Chad Jones’ Theater Dogs

The American Theatre Critics Association (ATCA) has announced that Elyzabeth Gregory Wilder is the winner of its 2008 M. Elizabeth Osborn New Play Award for an emerging playwright. The award was presented March 29 at the Humana Festival of New American Plays in Louisville, Ky.

While the award is based in part on Wilder’s career, it focuses on her 2007 play, Gee’s Bend (seen at left in a 2006 Alabama Shakespeare Festival reading starring Cheri Lynn), which depicts the turbulent history of African Americans in the 20th century by focusing on a single family in the real community of Gee’s
Bend, Alabama. Although it is fiction, Wilder did on-the-ground research with the women of the town who earned national recognition through exhibits of the quilts made by several generations.

Wilder was told by quilter Mary Lee Bendolph, “Just write it honest.” Even in an early reading, the play moved Orlando Sentinel critic Elizabeth Maupin to write, “Gee’s Bend is a lovefest — between the characters and the land they live on, between the actors and the characters they’re portraying, between the play and the audience.”

Gee’s Bend was commissioned by the Alabama Shakespeare Festival’s Southern Writers Project. It had a 2006 reading in the Project’s Festival of New Plays and its fully-staged premiere in January, 2007 at the Alabama Shakespeare
Festival. It has since toured the state and received productions elsewhere with more slated for 2008.

The Osborn award is designed to recognize the work of an author who has not yet achieved national stature - e.g., has not had a significant New York production, been staged in more than a few regional theaters or received other major national awards. Last year’s Osborn Award went to Ken LaZebnik, author of Vestibular Sense.

The Osborn Award was established in 1993 to honor the memory of Theatre Communications Group and American Theatre play editor M. Elizabeth Osborn. It carries a $1,000 prize, funded by the Foundation of the American Theatre Critics Association. Honorees are recognized in The Best Plays Theater Yearbook, the annual chronicle of United States edited by Jeffrey Eric Jenkins, now in its
89th year. Making the selection from plays nominated by ATCA members is the ATCA New Plays Committee, which also selects honorees for the Harold and Mimi Steinberg/ATCA New Play Award.

Wilder recently returned to her native Mobile, Alabama from Los Angeles to concentrate on her playwriting. She has written The First Day of Hunting Season; Fresh Kills, performed in London; Jubilee; Tales of an Adolescent Fruit Fly, her first play, which was done at the Ergo Theatre Co.; and The Theory of Relativity. She is working on another commission for the Alabama Shakespeare Festival, The Furniture of Home, and a play for the Denver Center, The Bone Orchard.

For more information, visit www.americantheatrecritics.org.

Prior Osborn Award Recipients

2007 Vestibular Sense, Ken LaZebnik, Mixed Blood Theatre Company, Minneapolis, MN
2006 American Fiesta, Steven Tomlinson, State Theatre Company, Austin, TX
2005 Madagascar, J.T. Rogers, Salt Lake Acting Co., Salt Lake City, UT
2004 The Intelligent Design of Jenny Chow, Rolin Jones, South Coast Repertory, Costa Mesa, CA
2003 The Dinosaur Within, John Walch, State Theatre, Austin, TX
2002 Chagrin Falls, Mia McCullough, Stage Left Theatre, Chicago, IL
2001 Waiting to be Invited, S.M. Shephard-Massat, Denver Center Theatre Company, Denver, CO
2000 Marked Tree, Coby Goss, Senachai Theatre, Chicago, IL
1999 Lamarck, Dan O’Brien, the Perishable Theatre Company, Providence, RI
1998 The Glory of Living, Rebecca Gilman.
1997 Thunder Knocking On The Door, Keith Glover.
1996 Beast on the Moon, Richard Kalinoski.
1995 Rush Limbaugh in Night School, Charlie Varon.
1994 Hurricane, Anne Galjour.

