in John Fisher’s extended adaptation of Oscar Wilde’s novel The Picture of Dorian Gray remains hidden in the attic. However, like the traveling players, this is Rhino Theatre’s second year without a home venue and they have landed in the Eureka Theater, stripping the stage down to its bare-essentials truly creating a black box venue. Fisher has elected to tell the story without scenery, minimal props, pantomime action and the acting in the mode of avant-garde German expressionism to allow complete freedom of movement to convey character. Added to this he uses cinematic devices of slow motion movements accentuated with light cues, sound effects and choreography. It is all rather pretentious

The Picture of Dorian Gray is a classic Victorian horror tale of vanity degenerating into debauchery. Dorian Gray (Aaron Martinsen) is a extremely handsome innocent young man has his portrait painted by Basil Hallward (Jef Valentine) who has become obsessed with Dorian. When Dorian sees the portrait for the first time he is stunned ” If only it was the picture who was to grow old, and I remain young. There's nothing in the world I wouldn't give for that. Yes, I would give even my soul for it.” Lord Henry Wotton (John Fisher) a cynical intellectual friend beguiles Dorian and leads him into life of hedonism eventually perverting innocent charm into vile transgressions. “The only way to get rid of temptation is to yield to it.” As the years pass, Dorian does not age but the corruptions of his soul become apparent in the portrait that he keeps safely hidden in the attic.

Fisher has been able to include all the horrendous infractions of decent behavior beginning with the jilting of Sybil Vane (Maryssa Wanlass) that is directly causative of her suicide. However, doing so requires three hours and 10 minutes of running time.

There could be no doubt that Fisher has an intellectual love affair with Oscar Wilde and is deeply enamored with his words. For some unexplained reason, the opening scene brings out the entire cast to spout the best of Wilde’s infamous aphorisms and witticisms.

The excellent cast of seasoned performers will not erase any fond memories of George Sanders, Hurd Hatfield, Donna Reed and Angela Lansbury from the knock-out 1945 movie but they do a yeoman job trying to strengthen Fisher’s directorial conceits. He doctors the directorial conceits with orchestral riffs, cello solos and operatic selections. Dreamscapes morph into nightmares and Fisher emphasizes the homosexual side of Dorian’s multisexual personality. After all it is understandable that the homosexuality of Dorian’s nature is emphasized since Theatre Rhinoceros is advertised as “America’s longest running professional queer theatre. . .”

Fisher has taken a page from Anne Bogart’s directorial peculiarity of slamming things about and actually has his cast bouncing off the walls in one scene as they exit stage left. You may, as did this reviewer, have trouble fathoming the purpose of some of the directorial carnage and understanding specific character interactions. The overall concept does not work. The inclusion of a full frontal nude scene for Dorian (a noble effort by Martinsen) defies explanation.

Kedar K. Adour, MD

ANTONY AND CLEOPATRA

by William Shakespeare

Directed by Lesley Schisgall Currier.

Marin Shakespeare Company, Dominican University's Forest Meadows Amphitheatre, 1475 Grant Avenue, San Rafael, CA. 415/499/4488 or www.marinshakespeare.org.

August 28 to September 25, 2010.

WHAT A DIFFERENCE A DIRECTOR MAKES

For the last play in Marin Shakespeare Company’s 2010 season, associate Artistic Director Lesley Currier directs Antony and Cleopatra and it is a pleasure to attend a Shakespeare play that would receive his approval. It is presumptuous to presume Shakespeare’s animus but after sitting through a farcical Taming of the Shrew performed by pirates of the Caribbean it is refreshing to observe Romans and Egyptians dressed as Romans and Egyptians (great costumes by Abra Berman) giving good to great perceptive delivery to Shakespeare’s lines.

Antony and Cleopatra takes place years after Julius Caesar’s death and Rome is ruled by a triumvirate of Mark Antony (Marvin Greene), Octavius Caesar (William Elsman) and Lepidus (Julian Lopez-Morillas). Antony has deserted Rome and is having a lascivious tryst with Cleopatra, Queen of Egypt, (Marcia Pizzo). Back in Rome, rebellion is fomenting and Antony’s wife is dead. He returns to Rome, makes peace with Octavius and Lepidus and undertakes a loveless marriage to Octavius’s sister Octavia (Cat Thompson) to seal the bond of familial power.

Meanwhile, Pompey, son of Pompey the Great (Matt Franta), and two sea captains Means (Scott Ragle) and Varrius are planning to overthrow the triumvirate and this will eventually lead to a great battle. Alliances are made and broken and Octavius, Lepidus challenge Pompey after a truce had been made, and the spoils of conquest divided in Antony’s mind unequally. Antony after returning to Egypt has given rule of Egypt and other lands to Cleopatra and her sons and he has spurned Octavia thus inciting Octavius to attack Antony. And you know the rest of the story.

