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Our critics weigh in on local theater

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"365 Days/365 Plays." One morning in 2002, playwright Suzan-Lori Parks decided to write a play every day for the next year. Covering everything from the war in Iraq to the death of Johnny Cash to a lost sweater, Parks' cycle is a remarkable, audacious achievement. Even though the ideas didn't always flow (as titles like Going Through the Motions and This Is Shit suggest), the pieces (at least on paper) are constantly playful, occasionally dark, and frequently challenging. At their best, they are all three at once. Now, Parks' 365 days are coming 'round again thanks to theater companies all over the U.S., which are staging the works in an enormous, logistically terrifying festival. By Nov. 12, 2007, more than 700 groups will have performed each piece in the cycle. Given the Bay Area's affinity for the lunatic fringe, it's no surprise to see local artists treating Parks' plays like the madcap circus acts they are. Tactics so far have been radically different from company to company. During opening week last November, for example, the Z Space Studio mounted the first seven dramas at Potrero Hill Neighborhood House. Despite being underscored by clanking, didgeridoo-laced sound art and quasi-spiritual dance interludes, the performance exploited Parks' acerbic sense of humor to the fullest. Ten Red Hen took a more improvisatory approach in Week 4, performing the plays in a variety of private residences, with audience members drafted on the fly. It's easy to denounce such an apparently lawless undertaking as being gimmicky and under-rehearsed. But no matter how haphazardly the plays are staged, the combination of Parks' imprimatur and the careening imaginations of the groups involved inspires confidence and hope that transcends skepticism. Through Nov. 12 at locations throughout the Bay Area. All shows are free to the public; call 437-6775 or visit www.zspace.org. (Chloe Veltman) Reviewed Jan. 3.

Emperor Norton the Musical. San Francisco has long been a haven for eccentrics. But even the most colorful of today's local characters, such as Pink Man and the Brown Twins pale in comparison to 19th-century San Francisco luminary Joshua A. Norton — failed businessman, friend to stray dogs, and self-proclaimed Emperor of the United States. Which is why lyricist Kim Ohanneson, composer Marty Axelrod, and director David Stein's collective impulse to create a musical out of Norton's made-for-the-stage narrative (and transfer it from the Dark Room Theater where the work received its premiere to the more tourist-friendly Shelton Theater) is supremely sane. If only the execution of the production were less so. Ohanneson's book rambunctiously captures the frontier, anything-goes spirit of postÐGold Rush San Francisco and Axelrod's evocative score combines a honky-tonk, piano-bar feel and snippets of traditional tunes such as "Turkey in the Straw" with arias alternately indebted to Gilbert & Sullivan and Lloyd-Webber & Rice. Yet despite Ohanneson and Axelrod's fine sense of the surreal and some bracingly bonkers performances (especially from the shaggy-looking Peter Doty and Steffanos X as Norton's dogs), Emperor Norton remains a curiously staid affair. The production seems intent on downplaying the madness. The performers mostly move about the stage and sing their lines as if carrying out instructions rather than being fully present in their roles. Stein's staging ultimately makes Norton more of an Everyman than an Emperor. Through April 1 at the Shelton Theater, 533 Sutter (between Mason and Powell), S.F. Tickets are $30; call 433-1226 or visit www.emperornortonthemusical.com. (Chloe Veltman) Reviewed Feb. 7.

Fiction. Plays about successful, smug writers are hardly new. But playwright Steven Dietz takes the old formula and gives it a clever new twist by turning his husband-wife pair of novelists against each other. Bad news from the wife's doctor leads to an agreement to share their private journals with one another, and it isn't long before the wife discovers that writing isn't the only recreational activity at a writers' retreat. The ensuing confrontation, after all the years she spent supporting and nurturing his craft, is one we deliciously anticipate most of the first act. But anticipation turns into disappointment when, after one scene of showdown, Dietz suddenly lets his dueling writers off the hook. Instead of raw emotion behind flowery words, the second act is full of thoughtful monologues and abbreviated scenes about things like truth versus fiction and authenticity in authorship. These are all perfectly interesting ideas, smoothly presented to us by director Richard Harder's sure-handed production. But all this elucidation about the nature of the world ultimately gets in the way of the compelling drama between a husband and wife that Dietz sets up so beautifully and then fails to fully tell. Through March 31 at the Phoenix Theatre, 414 Mason St., 6th Floor (between Geary and Post), S.F. Tickets are $25-30; call 440-6163 or visit www.offbroadwaywest.org. (M.R.) Reviewed March 14.

Rust. Thank God there's a poster at intermission explaining all these bizarre characters popping out of walls, getting wheelchaired by, and calling incessantly on the phone, or else the second half of this play would be as enigmatic and confusing as the first. Playwright Kirsten Greenidge brings the racist and "politically problematic" product mascots from the early 1900s (Aunt Jemima, Uncle Ben, and Farina, the pigtailed pickaninny from the Little Rascals named after the cereal) into modern-day context. The play attempts, and stumbles, at showing that this shameful racism is still present (she chooses professional football to illustrate her point). The old "mascots" keep appearing or calling on the phone, reminding modern characters to "have a voice" and strive for "respect" and other vague aphorisms. The problem is that this potentially charged discussion doesn't deepen and remains a one-noted and somewhat cryptic plea. It doesn't help the matter that in some scenes the acting relies more on yelling rather than actual acting. Greenidge has chosen a rich and multilayered subject, but in the end she is over-ambitious and her writing can only scratch the surface. Through April 1 at the Magic Theatre, Fort Mason Center, Marina & Buchanan, S.F. Tickets are $20-45; call 441-8822 or visit www.magictheatre.org. (N.E.) Reviewed March 14.

Tings Dey Happen. Based on his experiences as a Fulbright Scholar studying oil politics in Nigeria (American's fifth-biggest oil supplier), solo performer Dan Hoyle drills deep beneath the surface of media hype and NGO cant to help us understand the forces at work behind the oil-rich country's escalating cycle of corruption and violence. On his journey backward and forward between Nigeria's oil capital, Port Harcourt, and the lawless hinterlands of the Niger Delta, Hoyle — with acute attention to physical detail (and an ear for pidgin) — embodies a soft-spoken, 23-year-old rebel sniper whose chief desire is to obtain a university degree; a warlord armed with four cellphones and a family photo album, like Marlon Brando in The Godfather; and a nerdy Japanese member of the Young Diplomats Club in Lagos working on a thesis about the Tanzanian cashew nut, among many others. Like Anna Deavere Smith, one of the most famous practitioners of this style of show, Hoyle takes a journalistic approach. But unlike Smith, whose slavish impersonation of the speech nuances of her interviewees seems more stenography than artistry, Hoyle filters his Nigerian experience through his vivid imagination, creating full-blooded characters that are as theatrical as they are real. Through April 21 at the Marsh, 1062 Valencia (between 21st and 22nd sts.), S.F. Tickets are $15-22; call 826-5750 or visit www.themarsh.org. (Chloe Veltman) Reviewed Jan. 10.

After the War American Conservatory Theater, 415 Geary (at Mason), 749-2228. Altar Boyz Orpheum Theater, 1192 Market (at Eighth St.), 512-7770. BATS: Sunday Players Fort Mason, Bldg. B, Marina & Buchanan, 474-6776. Beach Blanket Babylon Club Fugazi, 678 Green (at Powell), 421-4222. Beyond Therapy Shelton Theater, 533 Sutter (at Powell), 433-1226. Big City Improv Shelton Theater, 533 Sutter (at Powell), 433-1226. Bingo! Dean Lesher Regional Center for the Arts, 1601 Civic (at Locust), Walnut Creek, 925-943-7469.

The Birthday Party

Aurora Theatre, 2081 Addison (at Shattuck), Berkeley, 510-843-4822. 'Bot Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822. Bricktop Lorraine Hansberry Theatre, 620 Sutter (at Mason), 474-8800. Chemical Imbalance Exit Theatre, 156 Eddy (at Taylor), 673-3847. Dead Certain Off-Market Theater, 965 Mission (at Fifth St.), 896-6477.

Emperor Norton, The Musical
Shelton Theater, 533 Sutter (at Powell), 433-1226.


Fiction
Phoenix Theatre, 414 Mason (at Geary), Suite 601, 989-0023.


The Fountain of Youth is a 16 Ounce Jar of Vaseline
Bindlestiff Studio, 185 Sixth St. (at Howard), 974-1167.


GayProv
Off-Market Studio, 965 Mission (at Fifth St.), 896-6477.


H 3-D: The True Tale Of the Haddonfield Babysitter Murderer
Xenodrome, 1320 Potrero (at 25th St.), 285-9366.


Hardly Breathing
Exit Theatre, 156 Eddy (at Taylor), 673-3847.


Hot House
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.


How We First Met
Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero).


Improv Revolution
Off-Market Theater, 965 Mission (at Fifth St.), 896-6477.


Jesus Hopped the A Train
SF Playhouse, 536 Sutter (at Powell), 677-9596.


Jump! Benefit
Bucheon Gallery, 389 Grove (at Gough), 863-2891.


Lola Montez
Berkeley City Club, 2315 Durant (at Ellsworth), Berkeley, 510-558-1381.

Love, Chaos & Dinner
Pier 29, Embarcadero (at Battery), 273-1620.


Lysistrata
Buriel Clay Theater, 762 Fulton (at Webster), 922-2049.


Mendelssohn's Elijah
Davies Symphony Hall, 201 Van Ness (at Grove), 864-6000.

Menopause the Musical >
Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero), 433-3939.


Monday Night Make Em Ups
San Francisco Comedy College, 414 Mason, #705 (at Geary), 921-2051.


Monday Night Marsh The Marsh, 1062 Valencia (at 22nd St.), 826-5750.


Murder Mystery Dinner The Archbishop's Mansion, 1000 Fulton (at Steiner), 563-7872.


Nixon's Nixon
San Jose Repertory Theatre, 101 Paseo de San Antonio (at South Third St.), San Jose, 408-367-7255.


A Place to Stand
Intersection for the Arts, 446 Valencia (at 15th St.), 626-3311.


Plain and Fancy
Eureka Theatre, 215 Jackson (at Front), 788-7469.


Pleasure and Pain
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.


Purgatorio
The Next Stage, 1620 Gough (at Bush), Trinity Episcopal Church, 333-6389.


The Rose Tattoo
Actors Theatre San Francisco, 533 Sutter (at Powell), 296-9179.


Rust
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.


Shopping! The Musical
Shelton Theater, 533 Sutter (at Powell), 433-1226.


To the Lighthouse
Berkeley Repertory's Roda Theatre, 2015 Addison (at Shattuck), Berkeley, 510-647-2949.


Trying
Lucie Stern Theater, 1305 Middlefield (at Embarcadero), Palo Alto, 650-903-6000.


Under the Radar
CounterPULSE, 1310 Mission (at Ninth St.), 626-2060.


Woyzeck
Exit Theatre on Taylor, 277 Taylor (at Ellis), 673-3847.

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