Loretta Greco, whom Bay Area audiences know mainly from her work with American Conservatory Theater, has been named as the new artistic director of the Magic Theatre. She replaces Chris Smith.

“I am thrilled to have this opportunity to partner with David Jobin in launching the next era of adventuresome work at Magic Theatre,” Greco said in a statement. “I believe Magic’s 41-year legacy of unwavering commitment to playwrights and the development of bold new work is truly paramount to the future of American theater. I can’t wait to bring my passion for new work to a city I adore and to join San Francisco’s rich and wonderful community of artists.”

Greco arrives at the Magic with a directing career regionally and in New York, as well as producing experience as the producing artistic director of Women’s Project in NYC and as associate director and staff producer of McCarter Theatre.

Greco has director’s credits in the Bay Area as well, including the world premiere of Morbidity & Mortality at the Magic and Speed-the-Plow, Blackbird, and Lackawanna Blues at ACT.

Her New York premieres include: The Story, Lackawanna Blues, Two Sisters and a Piano (Public Theater); Victoria Martin: Math Team Queen, Touch, Gum (Women’s Project); Meshugah (Naked Angels); Mercy (Vineyard Theatre); A Park in Our House (New York Theater Workshop); and Under a Western Sky (INTAR/ Women’s Project). Regional credits include: Romeo and Juliet and Stop Kiss (Oregon Shakespeare Festival); and productions at Long Wharf, South Coast Repertory Theatre, McCarter Theater, Intiman, Williamstown Theater Festival, La Jolla Playhouse, Cincinnati Playhouse in the Park, Repertory Theatre of St Louis, Coconut Grove Playhouse, Playmakers Repertory Company, and the Cleveland Play House. Greco also directed the national tour of Having Our Say as well as the play’s international premiere at the Market Theatre in Johannesburg, South Africa. Greco has collaborated with a variety of distinguished contemporary writers including Pulitzer Prize-winner Nilo Cruz, Tracey Scott Wilson, Emily Mann, Ruben Santiago Hudson, Deb Margolin, Luis Alfaro, Joyce Carol Oates, and Jessica Hagedorn. Greco’s own play, Passage: Stories of the Cuban Balseros premiered at Miami’s AREA Stage where it ran for six months before transferring to the Coconut Grove Playhouse.

“Loretta is the ideal choice to be leading the Magic at this time,” said Harold Goldstein and Missy Kirchner, co-presidents of Magic Theatre Board of Trustees. “Her experience and commitment to Magic Theatre’s mission was clear from the first day we met her. The Board and the staff are excited to be working with her to build on Magic’s foundation and legacy, most recently accomplished under Chris Smith’s leadership.”

“Loretta’s résumé and reputation speak volumes,” said Jobin, Magic Theatre’s managing director. “And personally, I am thrilled to have her on board.”

For more information, visit www.magictheatre.org.

Yes, Katie Holmes, late of Dawson’s Creek, she of the couch-jumping husband, the ever-changing cute hairdos and the impossibly adorable Suri parentage, is being rumored to be heading to Broadway for a revival of Arthur Miller’s All My Sons starring John Lithgow and Dianne Weist. Ms. Holmes must have had a conversation with Jennifer Garner, who had such a winning run on Broadway recently in Cyrano. And Holmes’ husband, Tom Cruise, must have had a man-to-man chat with Garner’s husband, Ben Affleck, about what it’s like to be a stay-at-home dad in paparazzi-infested New York.

Variety says the 29-year-old Holmes is in negotiation for the 1947 show, which would mark her Broadway debut. The stage run would also give Ms. Holmes a little much-needed acting cred. Her most recent big-screen turn, opposite Diane Keaton and Queen Latifah in Mad Money didn’t exactly generate Oscar buzz.

In other news of the Great White Way (via Barbaray Lane in San Francisco), the long-rumored musical version of Armistead Maupin’s Tales of the City looks like it’s finally rolling toward completion. It was long rumored that pop wunderkind Rufus Wainwright was going to turn Maupin’s beloved Baghdad by the Bay book into a musical, but now he’s off writing an opera for the MET.

So now it’s up to Jeff Whitty (Tony Award-winning book writerfor Avenue Q) and Scissor Sisters members Jason Sellards (aka Jake Shears, composer/lyricist) and John Garden (composer) to bring characters Michael “Mouse” Tolliver, Anna Madrigal, Mary Anne Singleton to the Broadway stage.

Jason Moore, who helmed Avenue Q and the upcoming Shrek musical, is slated to direct.

Seems a natural that a Tales musical would have its pre-Broadway run in — where else? — San Francisco. No word yet on such practical things as production dates.

The American Theatre Critics Association (ATCA) has selected Moises Kaufman’s 33 Variations to receive the 2008 Harold and Mimi Steinberg /American Theatre
Critics Association New Play Award. The announcement was made Saturday, March 29 at Actors Theatre of Louisville during the Humana Festival of New American Plays. The award includes a commemorative plaque and a cash prize of $25,000 - currently the largest national playwriting award. Deborah Zoe Laufer’s End Days and Sarah Ruhl’s Dead Man’s Cell Phone also received citations and $7,500 each. Ruhl previously received a Steinberg/ATCA citation in 2005; Kaufman and Laufer are first time honorees.

“The long-standing partnership between the Harold and Mimi Steinberg Charitable Trust and the American Theatre Critics Association has recognized some of today’s greatest writers, and helped identify the great playwrights of tomorrow,” said trustee Jim Steinberg. “We’re delighted to help support the unique telling of tales on the American stage.”

The Steinberg/ATCA Award was started in 1977 to honor new plays produced at regional theaters outside New York City, where there are many new play awards. No play is eligible if it has gone on to a New York production within the award year (in this case, 2007).

Kaufman’s 33 Variations debuted in September at Washington’s Arena Stage. It offers a fictional imagining of Beethoven’s creation of 33 brilliant variations on a prosaic waltz. The composer’s obsessive pursuit of perfection parallels a modern tale of a terminally-ill musicologist struggling with her own obsession to unearth the source of Beethoven’s.

Laufer’s End Days premiered in October at Florida Stage in Manalapan. Sometimes comic, sometimes moving, it studies the challenge of maintaining faith in a world dominated by science and fear. A Jewish family copes with the aftermath of 9/11 as the mother, now a born-again Christian, tries to convert them before the rapture arrives — on Wednesday.

Ruhl’s Dead Man’s Cell Phone made its bow at Washington D.C.’s Woolly Mammoth Theatre Company in June. The quirky comedy examines the fallout when a lonely woman takes the cell phone from the body of dead man she discovers sitting next to her in a café and begins answering his calls.

These three were among six finalists selected from 28 eligible scripts submitted by ATCA members. They were evaluated by a committee of 12 theater critics, led by chairman Wm. F. Hirschman of the South Florida Sun-Sentinel and vice-chair George Hatza of the Reading (Pa.) Eagle. Other committee members are Michael Elkin, Jewish Exponent (Pennsylvania); Wendy Parker, The Village Mill (Virginia); Michael Sander, Back Stage (Minnesota); Herb Simpson, City Newspaper (Rochester, NY); Chad Jones, formerly of the Oakland (Cal.) Tribune; Jay Handelman, Sarasota Herald-Tribune; Ellen Fagg, The Salt Lake Tribune; Misha Berson, Seattle Times; Pam Harbaugh, Florida Today; and Elizabeth Keill, Independent Press (Morristown, NJ).

“The amazing range of work — dramas, fantasies, musicals, farces, melodramas — was uplifting confirmation that theater remains a vital and evolving art form that can speak to every generation,” Hirschman said.

Since the inception of ATCA’s New Play Award in 1977, honorees have included Lanford Wilson, Marsha Norman, August Wilson, Jane Martin, Arthur Miller, Mac Wellman, Adrienne Kennedy, Donald Margulies, Lee Blessing, Lynn Nottage, Horton Foote and Craig Lucas. Last year’s honoree was Peter Sinn Nachtrieb’s Hunter Gatherers.

The Harold and Mimi Steinberg Charitable Trust was created in 1986 by Harold Steinberg on behalf of himself and his late wife. Pursuing its primary mission to support the American theater, it has provided grants totaling millions of dollars to support new productions of American plays and educational programs for those who may not ordinarily experience live theater.

The arrival of a new Adam Bock play is always an event.

Even though the Canadian playwright decided to forgo the pleasures of life in the Bay Area for the rigors of a New York writer’s existence, we still love him. And as long as he sends us a play every now and then (like The Shaker Chair, a Shotgun Players/Encore Theatre Company production from last year), we’re happy.

Last week, Bock’s latest, The Drunken City, opened at Playwrights Horizons’ Peter Jay Sharp Theater in New York. Christopher Isherwood, writing in the New York Times, called it a “flimsy but sweet comedy” but generally liked the tale of a bride-to-be and her three bridesmaids out on the town just before the wedding, drinking quite a lot, fraternizing with men who aren’t their husbands or fiances and coming to some realizations about love and marriage.

The production marks the New York debut of Cassie Beck (above), a uniquely charming Bay Area actress who, with her husband, Kent Nicholson, is co-artistic director of Crowded Fire Theatre Company. Isherwood had this to say about Beck, who plays Marnie, the bride-to-be: “Ms. Beck, making her New York debut, brings an understated sweetness to her role as Marnie, whose inebriation gradually subsides as she discloses the real dissatisfaction fueling the evening’s folly.”

Also in the cast are Maria Dizzia, who was so devastatingly good as the title character of Sarah Ruhl’s Eurydice at Berkeley Repertory Theatre, and Barrett Foa, who did his best to charm in the disco drudgery of TheatreWorks’ world-premiere musical Kept.

Writing in the New York Daily News, Joe Dziemianowicz called Bock’s play “a playful and hopeful comedy in which everybody’s tipsy and everyone’s shaken and stirred after one long, liquor-filled night.” He has this to say about our local star: “Beck, in her New York debut, is fantastic and turns the moment into something deeply touching. Her five castmates are as equally appealing, adorable and top-shelf.”

All good news. So when’s our next Adam Bock play? We have yet to see The Receptionist or The Thugs in these parts, and it sounds like The Drunken City, complete with Beck in the lead, was just made for San Francisco.

Saw a fantastic documentary last night that I highly recommend: Word and Music by Jerry Herman. It was on PBS for about a second, but it’s available via PBS Home Video.

Clearly this was a labor of love for Amber Edwards, who produced, wrote, directed and edited the 90-minute movie. She adores Herman, and it’s easy to see why. He’s frank, funny and endearing. He and Edwards do corny things like visit his childhood home and grade school, but the better part of the film is spent concentrating on Herman’s extraordinary work. And it is extraordinary. Too often Herman is dismissed for not being Sondheim. But there’s something to be said for a man who writes music and lyrics that inspire joy, or at the very least, a smile. Herman is more than capable of doing that.

Of the many talking heads, Michael Feinstein is the most eloquent about Herman’s musical skill, which is underrated. Feinstein demonstrates Herman’s skill by singing a song cut from Hello, Dolly! called “Penny in My Pocket,” then he unleashes Herman’s genius for lyric and melody when he sings “I Won’t Send Roses” from Mack and Mabel.