On opening night, a bitter cold wind forced this reviewer to depart at intermission and return to see the second act the next day on a sunny afternoon matinee. What a difference a day makes especially when one can concentrate on the performance. Director Lesley Currier has made a intellectual decision to define Cleopatra as a unbridled post-teenager smitten with Antony, desirous only of pleasure neglecting affairs of state. Pizzo takes this character interpretation to the nth degree and never displays regal authority. This distracting demeanor is accentuated by her hand maidens ( Alexandra Matthew and Lori Dorfman).

Although Marvin Greene is very competent, the great love/infatuation seems only superficial and his leadership abilities are only words not reflected in his bearing. William Elsman shows his great acting range by projecting what could be called “the noblest Roman of them all” that is a complete antithesis of his farce/comedy roles in Travesties and Shrew.

Garry Grossman extracts maximum audience appeal in the unattractive role of Mardian, the eunuch. It is a gem worthy of accolades. Initially Stephen Klum as Antony’s faithful Enorbarbus gives a strong performance early but as the character drifts into depression before an eventual suicide; his lines become muffled apparently to display inward thinking.

The entire show lasts 2 hours and 50 minutes with intermission and Lesley Currier moves the large cast effortlessly around the attractive set but is hampered by the limitations of the staging on the pirate galleon left over from Taming of the Shrew.

Kedar K. Adour, MD

LIGHT IN THE PIAZZA

Music and Lyrics by Adam Guettel / Book by Craig Lucas

Directed by Robert Kelley

Musical direction by William Liberatore

TheatreWorks at the Mountain View Center for the Performing Arts, 500 Castro Street at Mercy. (650) 903-6000 or visit www.theatreworks.org.

August 28 – September 19, 2010-09-03

LOVE IS A FABLE

THE LIGHT IN THE PIAZZA is a strange love story that is destined not to have a happy ending. As the young lovers walk down the wedding aisle the mother of the bride bemoans in song that love is a fable. It is an appropriate ending to this musical. Oddly, for a show that won six 2005 Tony Awards, 5 Drama Desk Awards and 2 Outer Critics-Circle Awards for its acclaimed New York run, a Thursday night performance, in the partially filled Mountain View venue there was a minimal enthusiasm.

Many plays/movies were written about love/desire kindled in post war Italy. One of the most memorable was The Time of the Cuckoo that resurfaced as the smash Richard Rodgers (music), Stephen Sondheim (lyrics) and Arthur Laurents (book) Do I Hear a Waltz. Similarly, The Light in the Piazza musical, based on the novella by Elizabeth Spencer, is set in Florence, Italy the summer of 1953. A Midwestern mother, Margaret Johnson (played and sung with emotional intensity by Rebecca Eichenberger) has brought her twenty-six year old daughter Clara (Whitney Bashor) to Florence. A chance wind blows Clara’s hat into the hands of young 20 year old, non-English speaking Fabrizio (a rugged, sexy Constantine Germanacos). Love is said to have its own international language and raging hormones of youth send a spark into flames with no distinction between desire and love.

To spell out the story Craig Lucas uses the device of actors breaking the fourth wall and he does so with Mrs. Johnson. Clara, at age 10 has been kicked in the head by her pony resulting in a mental age of 10 to 12 with a mature woman’s body. Are Clara’s tantrums and outbursts the signs of her immaturity or the result of overprotection by a guilt-ridden mother? The question is never answered and hangs like a dark cloud over the entire production. This is accentuated when Mrs. Johnson tries to reveal Clara’s “backwardness” to Fabrizio’s family who chose to overlook everything but the fact that the youngsters are “in love.” Or, is the substantial dowry the reason for their acquiescence?

Adam Guettel’s lyrical music needs words to carry forth the story but many are in Italian and meaning must be construed through physical and musical interpretation by the actors. A romantic song, aria or recitative can and does flow across the footlights signifying romance. The audience equally understands anger, doubt, hope and despair but too often the words are unintelligible creating doubt as to their meaning. If Craig Lucas’s and Adam Guettel have intentionally desired to create motivational doubt, they have succeeded.

J. B. Wilson’s monochromatic set is in itself a joy to behold but seems too massive and at times intrusive for this intimate romantic story. Lighting by Pamila Z. Gray and Fumiko Bielefeldt’s and 1950’s costumes add immeasurably to the production. Other major ., characters are portrayed by Martin Vidnovic, Nicolas Aliaga, Ariela Morgenstern, Caroline Altman and Richard Frederick.. Even with the quality production values of TheatreWorks The Light in the Piazza needs a Rogers and Sondheim waltz.

Kedar K. Adour, MD

DREAMGIRLS: Musical

Music by Henry Krieger

Book and lyrics by Tom Eyen

Directed by Robert Longbottom.

Curran Theatre, 445 Geary St., S.F. Two hours, 35 minutes. (888) 746-1799 or www.shnsf.com.

Plays through September 26, 2010

Wow! This road show version of Dreamgirls is fresh, exciting, and visually spectacular and does not need comparison to the original version launched 30 years ago or to the subsequent 2006 movie. Having originated at the Apollo Theater in Harlem the production staff has pulled out all the stops of modern technological wizardry to complement a superb acting, singing and dancing cast deserving their opening night standing ovation.

The story follows the life of eight characters across 12 years, through the music genres of rhythm and blues (R & B), soul, soul jazz morphing into funk music. The Dreamgirls, Effie (Moya Angela), Deena (Syesha Mercado) ) and Lorrell (Adrienne Warren ) are young black women from Chicago who hope to make it big as a singing group, hook up with Curtis (Chaz Lamar Shepherd) an unscrupulous Cadillac salesman turned producer. Their careers start as back up to R & B/soul star James “Thunder” Early (Chester Gregory) eventually going on there own. Over weight, and dark black Effie, the most dynamic lead singer, is replaced by the more “visually acceptable” Deena who goes on to great fame.

Of course, there is conflict and more conflict but the story is only the vehicle for a profusion of great songs, brilliant staging and lights, spirited dancing and to die for costume changes. The directing and choreographer Robert Longbotom keeps the energy level at a fever pitch aided and abetted by visuals, projections and lights that defy description. Six impressive stage-high banks of moving and rotating electrical panels display a plethora of intricate light designs, projections and shadows that are amazing.

Moya Angela in the pivotal role of Effie blasts a powerful voice with great stage presence to dominate when she is on the stage especially with show-stopping "And I Am Telling You I'm Not Going.” However, it is the dynamic Chester Gregory singing and acrobatic dancing moves that make him the audience favorite. Beautiful Syesha Mercado’s Deena will bring memories of Diana Ross and Adrianne Warren does a great turn as Lorrell. In the male roles, Chaz Lamar Shepard exudes the scheming producer role and CC. White holds his own as the frustrated song writer.

You will be thrilled with this must see production and the two hours and thirty minutes running time (with intermission) will have you asking for more.

Kedar K. Adour, MD

TROUBLE IN MIND: Drama

By Alice Childress

Directed by Robin Stanton.

Aurora Theatre, 2081 Addison St., Berkeley. (510) 843-4822 or www.auroratheatre.org.

August 28 – September 26.

TROUBLE IN MIND AT AUROA IS DRAMA INFUSED WITH HUMOR

Trouble in the Mind graces the intimate Aurora Theatre deserving the standing ovation given during the curtain calls. Artistic Director Tom Ross has assembled a superb cast and production team imbuing author Alice Childress’ 1955 competently written but dated play construction, with timeliness and heart tugging drama with regard to the struggle of black actors to integrate into mainstream theatre.

The action of the play takes place on a bare Broadway stagein the Fall of 1957 and is play within a play based on the author’ experience as a black actor and writer. Trouble in the Mind became an off-Broadway hit in 1957 but never made it to Broadway for both social and monetary reasons. Although the major theme emphasizes the extreme roadblocks blacks faced (face?) obtaining acting jobs, that subject is juxtaposed between racism and McCarthyism.

An interracial acting company with a white gung-ho method style director Al Manners (Tim Kniffen) is rehearsing an anti-lynching play preparing for a Broadway opening. Within the script a young black has committed an undefined non-crime, and proclaiming his innocence, is being pursued by a lynch mob. His mother encourages him to accept the offer of the red-neck racist mayor (Michael Ray Wisely) to “protect” him by placing him in jail. The end result is obvious.

The characters within the play being rehearsed are all unflattering stereotypes. Wiletta Mayer (Margo Hall) playing the mother to the young black (Jon Joseph Gentry) is an experienced actor who for years has played subservient blacks in theatres and the movies. Her “trouble in the mind” rebels against the script since “no mother would send her son out to a lynch mob.” Margo Hall’s confrontations with the director are acting gems that are matched line for line by Tim Kniffin.

Elizabeth Carter and Rhonnie Washington are cast as “uncle Tom” blacks who subvert their integrity for the opportunity to “be in the play” since acting jobs for blacks are few. The Jon Joseph Gentry and Melissa Quinn have been assigned roles of idealistic youth and they perform admirably within their underwritten roles.

Rhonnie Washington dominates the stage with his second act monolog accentuating the tribulations of being a black actor. Michael Ray Wisely is absolutely perfect in his role as the intelligent but mealy-mouth racist mayor. His aphorism filled, bible quoting speech opening the second act sets the perfect emphasis for Kniffin and Hall’s verbal duel.

Childress uses a clichéd writing device by book-ending her play by pairing the black actor Wiletta with an aging white Irish custodian Henry (Earll Kingston) who has suffered similar indignities under English rule. It is anticlimactic that the pair bring down the curtain with a contrived scene, although beautifully acted, does not strengthen the script.

