Anne Boleyn seems to be heading in right direction
The relationship between Henry VIII and Anne Boleyn – adulterous, adventurous and tragic (for Anne) – has long captivated the public imagination. Their story has been told on the page, on the stage and on screens large and small. There's been a shift in thinking about Anne, not as a vixen, home wrecker or overzealous climber but as a smart cookie who was more of a power player behind Henry's throne than we might have thought.
One such exploration can now bee seen on stage at Marin Theatre Company in Anne Boleyn, a 2010 play by Howard Brenton.
Catching up with Colette & Cyrano
So many shows, so little time!
Herewith, a petite voyage to France, first to check in with the writer Colette and then to catch up with the swashbuckling Cyrano de Bergerac. I reviewed both Colette Uncensored at The Marsh, a solo show starring and co-written by Lorri Holt (with Zack Rogow, and Cyrano, a new adaptation of Rostand's tale at TheatreWorks Silicon Valley for the San Francisco Chronicle.
Pure pop pleasure with the Puppini Sisters
Under ordinary circumstances, the fact of wonderful British actor Hugh Laurie sitting a table away from me would be highly distracting. But Sunday afternoon at the Fairmont's Venetian Room wasn't ordinary circumstances: it was the only scheduled US performance of the British act The Puppini Sisters in support of their new album, The High Life.
The afternoon performance, like the sold-out evening performance, was part of the Bay Area Cabaret season, a season that spans Broadway, pop, jazz and, in a grand Puppini embrace, high camp and sterling musicianship.
Tense, riveting Brothers from Crowded Fire
Not much happens in Jonas Hassen Khemiri's I Call My Brothers, a Crowded Fire Theater production at Thick House. But then again, everything happens.
This is a mostly subterranean drama, which is to say, a little happens on the surface – a young man goes about his day running errands and interacting with friends and family – but a whole lot more is happening in his thoughts, his imagination, his paranoia.
Sean Hayes is devilish/divine in Act of God
Like parochial school for fans of The Daily Show, the play An Act of God is a curious theatrical experience. All the ingredients are there: bells and whistles set, sharply funny script, charming star. But in the end, as in the beginning, it's more lite than enlightening. Maybe it's too much to ask that a snarky comedy about a grumpy god holding forth before an audience of heathen Americans have some spiritual heft to it, but the script comes close several times but ends up wishing it were a ditzy musical.
A Tour de force for Scheie and Nachtrieb
The tour group is just heading out when the enthusiastic guide, suddenly quite sensible, says, "You will need to extrapolate quite a bit if you wish to enjoy this tour."
That is, at once, an incredibly honest thing for a tour guide – any tour guide – to say because it's almost always true and a subtle wink at the theatrical adventure on which we are embarking in Peter Sinn Nachtrieb's beguiling world premiere A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry, a commission from Z Space tailor made for its vast space and built on the prodigious talents of actor Danny Scheie.
Here's what for the How and the Why at Aurora
Watching a play like Sarah Treem's The How and the Why makes me feel smarter – fractionally but still. To prove my point, I'm going to quote Ernst Mayr, an evolutionary biologist with whom I was unfamiliar before this play. Mayr, as we're told in the play, was interested in the how and the why of things, the mechanism and the function.
Let's apply that to Treem's play, shall we? The how is pretty clear...
Theater as contact sport in SF Playhouse's dazzling Colossal
Colossal at San Francisco Playhouse is a (foot)balls-out theatrical experience that manages to provoke thought and elicit feeling all the while it dazzles with its aggressive stagecraft.
Andrew Hinderaker's play sets up theater as a competitive sport, that is, this play is competing with itself by placing a large scoreboard-type timer above the stage and letting four quarters unfold in real time over an hour. Then there's also the turf-covered playing field (set by Bill English), the bright Friday night-style lights (design by Kurt Landisman) and the ear-piercing whistles (sound design by Theodore J. H. Hulsker). This is more than a stage for a play: it's a playing field ready for intense action.
Jonesing for cosmic connection in ACT's Joneses
The topic is: things that have happened. That broad, yet somehow quite specific, statement comes from a character in Will Eno's The Realistic Joneses now on stage at American Conservatory Theater's Geary Theater. Another broad yet specific topic might be: lives that are lived.
Eno is one of those playwrights whose gift seems to be making raising the bizarre, often absurd experience of human existence to the level of cosmic grace and beauty.
The general awesomeness of Emily Skinner
In the last couple of years, San Francisco went from no Emily Skinner to new and improved now with 200 percent more Emily Skinner. The Tony-nominated actor (Side Show) was suddenly making regular appearances on our stages. In October of 2014, Skinner revealed her star power in 42nd Street Moon's Do I Hear a Waltz? (read about it here),in May of last year, she was a highlight of American Conservatory Theater's A Little Night Music (read about it here). The question is how did we get so lucky?
Word for Word enlivens stories by Donoghue, Tóibín
There is nothing more comforting than a Word for Word production. This extraordinary company's rich stage adaptations of short fiction for the stage can be thrilling, inventive, moving, incisive, funny and thought provoking. And, in that way that great writing can take you into that zone of alternate experience, they can be comforting. Maybe that's akin to the joy of being read to – there is that element in play, but augmented with the beauty of sets, lights, costumes, music and the combined thrill of both reading and live theater.
The new Word for Word show, Stories by Emma Donoghue and Colm Tóbín now at Z Below, comprises two gentle, emotionally rich stories by Irish writers...
Berkeley Rep's Macbeth: Double, double dull, in trouble
Say this for Berkeley Repertory Theatre's Macbeth now on stage at the Roda Theatre: it stars an Oscar winner, a Tony Winner and an Emmy winner. And she's doing some interesting things with Lady Macbeth. People are coming to this production to see Frances McDormand try her hand at one of the juiciest roles in the Shakespearean canon, and it's impossible for McDormand's genius not to shine through despite the uninvolving production that surrounds her.
Slick moves and a cornered Baby in live Dirty Dancing
Oh, help. Someone put Baby in a corner and she can't get out! The corner is actually the stage of the Golden Gate Theatre, where, as part of the SHN season, she is appearing in Dirty Dancing – The Classic Story on Stage, a reasonably entertaining show that feels less like a national touring production and more like a slick, overly faithful film re-creation you might find in a theme park where the loyal fans come to pay homage and wallow in nostalgia.
So much love in Crowded Fire's Mechanics
There's something so odd, so wonderfully odd about Dipika Guha's Mechanics of Love, a world-premiere comedy from Crowded Fire Theater. There's a decidedly offbeat rhythm to this delightful one-act, a sort of controlled silliness underscored by a decidedly serious exploration of just how the metaphorical gears of the heart do (or do not) turn into roaring engines when connected to the gears of another.
Impact's Comedy ponders: What's up, Doc?
Impact Theatre has been known for its Shakespeare reboots, sometimes fierce, sometimes wholly inspired, always intelligent and interesting. Now in its valedictory lap before going on hiatus, Impact has two shows left, including the just-opened Comedy of Errors at LaVal's Subterranean.
It's another Shakespearean reinvention by Impact Artistic Director Melissa Hillman, and it is sublime.
Crazy good music stirs ACT's Unfortunates
The Unfortunates is a strange, antic show with some absolutely glorious music. Now at American Conservatory Theater's Strand Theater, the show is part folklore, part fever dream, part comic book, and all those parts are tied together with songs that bridge folk, hip-hop, jazz and gospel into a stirring Americana sound that doesn't need much plot, character or context to explode with life.
Quiet beauty, deep feeling in Berkeley Rep's Aubergine
Setting aside taxes for the moment, there are two certainties in life: we will eat food (and perhaps have a complicated relationship with food) and we will die (and perhaps have a complicated relationship with death). Food and death. Elemental.
In Julia Cho's Aubergine, now receiving its world premiere at Berkeley Repertory Theatre's newly renovated and renamed Peet's Theatre (formerly the Thrust Stage), those elements – food and death – are being addressed with the utmost compassion, grace and quiet dignity.
Uneasy comedy, drama (+Rat Wife!) in Aurora's Erik
There's a profoundly creepy core to Little Erik the new adaptation of Henrik Ibsen's 1894 Little Eyolf by Mark Jackson, one of the Bay Area's foremost theater artists. That creepiness is the best thing about the 80-minute one-act now at the Aurora Theatre Company. Though even in its brevity, the play can't quite command its shifting tones.
Ibsen's Eyolf probably won't be found on any of his best-of compilations, but Jackson...
Yay for Yee! Lauren Yee wins the Glickman Award
San Francisco native Lauren Yee has won the 2015 Glickman Award for the best play to have its world premiere in the Bay Area. She won for in a word, a drama about the aftermath of a child gone missing, which was produced as part of the "Sandbox Series" at San Francisco Playhouse. The award comes with a $4,000 check for the playwright and a certificate of recognition to the producing theater.
Smart, creepy Nether wows at SF Playhouse
There aren't that many plays with the power to totally creep you out and entertain you mightily. Such is the power of Jennifer Haley's The Nether at San Francisco Playhouse in a production that is stunning in all the right ways.
The play is only 80 minutes, but it packs a mighty wallop. Here you have a play that is, ostensibly, about the rape and murder of children, but it's not horrific. It's nifty sci-fi trick is to set the action in the near future when virtual reality has become a big part of life.