There’s great footage — seemingly from somebody’s home movie camera — from the original Broadway productions of Dolly and Mame. Of particular interest to me was the section on Dear World, the flop the followed hot on the heels of the Dolly-Mame juggernaut. Angela Lansbury starred in Herman’s musical adaptation of Giradoux’s The Mad Woman of Chaillot. It’s my favorite of Herman’s scores, and, somewhat ironically, it contains some of his worst songs. I’ll gladly tolerate the mediocrity of the title song (which Herman admits was a mistake) to revel in the rich musical pleasures of “Each Tomorrow Morning” or “I Don’t Want to Know.” Lansbury says she must take some of the blame for the show’s failure (in spite of the Tony Award she won for it), but the divine Angela can’t really be blamed for anything but being a consummate pro.

Another of the movie’s heroes is George Hearn, who did drag in a big way in Herman’s La Cage aux Folles. I had no idea that Hearn, who was genius in the role of ZaZa/Albin, was embarrassed by the drag — at first. He got used to it. Hearn is clearly moved by the experience to this day and the effect the musical had on people.

The extras on the DVD are few but delectable. We get the full title song from Hello, Dolly! as performed at Lyndon Johnson’s inaugural ball in 1965 (black and white, small stage, synched to the original cast recording). Carol Channing is at her preening best. There’s also a well filmed clip of a number called “Dancin’ Shoes,” which Herman wrote for his 1955 college show at the University of Miami. It’s very Gene Kelly-ish. And finally, from The Merv Griffin Show, we get a great clip of Herman playing piano while Ethel Merman sings “Before the Parade Passes By.” We don’t get much of Ethel and Jerry’s time on Merv’s couch (where Lucille Ball, curiously, is a guest), but we get a tasty morsel.

Seeing Herman’s body of work together like this — from Parade and Milk and Honey to The Grand Tour — helps foster new appreciation for a great American composer who, when all is said and done, will find his place next to greats such as Irving Berlin and, yes, Stephen Sondheim.

For more information visit www.pbs.org.

Here’s the brilliant George Hearn singing “I Am What I Am” from La Cage aux Folles.”

Opened March 26, 2008 at American Conservatory Theater

The town’s mayor (Graham Beckel, seated) succumbs to a sneezing fit while accepting the congratulations of the town council (from left: Delia MacDougall, Andrew Hurteau, Dan Hiatt, and Rod Gnapp) on the engagement of his daughter to Khlestakov.
Photos by Kevin Berne

Fantastic cast makes Gogol’s Government worth inspecting

Let me just say that I did not really enjoy American Conservatory Theater’s production of The Government Inspector, a Nikolai Gogol farce in a 2005 adaptation by Alistair Beaton.

The play itself does not have the farcical flair of Feydeau, nor does it have the satiric bite or vivacity of Moliere. At 2 hours and 45 minutes, this desperately unfunny play is long and in need of heavy-duty editing.

But I will say that where director Carey Perloff’s production stumbles in its attempts at exaggerated slapstick buffoonery, it excels in personality.

The ACT stage is virtually crammed with local talent, and these great actors all find ways to rise above the clunkiness of the play, which is about a remote Russian town filled with the usual pettiness and corruption. When word goes out that a government inspector has arrived, everyone panics, fearing their corruptness and pettiness will be discovered. No one, not even Russian peasants, it seems, wants the jig to be up.

Assuming that a gentleman at the inn — who is unable to pay his bill — is the inspector, everyone goes straight into ass-kissing mode, even though the broke man is really just a broke, wanna-be aristocrat trapped in a dingy inn with an unpaid bill, no food and his man servant.

That’s really about it for plot — mistaken identity, pettiness and corruption stretched into nearly three hours of so-called comedy that feels forced most of the time.

Here’s what I enjoyed in the play:

Amanda Sykes (above left) as the mayor’s daughter and Sharon Lockwood (above right) as the mayor’s wife. The two women are nasty and catty with each other and practically knock each other over to win the attention of the so-called inspector. Like so much of the production, the actors push too hard, but Sykes and Lockwood are a good team, and they have some great moments.

Another dynamic duo is Gregory Wallace (above left), who plays the man mistaken for the inspector, and Jud Williford (above right), the man servant who seems to be the only reasonably sane person in the play. Wallace is at his very best — desperate, snooty and more funny than annoying, which is no small feat in a production this manic.

