What's the haps in Hoofddorp, you ask? Well, for a small town in Holland, things are pretty dull, actually, thanks for asking. The good news is they've got a heck of a library in Hoofddorp, complete with the Dewey decimal system and time-stamped check-out cards and everything. We know this because a former librarian – we never find out his name – desperately wants to tell us about a life-changing adventure that was triggered by something that happened on an ordinary day on the job at the library.

So goes Glen Berger's Underneath the Lintel, a solo drama now at American Conservatory Theater's Geary Theater. The inestimable David Strathairn is the Librarian, complete with mild Dutch accent (he sounds a little like Tim Conway's Mr. Tudball on the old Carol Burnett Show) and the growing enthusiasm of globe-trotting storyteller on a mission.

The ideas are as big as the heart in Tom Stoppard's glorious Arcadia, a play that seems only to get better with time.

When American Conservatory Theater Artistic Director Carey Perloff first directed the play in 1995 at the Stage Door Theatre, the production and the play came off beautifully and with more warmth than the chilly 1995 production at New York's Lincoln Center. But now that Perloff has revived the play at the Geary Theater, it's like switching from an cozy, old-fashioned living room TV to high-def, widescreen wonder.

Suddenly, we're awash in Greeks. Must have something to do with the upcoming election. Everyone's feeling deeply and internationally tragic. We have An Iliad over at Berkeley Repertory Theatre, and now at American Conservatory Theater, we have Sophocles' Elektra in a muscular and potent translation/adaptation by Timberlake Wertenbaker.

As it is, this Carey Perloff-directed Elektra has some gripping moments, most courtesy of core company member René Augesen in the title role. I lost track, but I don't think there was one moment in this 90-minute production when her face wasn't shiny with tears.

Wajdi Mouawad's drama Scorched is a riveting, affecting and thought-provoking play – in its last 30 minutes. To get there you have to spend more than two hours slogging through layers of back story, stilted acting and rigid dialogue (the translation is by Linda Gaboriau).

You have to ask yourself, is the slog worth it? I'll have to let you know...

This is the season for artistic directors sharing their writing with their audiences. Tony Taccone at Berkeley Repertory Theatre has actually done it twice this season with Rita Moreno: Life Without Makeup and the current Ghost Light.

Now American Conservatory Theater's Carey Perloff is sharing her fourth full-length play as a special non-subscription production at the Theater at the Children's Creativity Museum (formerly Zeum). In both cases, the artistic directors are making bold moves to put their work out there -- a brave gesture, to say the least. And they've both wisely handed over the directorial reins to trusted cohorts. In Taccone's case it's Jonathan Moscone and in Perloff's case, it's ACT Associate Artistic Director Mark Rucker.

Docuemntary film director/producer Austin Forbord (below right) has created a fascinating documentary about the history of San Francisco theater from the post-World War II days up to the present. The movie has its premeire at the Mill Valley Film Festival this week and will likely see wider release soon after.

I interviewed Forbord for a story in the San Francisco Chronicle. You can read the story here.