Director Robin Stanton has done a superb job with a difficult script and that is strengthened by great acting on a magnificent Eric Sinkkonen designed set. This play is highly recommended for its total visual production as well as having important social significance.

Kedar K. Adour, MD

DON’T ASK

by Bill Quigley

Directed by Ben Randle.

New Conservatory Theatre Center (NCTC) Walker Theatre, 25 Van Ness Ave. Lower Lobby, San Francisco, CA 94102. (415) 861 8972, or www.nctcsf.org.

August 13 – September 19, 2010.

DON’T ASK TENSE BUT UNREWARDING

Don’t Ask , a two hander 80 minute script, is getting an intense staging on the intimate Walker Theatre at the New Conservatory Theatre Center (NCTC) with experienced actors (Adrian Anchondo and Ryan Hough)giving it their all. However, the cliché riddled script and banal dialog is frustrating leading to questions rather than illumination of trials and tribulations of two men, one gay the other probably closeted, serving in the Iraq. The play having garnered an award or two at a 2006 New York Fringe Festival understandably has remained off stage until this West Coast premiere. It does not make an acceptable transition to a mainstream gay theatre such as NCTC.

One would expect, and the hype suggests, the “don’t ask” of the title refers to President Bill Clinton’s “Don’t Ask, Don’t Tell” dictum for gays in the military. It does not and is only tangentially referenced. It refers to a horrendous “incident” involving an Iraq prisoner and you really do not want to know the details, so “don’t ask.” The characters are also stereotypic with Private Bobby having been raised in an abusive home where, “… I was taken to woodshed, beaten on my bare bottom with a strap and my mother just turned up the volume of the TV and had another drink.” Sergeant Charles, married with three children is a 19 year veteran born in Deer Falls, Ohio where, as Booby chides him, “Children can ride their bikes on the streets without supervision.”

Charles’ sexual penetration of Bobby has been going on for multiple sessions and sociopath “I have always been on the bottom” Bobby defines this as love. This is acceptable behavior with trite remarks such as “we are not ourselves”, life is a game”, “you are not special”, “battlefield erections” and “burden of boots.” Author Bill Quigley justifies Bobby’s articulate demeanor by simply giving him a line, “I was going to be a poet.”

Charles’ prodding of Bobby’s knowledge of “the incident” is answered an interminable number of times with “don’t ask.” The “incident” is revealed as a “violation” and Charles’ Midwestern upbringing surfaces and interpersonal conflict between the two makes for some very dramatic tension. Unfortunately, Ryan Hough does not project some of the more meaningful lines and director Randle in the penultimate scene places Hough in a far corner of the stage and is lines are completely unintelligible. The final ending is a cop out.

Maya Linke’s sand-colored slat-walled set of an isolated storage room where the action takes place is perfect for the play. Adrian Anchondo gives a bravo performance with most of the dramatic lines that overshadows Ryan Hough’s role that is written as a sounding board.

Kedar K. Adour, MD

BEACH BLANKET BABYLON: Musical revue.

Created by Steve Silver

Directed by Kenny Mazlow.

Club Fugazi, 678 Beach Blanket Babylon Blvd., San Francisco. (415) 421-422 or www.beachblanketbabylon.com

Open Ended Performances (Season 36) – Running time: 90 minutes

BEACH BLANKET BABYLON IS A 90 MINUTE NON-STOP HYSTERICAL TRIUMPH

After running continuously since 1974, one might erroneously wonder if the quality of the early years could be maintained with the departure of the Val Diamond whose name is synonymous with Beach Blanket Babylon. The answer is an unqualified YES! As this iconic musical revue heads for its 36^th season with Tammy Nelson filling in Diamond’s shoes, more accurately wearing those outrageous hats, the show never misses a beat appearing fresh, vital and topical. This 90-minute romp will have you begging for more as the appreciative audience gave it a well-earned standing ovation. The energy from the cast fills and music of Bill Keck’s four-member band Club Fugazi to the rafters.

The hats that have been a trademark of the show are even better and bigger than ever with a touch of amazing technological pizzas, including Madonna flying across the auditorium to the strains of “ A Prince or Bust” adding to the fun. Director/ choreographer Kenny Mazlow and producer Jo Schuman Silver keep the puns and satire up-to-date/topical. Examples include lampoons of Tiger Woods (if you ain’t got the swing etc), Obama’s “stimulus package. . . Viagra”, Palin’s Lipton Tea baggers and Al Gore (“It’s too Damn Hot” and “We’re having a Heat Wave) with perpetual showstoppers coming on and on.

The story line is simple: A virginal Snow White (“I could eat a poisoned apple and come up on my feet!”) played to perfection by Shawna Ferris, is searching for her one and only Prince with the help of Glinda, the Good Witch from Oz to show her the way. Chave Alexander, the other diva, matches Tammy Nelson note for note with flawless comic timing. Snow White ends up in Italy (Pizza and Chef Boy R D hats), Paris (fabulous Curt Branom as King Louie in pink and bouffant hairdo to outdo hairdos, the dancing French poodles and riotous Can-Can dance by what else, trash cans). I think Snow White gets to the jungle (“Born Free”) and I know she goes to South America where the Latin Bombshell wears her Tutti-Fruiti hat. How could I forget Harry Potter “Dancing with the Stars.”

