Get SF Weekly Newsletters
Pin It

Also Playing 

Our critics weigh in on local theater

Bricktop. Calvin A. Ramsey and Thomas W. Jones II's musical follows the extraordinary career of Ada "Bricktop" Smith (1894-1984), one of American cabaret's most luminous divas. So named for her flaming red tresses, Smith is remembered today for the string of hot boîtes she opened in cities as far-flung as Paris, Rome, and Mexico City, the artists whose careers she kick-started, and the celebrities she entertained. The entire musical plays itself out like a sassy cabaret act. The bombastically energetic cast of seven headed by Peggy Ann Blow as the hot-haired, Bacardi-on-iceÐcool Smith performs a few original songs alongside covers of great old standards, many of which were composed by members of Smith's own star-studded entourage. Melodies include Fats Waller's "This Joint Is Jumping," "J'ai Deux Amours" by Josephine Baker (who was one of Smith's protégées), and Cole Porter's "Let's Face the Music and Dance." The driving, feral energy of the performances is infectious. But something important gets lost in the gyrating frenzy, and that's the story. Featuring few changes in tone and pace, the musical ends up entertaining us but reveals little of the highs and lows of Smith's intriguing life and times. Through April 15 at the Lorraine Hansberry Theatre, 620 Sutter St. (at Mason) S.F. Tickets are $20-32; call 474-8800 or visit (C.V.) