Here Lies Jenny. Bebe Neuwirth has an unusual voice. It's not what you would call beautiful. In Here Lies Jenny, a showcase of loosely knit songs by German composer Kurt Weill, she sounds a bit like a sheep nursing a hangover. Weill's songs have long been favorites of many a diva, with artists as diverse as German chanteuse Ute Lempe and operatic soprano Dawn Upshaw bringing their own particular qualities to the composer's brazenly sweet melodies and galumphing accompaniments. Although the Tony Award-winning Neuwirth is a charismatic, intense performer, the songs all sound rather similar: There's surprisingly little variety in the star's delivery. The show combines the talents of several Broadway luminaries -- including director Roger Rees, choreographer Ann Reinking, and set designer Neil Patel -- but for all the talent it feels cobbled together. Patel's dingy European speak-easy is evocative enough, but Reinking's movements are predictably camp, leaving Neuwirth frequently falling into the arms of some muscle-bound, wife beater-wearing stud. As a vehicle for one of this country's most prominent musical theater artists, Here Lies Jenny lacks drive. Through June 26 at the Post Street Theatre, 450 Post (at Powell), S.F. Tickets are $35-55; call 771-6900 or visit www.poststreettheatre.com. (Chloe Veltman) Reviewed May 18.
I Look Like an Egg, But I Identify as a Cookie. In her solo show, Heather Gold recounts the journey from Niagara Falls (where she spent the first 19 years of her life) to her current role as San Francisco's resident lesbian domestic goddess -- while baking a batch of chocolate chip cookies in front of a live audience. Even as she's plunking bits of soggy dough onto a battered metal baking tray and babbling on about her rugby-playing days as a law student at Yale, Gold, wielding her remarkable improvisation skills, creates an atmosphere of cozy intimacy. Certain parts of her monologue ramble on for too long, but even during the show's most half-baked moments, it's easy to understand why the audience gets so involved: Gold makes for an endearingly slapdash cook. Each performance involves a special guest, and it's a sheer pleasure to see a food-themed show that's not about battling one's body image (as is so often the case with productions by female artists -- e.g., Eve Ensler's The Good Body) and a program stuffed with recipes for delicacies like gingersnaps and caramel chocolate squares. Through June 20 at Hotel Rex, 562 Sutter (between Powell and Mason), S.F. Tickets are $30-50; call (800) 838-3006 or visit www.subvert.com. (Chloe Veltman) Reviewed Jan. 12.
Macbeth. Sigmund Freud's ghost haunts Cutting Ball Theater's production of Macbeth with far greater persistence than Banquo's. Before the play even begins, our eyes are greeted with an intensely psychological space. Set designer Michael Locher's trim, brightly lit, white performing area bordered by five white doors brings a padded cell more readily to mind than a wind-swept Scottish moor. Doors are portals into Macbeth's mind, and the production pays little attention to what's going on in the outside world. Although the Freudian symbolism (dead babies, characters with split personalities, etc.) feels heavy-handed in places, this Macbeth is intriguing, intellectually involving, visually imaginative, and -- best of all -- funny. Garth Petal is a formidable presence as Macbeth. He brings out, with impeccable comic timing, the dark humor in his character. Despite its strengths, however, the production suffers from trying to incorporate too many ideas. The six-actor cast only exacerbates the confusion: Having each actor play several roles cleverly emphasizes the work's internal landscape, but if you don't know Macbeth very well, it's easy to get lost. Through June 11 at the Exit on Taylor, 277 Taylor (between Eddy and Ellis), S.F. Tickets are $20-25; call 419-3584 or visit www.cuttingball.com. (Chloe Veltman) Reviewed June 1.
Not a Genuine Black Man. It's not easy being green, but try being a black kid in San Leandro in the early '70s. When Brian Copeland got there -- just a few months after the Summer of Love, he points out -- it was one of the most viciously racist suburbs in America. Now it's officially the most diverse. "Take that, San Francisco," Copeland chides. He's earned that attitude, not just for going through his hell of growing up, but also for extracting from it such affirmative, hilarious stuff. Copeland's rightfully popular one-man show is wrought from pain and rage but never really succumbs to bitterness. "Is that black?" he asks, and proves that it is. Some of his best stereotype-busting material doesn't feel especially new, but it does feel good. Besides, it's the stereotypes that have passed their expiration dates: Copeland's title comes from an accusation flung at him by a cranky listener who called in to his KGO radio program. This show is his response. With help from declarative lighting and David Ford's direction, Copeland creates an affecting hybrid of the dramatic monologue and the rollicking stand-up act. Through June 25 at the Marsh, 1062 Valencia (at 22nd Street), S.F. Tickets are $15-22; call 826-5750 or visit www.themarsh.org. (Jonathan Kiefer) Reviewed June 2, 2004.