Enough said, words couldn’t to justice to this spectacular musical revue. Beach Blanket Babylon has become an integral part of San Francisco and has been honored with a street name. Club Fagazi, just happens to be on that street. Do not miss this show. It is worth seeing again and tourists are advised that attendance is mandatory.

Cast: Shawna Ferris, Curt Branom, Jacqui Heck, Paulino Duran, Renee Lubin, Doug, Magpiong, Caitlin McGinty, Ryan Rigazzi, Tammy Nelson, Phillip Williams.

Kedar K. Adour, MD

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SAN FRANCISCO BAY AREA FALL ARTS PREVIEW 2010

(Adapted from San Francisco Bay Area Critics Circle and the San Francisco Chronicle)

September:

DREAMGIRLS: Moya Angela stars as Effie and Syesha Mercado plays Deena in the new touring production of Tom Eyen and composer Henry Krieger's girl-group musical in SHN's Best of Broadway series. Through Sept. 26. Curran Theatre, 445 Geary St., San Francisco. (888) 746-1799, www.shnsf.com.

TROUBLE IN MIND: Aurora Theatre opens its 19th season with a revival of Alice Childress' historic 1955 drama about an interracial company's struggles to get an anti-lynching play on Broadway and the half-truths we tell ourselves about race relations in America. Through Sept. 26. Aurora Theatre, 2081 Addison St., Berkeley. (510) 843-4822, www.auroratheatre.org.

THE LIGHT IN THE PIAZZA: New York veterans Rebecca Eichenberger and Whitney Bashor play the mother-and-daughter Americans in Italy in TheatreWorks' staging of the luminously poignant musical by Adam Guettel and Craig Lucas. Through Sept. 19. Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. (650) 463-1960 , www.theatreworks.org.

THE PICTURE OF DORIAN GRAY. Theatre Rhinoceros opens its season with the world premiere of John Fisher's dramatization of Oscar Wilde's seductive tale of vanity, ambition and lust. Previews today. Runs Sept. 1-19. Eureka Theatre, 215 Jackson St., San Francisco. (800) 838-3006, www.therhino.org.

OLIVE KITTERAGE: Word for Word inhabits two of the interconnected stories from Elizabeth Strout's Pulitzer-winning novel about a coastal Maine town's scary junior high math teacher, performing every word of the originals. Previews begin Sept. 1. Runs Sept. 4-26. Z Space at Theater Artaud, 450 Florida St., San Francisco. (800) 838-3006 , www.zspace.org.

SAN FRANCISCO FRINGE FESTIVAL: The 19th annual Fringe features 43 mostly one-hour shows - from the Bay Area, Toronto, New York and as far as Mauritius - at four Exit Theatre venues and three other locations at very low prices. Sept. 8-19. Exit Theatre, 156 Eddy St., San Francisco. (415) 673-3847, www.sffringe.org.

BLACK PEARL SINGS: San Jose Repertory opens its 30th season with Rick Lombardo directing the West Coast premiere of Frank Higgins' drama about a white ethnomusicologist's search for the roots of early African American music and the bond she forms with a black Texas inmate. Previews begin Sept. 2. Runs Sept. 8-26. San Jose Repertory Theatre, 101 Paseo de San Antonio, San Jose. (408) 367- 7255, www.sjrep.com.

JERRY SPRINGER: THE OPERA: Ray of Light Theatre presents the long-delayed West Coast premiere of one of London's most popular, award-winning and controversial musicals, Stewart Lee and Richard Thomas' blend of opera and daytime TV. Sept. 10-Oct. 16. Victoria Theatre, 2961 16th St., San Francisco. (800) 838-3006, www.jerrysf.com..

IN THE RED AND BROWN WATER: One of the biggest theater events of the fall opens Marin Theatre Company's season, the first part of a three-theater collaboration on Tarell Alvin McCraney's "The Brother/Sister Plays" trilogy. Ryan Rilette directs the drama of a speedy girl who can't outrun her fate. Previews begin Sept. 9. Runs Sept. 14-Oct. 3. Marin Theatre Company, 397 Miller Ave., Mill Valley. (415)388-5208, www.marintheatre.org.

COMPULSION: Mandy Patinkin stars in Berkeley Rep's season opener, a New York-bound new play by Rinne Groff about a man battling publishers and producers over how Anne Frank's newly discovered diary would be presented. Oskar Eustis directs the story based on the life of Meyer Levin. Previews begin Sept. 13. Runs Sept. 16-Oct. 31. Berkeley Repertory's Thrust Stage, 2025 Addison St., Berkeley. (510) 647-2949, www.berkeleyrep.org.