The production itself is visually interesting, though the dreariness of the play works against it. Erik Flatmo’s set — barely standing facades, peeling wallpaper, general mayhem amid snow flurries — features a central performing platform that raises and lowers at center stage, and a great deal of over-crowded action takes place in this small space. The ever-reliable Beaver Bauer contributes costumes reminiscent of Russian toys, all whirling and nesting and full of rich textures and cartoonish poverty.

At a certain point in the show, watching such local laugh masters as Dan Hiatt (as the magistrate), Delia MacDougall (as the director of education), Anthony Fusco (as the drunk postmaster) and Joan Mankin and Geoff Hoyle (as the ginger-haired duo Bobchinsky and Dobchinsky respectively), I couldn’t help wishing they’d stop doing the Gogol and start doing something that would let them unleash their comic genius.

The Government Inspector continues through April 20 at American Conservatory Theater, 415 Geary St., San Francisco. Tickets are $17-$82. Call 415-749-2228 or visit www.act-sf.org.

This isn’t a theater item, but I wanted to share with you a superb concert experience I had Tuesday night at the Palace of Fine Arts Theatre, where k.d. lang brought her Watershed tour promoting her new album of the same name.

I’ve see lang a number of times in concert, but I have never seen her so relaxed or in such strong, beautiful voice. She has clearly arrived at a good spot in her life, both personally and professionally. Her confidence and warmth are palpable, and she obviously takes great pride in her new album (on the Nonesuch label), for which she served as producer for the first time. She co-wrote all the songs on the disc, which is her strongest collection of original material since 1992’s Ingenue.

The evening got off to a surprising start with the opening act, solo pianist Dustin O’Halloran, whose offbeat charm set the tone for his lovely keyboard work — sort of a blend of New Age and classical but entirely lacking in pretension.

That mellowed the sold-out crowd quite a bit, though lang’s entrance — barefoot as usual — revved things up. With her five-man band solidly behind her, lang launched into the new album with “Upstream.” She would go on to perform the album in its entirety, and the live versions were even better than the album versions — more lived in, more passionate.

From her previous album, the superb Hymns of the 49th Parallel (easily lang’s best overall album, also on the Nonesuch label), lang sang Neil Young’s “Helpless” and literally brought the house down with Jane Siberry’s haunting and hopeful “The Valley” and Leonard Cohen’s “Hallelujah.” The latter two performances each earned a standing ovation, and though “Hallelujah” verges on the overexposed these days (hello, “American Idol”), lang’s full-throated, dramatic version is the best this side of Jeff Buckley.

With such an impressive back catalogue from which to choose, it was interesting to see what oldies lang would perform. She surprised and deligthed with “Wash Me Clean” from Ingenue, “Western Stars” from Shadowland and “Smoke Dreams” from drag.

Of course she performed her greatest (and only real) hit, “Constant Craving,” but like so many requisite performances, lang has allowed the song to evolve and take on new life while still pleasing the fans.

For her first encore, she used an old-timey microphone and an acoustic setting to perform an early song, the rockabilly “Pay Dirt,” then accompanied herself on the banjo for “Jealous Dog” from the new album. “I’ve recently taken up the banjo,” lang said. “I realized it’s a chick magnet.”

Her final song of the evening, from the new album, was her nod to being a “good Buddhist.” She described “Shadow and the Frame” as an “existentialist lullabye,” and so it is.

“And so illusive
this life we live
sad and dull
but beautiful

So I find myself
and what I became
having nowhere else
to lay the blame

The shadow and the frame
so perfectly remain

The shadow and the frame
are indeed the same.”

Visit k.d. lang’s official Web site here or here.

Here’s a glimpse of lang and the new album:

Woodminster Summer Musicals, the annual theatrical tradition of musicals under the stars, will produce three shows this summer at the Woodminster Amphitheater in Oakland’s Joaquin Miller Park.