The Rules of Charity. John Belluso's engrossing new play describes what it's like to eke out a living in America on meager disability checks and food stamps. If poverty isn't enough to define Monty (Warren David Keith) -- whose cerebral palsy keeps him confined to a wheelchair and his daughter confined to the state of permanent caregiver -- as a social pariah, the fact that he's gay ought to do it. Belluso's writing veers into the terrain of soap opera toward the end, but it's powerful stuff nonetheless. Exploring the way Monty (both as an individual and as an archetypal American charity case) elicits polar responses from the other characters, this stylishly directed and subtly performed production shows how acts of generosity and good will often have little in common with the motives that lie beneath them. Through June 18 at the Magic Theatre Northside, Fort Mason, Marina & Buchanan, S.F. Tickets are $20-38; call 441-8822 or visit www.magictheatre.org. (Chloe Veltman) Reviewed May 11.
AIDS: The Made for TV Musical! New College, 777 Valencia (at 19th St.), 437-3487.
Arabian Night The Ashby Stage, 1901 Ashby (at MLK Jr.), Berkeley, 510-841-6500.
Are We Almost There? Shelton Theater, 533 Sutter (at Powell), 433-3040.
Art SF Playhouse, 536 Sutter (at Powell), 677-9596.
BATS: Sunday Players Fort Mason, Bldg. B, Marina & Buchanan, for more information call 474-6776.
Beach Blanket Babylon Club Fugazi, 678 Green (at Powell), 421-4222.
Beyond Therapy Shelton Theater, 533 Sutter (at Powell), 433-3040.
Big City Improv Shelton Theater, 533 Sutter (at Powell), 433-3040.
Broken Hallelujah Zeum, 221 Fourth St. (at Howard), 749-2228.
CANTINFLAS! La Peña Cultural Center, 3105 Shattuck (at Prince), Berkeley, 510-849-2568.
Comedy Improv at Your Disposal Shelton Theater, 533 Sutter (at Powell), 510-595-5597.
The Dharma of Dollars The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Eighth Annual National Queer Arts Festival Multiple locations, multiple addresses within San Francisco, 864-4124, www.queerculturalcenter.org.
GayProv Off-Market Studio, 965 Mission (at Fifth St.), 896-6477.
The Goat or, Who Is Sylvia? Geary Theater, 415 Geary (at Mason), 749-2228.
The Grand Inquisitor The Thick House, 1695 18th St. (at Arkansas), 401-8081.
Honour Berkeley Repertory's Thrust Stage, 2025 Addison (at Shattuck), Berkeley, 510-647-2949.
Hothouse Magic Theatre, Fort Mason, Bldg. D (Marina & Buchanan), 441-8822.
Hush Up, Sweet Charlotte Lorraine Hansberry Theatre, 620 Sutter (at Mason), 474-8800.
"Intrigue in the Mansion: Murder Mystery Dinner" The Archbishop's Mansion, 1000 Fulton (at Steiner), 563-7872.
Legacies Untied Lust Unleashed Buriel Clay Theater, 762 Fulton (at Webster), 861-8208.
Les Miserables Curran Theatre, 445 Geary (between Taylor and Mason), 551-2000.
Love, Chaos & Dinner Pier 29, Embarcadero (at Battery), 273-1620.
Medea: The Musical Theatre Rhinoceros, 2926 16th St. (at South Van Ness), 861-5079.
Menopause the Musical Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero), 433-3939.
Monday Night Improv Jam Climate Theater, 285 Ninth St. (at Folsom), 364-1411.
Monday Night Marsh The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Moonlight Last Planet Theatre, 351 Turk (at Hyde), 440-3505.
San Francisco Improv Festival The Next Stage, 1620 Gough (at Bush) (Trinity Episcopal Church), 863-1076.
some life Exit Theatre, 156 Eddy (at Taylor), 673-3847.
Someday, Love New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Tall Tales Children's Fairyland, 699 Bellevue (at Grand), Oakland, 510-452-2259.
Tea at Five Marines Memorial Theater, 609 Sutter (at Mason), 771-6900.
Thanatics: A Rock Opera Exit Theatre, 156 Eddy (at Taylor), 673-3847.
"Throckmorton Stories" 142 Throckmorton Theatre, 142 Throckmorton (at Madrona), Mill Valley, 383-9600.
Viva Variety Buriel Clay Theater, 762 Fulton (at Webster), for more information call 863-0741.
What's Wrong With Angry? New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Whoop-Dee-Doo! New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Who's Afraid of Virginia Woolf? Actors Theatre San Francisco, 533 Sutter (at Powell), 296-9179.