ETIQUETTE: London's exceptionally experimental Rotozaza company challenges the fundamentals of theater by turning the audience into the actors. In a performance piece for two people at a time, each couple sits at a cafe table, exchanging lines and performing actions delivered over headphones. Sept. 16-Oct. 3. Yerba Buena Center for the Arts, 701 Mission St., San Francisco. (415) 978-2787, www.ybca.org.

THE BROTHERS SIZE: The Magic Theatre's season opens with Octavio Solis directing the second part of the three-theater West Coast premiere of Tarell Alvin McCraney's "Brother/Sister Plays" trilogy, in which brotherhood is strained in the bayous. Previews begin Sept. 9. Runs Sept. 21-Oct. 17. Magic Theatre, Building D, Fort Mason Center, San Francisco. (415) 441-8822, www.magictheatre.org.

SCAPIN: Bill Irwin returns to ACT to open its season directing and starring in his (and Mark O'Donnell's) version of Molière's "Scapin" in a physical comedy reunion with Geoff Hoyle and other Pickle Family Circus veterans. Previews begin Sept. 16. Runs Sept. 23-Oct. 10. American Conservatory Theater, 415 Geary St., San Francisco. (415) 749-2228, www.act-sf.org.

MUCH ADO ABOUT NOTHING: Jonathan Moscone celebrates his 10th year as artistic director and closes California Shakespeare Theater's season by directing the enduring comedy of true love derailed and the merry war of words between Beatrice and Benedick. Previews begin Sept. 22. Runs Sept. 25-Oct. 17. Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda. (510) 549-9666, www. calshakes.org.

IPH...: L. Peter Callender and C. Kelly Wright star as the ill-fated Greek king and queen in Colin Teevan's modern adaptation of Euripides' "Iphigenia at Aulis," a co-production by Brava and African-American Shakespeare Company. Previews begin Sept. 25. Runs Sept. 27-Oct. 16. Brava Theater, 2781 24th St., San Francisco. (415) 647-2822, www.brava.org.

October

SUNSET LIMITED: Carl Lumbly stars in the West Coast premiere of novelist Cormac McCarthy's only play, a New York subway encounter that leads two men into a quest for the meaning of life, to open SF Playhouse's eighth season. Previews begin Sept. 28. Runs Oct. 1-Nov. 6. SF Playhouse, 533 Sutter St., San Francisco. (415) 677-9596, www.sfplayhouse.org.

CIRCUS OZ returns to Cal Performances with an all-new show combining its unique circus and musical skills with Aussie humor and plenty of attitude. Oct. 7-10. Zellerbach Hall, UC Berkeley. (510) 642-9988, www.calperformances.org.

SUPERIOR DONUTS: TheatreWorks stages the regional premiere of an uncharacteristically upbeat bakery tale of friendship and redemption by Tracy Letts, author of the intense "August: Osage Country" and "Killer Joe." Previews begin Oct. 6. Runs Oct. 9-31. Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. (650) 463-1960, www.theatreworks.org.

MARY STUART: Royal blood gets spilled when Elizabeth I faces off against Mary, Queen of Scots, in Shotgun Players' new version of Friedrich Schiller's long-popular tragedy, adapted and directed by the adventurous Mark Jackson. Previews begin Oct. 6. Runs Oct. 9-Nov. 7. Ashby Stage, 1901 Ashby Ave., Berkeley. (510) 841-6500, www.shotgunplayers.org.

BANASHPEEL: Cirque du Soleil returns with something different, a vaudeville-style combination of slapstick, dance and acrobatics created by David Shiner and reworked since its poor reception in New York. Oct. 16-Nov. 14. Golden Gate Theatre, 1 Taylor St., San Francisco. (888) 746-1799, www.shnsf.com.

HABIBI: Campo Santo and Intersection present a world premiere by Sharif Abu-Hamdeh, directed by Omar Metwally, in which mysteries of stolen art intertwine with the stories of three generations of Palestinian immigrants. Previews begin Oct. 14. Runs Oct. 18-Nov. 7. Intersection for the Arts, 446 Valencia St., San Francisco. (415) 626-3311, www. theintersection.org.

9 CIRCLES: Kent Nicholson directs the world premiere of the newest work by Bill Cain ("Equivocation"), the tale of a confused teen on trial for acts he may have committed while serving in the U.S. Army. Previews begin Oct. 14. Runs Oct. 19-Nov. 7. Marin Theatre Company, 397 Miller Ave., Mill Valley. (415)388-5208, www.marintheatre.org.

THR SECRET ORDER: Cancer researchers find themselves ensnarled in corporate greed and the politics of science in the West Coast premiere of Robert Clyman's biomedical thriller. Previews begin Oct. 14. Runs Oct. 20-Nov. 7. San Jose Repertory Theatre, 101 Paseo de San Antonio, San Jose. (408) 367-7255, www.sjrep.com.

