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Our critics weigh in on local theater


Menopause the Musical. Set in Bloomingdale's department store, this play unites four contrasting female characters — an Iowa housewife, an executive, a soap star, and a hippie — through the combined forces of cut-price lingerie and hormone replacement therapy. Singing doctored versions of 1960s and '70s pop favorites like "Stayin' Alive" ("Stayin' Awake") and "Puff, the Magic Dragon" ("Puff, My God I'm Draggin'"), the ladies potter from floor to floor, sharing their worst menopausal hang-ups as they try on clothes, rifle through sales racks, and run in and out of the store's many strategically placed powder rooms. Although Menopause is entertaining and energetically performed, it's unabashedly tacky. An ode to the delights of masturbation, sung down a pink microphone to an adaptation of the Beach Boys' "Good Vibrations," for instance, makes one think that all that's missing from this (very) belated bachelorette party is a male stripper. And as much as the show makes its largely 40-plus female audience feel more comfortable about getting older, it doesn't go far enough. Menopause is euphemistically referred to as "the change," which just seems to reinforce taboos. And its obsession with shopping, sex, and cellulite makes Menopause feel a lot like a geriatric issue of Cosmo. Rather than empowering women, the musical ends up underscoring clichés. In an open-ended run at Theatre 39, Pier 39, Beach & Embarcadero, S.F. Tickets are $46.50; call 433-3939 or visit (Chloe Veltman) Reviewed Jan. 11.

"Moving Right Along." The name Elaine May — author and director of On the Way and George Is Dead, two of the three one-act plays that make up this production — is well known. Conversely, the name Jan Mirochek — the writer of Killing Trotsky, the first of the night's offerings — is shrouded in mystery. In our hoax-happy, post-JT LeRoy and lonelygirl15 age, it's tempting to think that the same hand (i.e., May's) penned all three plays. For although the one-acts in the program seem to have little in common — Killing Trotsky tells the story of a high-strung playwright's desperate desire to see his latest work produced; the second, On the Way, centers around a conversation between a WASPy, middle-aged bon viveur and his Dominican chauffeur; in the third, George Is Dead, a newly widowed socialite pays a remote acquaintance an unexpected visit — they complement and echo each other in startling ways. Despite some imperfections (such as Jeannie Berlin's static direction of On the Way), there's something bewitching about how May's plays meld with the mysterious Mirochek's. Each one-act pulses with the same acerbic humor; wicked comedy and growling tragedy collide and balance each other. If the same person didn't write all these plays, then at the very least "Moving Right Along" feels like a collaboration between two symbiotic minds. Through Nov. 19 at the Magic Theatre, Fort Mason Center, Marina & Buchanan, S.F. Tickets are $20-52; call 441-8822 or visit (Chloe Veltman) Reviewed Nov. 8.

Richard III. When Richard died in battle in 1485, his death ended a series of English civil wars that had gone on for 30 years — the Wars of the Roses — which may explain why this production has a large black-and-white picture of a hand holding a rose at center stage. It's a striking image full of violence and romance that's ideal for Shakespeare's great meditation on the seductive nature of evil. The rose is just part of Kim A. Tolman's masterful set, which places us in an abstract future and defines the author's themes in bold modern strokes. Composer Igor Nemirovsky wraps the proceedings in compelling, icy tones that add to the ambience and help move the play forward. The action has an authoritative sense of tone and urgency that point to an uncommonly talented director, Jon Tracy. The cast is unified in its competence with the verse, and there are numerous standout performances: Skyler Cooper brings an incredible physical presence to the stage, Anthony Nemirovsky as Buckingham is nimble with the language and subtle with his characterization, and GreyWolf sinks his teeth into Richard III as if he'd been waiting his whole life to play such an enigmatic, charismatic villain. Through Nov. 18 at Project Artaud Theatre, 450 Florida (at 18th St.), S.F. Tickets are $2.50-37.50; call 392-4400 or visit (Frank Wortham) Reviewed Nov. 8.

Shopping! The Musical. Some theater types want to be Hamlet; others want to be Liza Minnelli. The smiling, hardworking performers in this new musical revue definitely fall into the latter category. Lyricist-composer Morris Bobrow uses his infectious, irreverent humor to great effect as he pays homage to the highs and lows of our compellingly crass commercial culture. He uses the small, cramped theater in a straightforward manner — four center-stage stools and an amusing backdrop provide the set. The accomplished accompanist Ben Keim keeps things lively on one side of the stage behind an upright piano. The actors lead us through songs that bring to mind Jerry Seinfeld's sharp observations on mundane modern life: "Shopping in Style" extols the virtues of Costco, and "Serious Shopping" imagines a man trying to buy lettuce from a riotously over-the-top grocery cult. The musical runs just over an hour, yet it still has a few rough spots. The mid-show sketch "Checking Out" gives us a limp comedic premise that we've seen before on sub-par sitcoms, and the piece "5 & 10" is a mix of awkward nostalgia and pitch problems. Nevertheless, this is a clever collection of tunes performed with an unabashedly cheesy enthusiasm that would make Liza proud. In an open-ended run at the Shelton Theater, 533 Sutter (between Powell and Mason), S.F. Tickets are $25-29; call (800) 838-3006 or (Frank Wortham) Reviewed June 14.