The season, Woodminster’s 42nd, opens with the high-stepping Seven Brides for Seven Brothers (July 11-20). Next up is Seussical: The Musical (Aug. 8-17), and the season concludes with the classic operetta The Pirates of Penzance (in the 1980 Broadway version).

If you haven’t ever seen a Woodminster show, you really should try this quintessential Bay Area experience at least once. Bring a picnic, stroll through the grounds and enjoy the WPA-built amphitheater, complete with stunning views and a waterfall on its western side. The shows are a combination of professional actors and community performers.

Auditions, by the way are April 6 and 12 at Woodminster from 1 to 4 p.m. Click here for information.

Show tickets range from $23 to $38 (with a $2 discount for children and seniors). The “Kids Come Free” program allows children 16 and younger to attend for free with paying adults. Call 510-531-9597 or visit www.woodminster.com for information.

There’s some juicy-good stuff in American Conservatory Theater’s newly announced 2008-09 season.

Here’s the rundown:

Rock ‘n’ Roll by Tom Stoppard (Sept. 11-Oct. 12) — Surprising no one, especially after Stoppard’s visit to ACT in January, the West Coast premiere of this London and New York hit will be directed by ACT artistic director Carey Perloff. The drama, Stoppard’s most autobiographical, follows a Czech man in England drawn back to the fight against the Soviets in his native Prague — and it’s all set to a suitably rocky soundtrack full of the Rolling Stones and Pink Floyd.

The Quality of Life by Jane Anderson (Oct. 24-Nov. 23) — Celebrity casting makes this already intriguing play even more so. Laurie Metcalf (worth seeing in just about anything) and JoBeth Williams (gone too long from movie screens) play cousins, one from the Midwest, one from the liberal Bay Area. When serious illness and the ravages of the Oakland hills fire bring them together, it turns out family and ideology aren’t such a good mix. A co-production with the Geffen Theatre and Jonathan Reinis Productions.

Rich and Famous by John Guare (Jan. 8-Feb. 8, 2009) — This marks the first major revival of Guare’s comedy about a playwright sruggling toward fame and fortune since its 1976 New York premiere.

Souvenir: A Fantasia on the Life of Florence Foster Jenkins by Stephen Temperly (Feb. 13-March 15, 2009) — If you want a sneak peek at this off-kilter musical biography, head down to San Jose Repertory Theatre, where the regional premiere of Souvenir opens this week starring Patti Cohenour. The ACT production will star Judy Kaye, right, (Mrs. Lovett in the Sweeney Todd that stopped at ACT last fall), who was nominated for the role in 2006. She plays Jenkins, a New York socialite who fancied herself an opera diva though she could hardly carry a tune.

War Music by Lillian Groag (March 26-April 26, 2009) — Poet Christopher Logue’s translation of Homer’s Iliad is adapted for the stage and directed by Groag, a regular player in the Bay Area theater scene (especially at California Shakespeare Theater of late). This world-premiere production re-tells the story of Achilles and his rival Agamemnon.

Boleros for the Disenchanted by Jose Rivera (May 7-June 7, 2009) — Rivera, the Academy Award-nominated screenwriter (The Motorcyle Diaries) pens the tale of four decades in the life of a Puerto Rican girl whose life ranges from her native land to American shores.

Peter and Jerry by Edward Albee (June 12-July 12, 2009) — Albee’s one-act The Zoo Story, his first play, written in 1958, is revisited and appended with a new first act, called Homelife. Rebecca Taichman directs the West Coast premiere of this revised version.

Also on the ACT stage, it almost goes without saying, is A Christmas Carol (Dec. 4-27). James Carpenter returns in the role of Scrooge.

Season subscriptions range start at $101 for all seven plays. Single tickets go on sale in August.
Call 415-749-2250 or visit www.act-sf.org for information.