THE GREAT GAME: Afghanistan: From London's Tricycle Theatre comes one of the fall's major events, 12 short plays by some of England's leading playwrights (David Edgar, Naomi Wallace, Lee Blessing et al.) covering the sweep of Afghan history, and the international struggle to control Central Asia, from 1842 to today. The cycle is presented in three separate programs performed in repertory. Oct. 22-Nov. 7. Berkeley Repertory's Roda Theatre, 2015 Addison St., Berkeley. (510) 647-2949, www.berkeleyrep.org.

THE LARAMIE RESIDENCY: Moisés Kaufman and the Tectonic Theater Project return to the Bay Area for a three-night stint focused on its landmark play and its epilogue, about the murder of Matthew Shepard. Oct. 21, Kaufman in conversation with Berkeley Rep's Tony Taccone; Oct. 22, "The Laramie Project"; Oct. 23, "The Laramie Project: Ten Years Later." Jewish Community Center San Francisco, 3200 California St., San Francisco. (415) 292-1233, www.jccsf.org.

RELUCTANT: Playwright-performer Joel Israel and director Meiyan Wang open at Brava in the regional premiere of his creepy tale of an edgily sympathetic man's obsession with killing women. Previews begin Oct. 23. Runs Oct. 25-Nov. 13. Brava Theater, 2781 24th St., San Francisco. (415) 647-2822, www.brava.org.

BEOWULF: The Epic in Performance: Benjamin Bagby performs the ancient epic of Beowulf's battles with Grendel, Grendel's mom and others in the original Anglo-Saxon (with supertitles), accompanying himself on medieval lyre. Oct. 26-30. Cal Performances, Zellerbach Playhouse, UC Berkeley. (510) 642-9988, www.calperformances.org.

DRACULA: Michael Butler directs Center Rep's Halloween offering, Bram Stoker's classic chiller as adapted by John Balderston and Hamilton Deane. Previews begin Oct. 22. Runs Oct. 26-Nov. 20. Center Repertory Company, Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek. (925) 943-7469, www.centerrep.org.

WEST SIDE STORY: Original book writer Arthur Laurents' recent Broadway revival of the great Leonard Bernstein musical (lyrics by Stephen Sondheim) arrives on national tour in SHN's Best of Broadway series. Oct. 27-Nov. 28. Orpheum Theatre, 1192 Market St., San Francisco. (888) 746-1799, www.shnsf.com.

BECOMING BRITNEY: Molly Bell and Daya Curley's new show, a New York Fringe Festival hit, takes a snarky look at how a pop sensation winds up bald and trapped in a musical. Previews begin Oct. 28. Runs Oct. 30-Nov. 14. Center Repertory Company, Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek. (925) 943-7469, www.centerrep.org.

November

MARCUS; or THE SECRET OF SWEET: ACT closes the three-theater West Coast premiere of McCraney's "Brother/Sister Plays" trilogy with Mark Rucker's staging of the final play, a bayou coming-of-age tale wrestling with sexual identity in the shadow of Hurricane Katrina. Previews begin Oct. 29. Runs Nov. 3-21. American Conservatory Theater, 415 Geary St., San Francisco. (415) 749-2228, www.act-sf.org.

PA;P,OMP: Solo artist David Cale ("The Redthroats," "Deep in a Dream of You") returns to embody seven characters in a tale of a Central Park carriage driver who wants to write a great novel and the wealthy women in his life. Previews begin Oct. 29. Runs Nov. 4 through Dec. 5. Aurora Theatre, 2081 Addison St., Berkeley. (510) 843-4822, www.auroratheatre.org.

OR: Liz Duffy Adams explores the real-life 17th century transition of Aphra Behn from government spy to England's first female professional playwright in the West Coast premiere of a cross-dressing espionage comedy directed by Loretta Greco. Previews begin Nov. 4. Runs Nov. 10-Dec. 5. Magic Theatre, Building D, Fort Mason Center, San Francisco. (415) 441-8822, www.magictheatre.org

4PLAY: The Flying Karamazov Brothers bring their latest foray into comedy, comic music and world-class juggling back to the Bay Area. Nov. 10 through 14. San Jose Repertory Theatre, 101 Paseo de San Antonio, San Jose. (408) 367- 7255, www.sjrep.com.

THE TEMPEST: Director Rob Melrose gets up close and personal with a three-person chamber adaptation of Shakespeare's classic to open the adventurous Cutting Ball Theater's 11th season. Previews begin Nov. 5. Runs Nov. 11-28. Exit on Taylor, 277 Taylor St., San Francisco. (800) 838-3006, www.cuttingball.com.