Top Dog/Underdog. Suzan-Lori Parks took the sibling rivalry of Sam Shepard's True West and David Mamet's obsession with street-level hustle, added a dash of racial intrigue, and concocted a slightly derivative brew that was compelling enough to earn her the 2001 Pulitzer Prize for Drama. The play opens in a ramshackle studio apartment shared by the brothers Booth and Lincoln; the names were their father's idea of a joke, and such blatant foreshadowing is a good example of the type of obvious poetic device that Parks seems most comfortable dealing. The brothers rehearse Lincoln's inevitable execution and ruminate on the nature of relationships, the fallout of divorce, and the ethics of three-card monte. We've seen this brand of dysfunctional male ennui dealt with in a sure-handed, subtle manner before, so the scenario can feel like a stale retread. Despite the familiarity of the situation, though, the final act of Top Dog brings moments of real poetry, dazzling card-shark skills, and an almost tangible awareness that the stakes are high for the common man. The solid actors David Westley Skillman and Ian Walker capture both the desperate grace and the moments of fleeting transcendence given only to the unlucky. Through Nov. 18 at the Phoenix Theatre, 414 Mason (at Geary), Sixth Floor, S.F. Tickets are $13-25; call 820-1460 or visit (Frank Wortham) Reviewed Nov. 1.

Walls. Americans love to fight, whether it's against communists or terrorists in a country on the other side of the planet or about artistic integrity in our own backyard. Walls, written in 1989 by local playwright Jeannie Barroga, taps into the myriad emotions following the Vietnam War and leading up to the building and unveiling of its controversial memorial in Washington, D.C. In the Asian American Theater Company's uneven production, two conflicts play out on a set that replicates the polished black marble monument. One drama focuses on the grab bag of characters (soldiers, mothers, hippies, buddies who avoided the draft) who visit the wall to wrestle with their unresolved anger and anguish. These characterizations have been done before and better in many of the great Vietnam films. What feels fresh and relevant here is the second conflict, the story of Maya Lin — the 21-year-old Chinese-American monument design contestant who "wasn't even 10 when [soldiers] were over there getting blown to bits." The shit storm her winning idea stirred up between her artistic vision and the countless opposing opinions of what a fitting memorial should look like explains why there's still an empty hole in south Manhattan five years after 9/11. What's disturbingly familiar about Lin's struggle more than 20 years ago is witnessing how paralyzed a country can become in simply choosing an architectural design, let alone hashing out the reasons for a war. Through Nov. 19 at the Buriel Clay Theatre, 762 Fulton (between Webster & Buchanan), S.F. Tickets are $10-20; call (800) 838-3006 or visit (Nathaniel Eaton) Reviewed Nov. 8.

365 Days/365 Plays
Potrero Hill Neighborhood House, 953 De Haro (at Southern Heights).
Amazing Swindlini Circus and Sideshow
Brava Theater Center, 2781 24th St. (at York), 647-2822.
Beach Blanket Babylon
Club Fugazi, 678 Green (at Powell), 421-4222.
Beyond Therapy
Shelton Theater, 533 Sutter (at Powell), 433-1226.
Big Pharma The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Charley's Aunt
Zeum Theater, 221 Fourth St. (at Howard), 820-3320.
New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Coffee, Cosmos, and Come-ons
The Next Stage, 1620 Gough (at Bush), Trinity Episcopal Church, 333-6389.
New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Death of a Salesman
Actors Theatre San Francisco, 533 Sutter (at Powell), 296-9179.
Declaration of Codependence
Shelton Theater, 533 Sutter (at Powell), 433-1226.
Golden Gate Theatre, 1 Taylor (at Market), 512-7770.
Down Broadway
Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero).
Dream House
Phoenix Theatre, 414 Mason (at Geary), Suite 601, 989-0023.
Edward Scissorhands
Orpheum Theater, 1192 Market (at Eighth St.), 512-7770.
Fiddler On The Roof
Mountain View Center for the Performing Arts, 500 Castro (at Mercy), Mountain View, 650-903-6000.
Flora the Red Menace
Eureka Theatre, 215 Jackson (at Front), 788-7469.
Funny But Mean Goes to the Future
Exit Theatre, 156 Eddy (at Taylor), 673-3847.
Hedda Gabler
Live Oak Theater, 1301 Shattuck (at Berryman), Berkeley, 510-704-8210.
Ice Glen
Aurora Theatre, 2081 Addison (at Shattuck), Berkeley, 510-843-4822.
Lion, the Witch and the Wardrobe
Fort Mason, Bldg. C, Marina & Buchanan.
The Little Foxes

American Conservatory Theater, 415 Geary (at Mason), 749-2228.
The Living Corpse
Shelton Theater, 533 Sutter (at Powell), 433-1226.
Razowsky Project
Off-Market Theater, 965 Mission (at Fifth St.), 896-6477.
SF Playhouse, 536 Sutter (at Powell), 677-9596.
Rude Boy
Marsh Berkeley, 2118 Allston (at Shattuck), Berkeley, 826-5750.
Suburban Motel: A Festival of One-Act Plays
Zellerbach Playhouse, Bancroft & Telegraph (UC Berkeley campus), 510-642-9988.
super: anti: reluctant
Exit Stage Left, 156 Eddy (between Taylor & Mason), 673-3847.
This May Feel a Little Funny
The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Tings Dey Happen
The Marsh, 1062 Valencia (at 22nd St.), 826-5750.
Twelve Days of Cochina
Theatre Rhinoceros, 2926 16th St. (at South Van Ness), 861-5079.


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