ZENSHIZA THEATRE COMPANY OF JAPAN in its first American visit, performs two programs for Cal Performances. One program includes the classic kabuki heroic drama "Narukami" and the comedy "Chatsubo" ("The Tea Chest"); the other features the modern historical drama "Honen and Shinran," about progressive 13th century Buddhist priests in a time of civil war. Nov. 13-14. Zellerbach Hall, UC Berkeley. (510) 642-9988, www.calperformances.org.

HAPPY NOW?: A busy executive attempts to juggle parenthood, a detached husband, needy parents, bickering friends and the temptations of infidelity in the West Coast premiere of Lucinda Coxon's English comedy. Previews begin Nov. 11. Runs Nov. 16-Dec. 5. Marin Theatre Company, 397 Miller Ave., Mill Valley. (415) 388-5208 www.marintheatre.org.

THE SUCCESS OF FAILURE (or, The Failure of Success): Cynthia Hopkins and company complete her epic folk tale from the future, "The Accidental Trilogy," with a multimedia intergalactic saga of one woman faced with saving either the Earth or the universe. Nov. 18-20. Yerba Buena Center for the Arts, 701 Mission St., San Francisco. (415) 978-2787

CORALINE: All is not as perfect as it at seems when Coraline passes through the magic door in SF Playhouse's West Coast premiere of David Greenspan and Stephin Merritt's musical adaptation of the book by Neil Gaiman. Previews begin Nov. 16. Runs Nov. 20-Jan. 15. SF Playhouse, 533 Sutter St., San Francisco. (415) 677-9596, www.sfplayhouse.org.

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CHICAGO

THEATRE REVIEWS

(kindly provided by Ruth Smerling

PLEASE NOTE: Ruth has certain Chicago Theatre reviews archived

She may be contacted by e-mail at the following address: Reelgodess@aol.com

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JAILBAIT LEAVES PROFILES ACTORS EXPOSED WITHOUT DROPPING A STITCH

In the winter the Profiles Theatre is a good place to get in out of the cold. The plays often have scenes with scantily clad to nude actors making it necessary to crank the heat up to toasty making the theatre is as comfy as a sip of cocoa. This year the Profiles opens its 22^nd season more exposed than ever with Jailbait by Deidre O’Connor, directed by Artistic Director and Profile’s fearless leader, Joe Jahraus. Jailbait is a story that has never left the actors stripped barer even though they remain fully dressed throughout the performance.

Playwright Deidre O’Connor, kind of a female Neil LaBute, examines the lives of two nice but mischievous 15-year-old girls, Claire (Rae Gray) and Emmy (Zoe Levin). The loss of Claire’s dad has made her unstable and she clings to Emmy, who seems grounded and even sophisticated. Emmy has even “done it” twice with her boyfriend. So when Emmy suggests they get all dressed up and put on layers of make up and use fake ID’s to meet a couple of monied older guys, Claire is immediately on board.

The guys are waiting at the bar. Shane Kenyon is Mark, a sexy, trendy guy who seems to be embarking on an HIV tour. Mark has been broken hearted enough to stop looking for love and now only wants meaningless relationships, like the one he has with Emmy. He’s asked Emmy to find a girl for his friend, Robert (Eric Burgher). Robert is an average guy who looks like he’s always just coming from work. Dressed in a business suit, even though he’s taken off his tie, he still looks a little stuffy and out of place in a pick up bar. He has just broken up with a girl he was very committed to and just like Claire trusts Emmy for direction and guidance, Robert trusts Mark, who guarantees that a little decadence is all he needs.

O’Connor streams common sense and convention throughout with each character voicing doubts that seem meek in the pounding rock music and incessant flow of alcohol. Robert and Claire are so desperate to step on solid ground they decide to try something new. Robert does not fully believe that drunken sex is truly going to still the screaming fear of being alone and he keeps looking at his cell phone for a call from his ex. Performances are peak with a good revelation by Eric Burgher who works comfortably with the complicated emotional material. Burgher is gentlemanly, cautious and even a little bit awkward as Robert. Rae Gray’s Claire, a little unsteady on her heels, feels like she may have found the older man she needs to rely on.

Playwright O’Connor does a good job cracking the code of emotional instability and the search for something or someone to believe in. But at times her script is uninteresting, filled with idle banter over the battle each character has with good and evil. Assuming Mark and Robert are mature adults with enough eyesight, the age of 15 for the girls is a little bit too young. Plus, before the men get these little brats into bed they have conversation, the conversation gives hints about the lack of maturity the girls have. How could anyone be drunk enough to eschew the threat of jail time?

Director Joe Jahraus manages to rise above script defects encourage emotionally charged performances. The characters, hoping for some way to move on with their lives, hit rock bottom by the end of the play and must confront unbearably harsh truths ahead of them. Despite its controversial theme, Jailbait is Joe Jahraus’ most engaging directorial endeavor since Adam Rapp’s long running Blackbird.

Jailbait runs through October 17 at the Profiles Theatre, 4147 N. Broadway. Phone 773- 549-1815 for tickets and information.

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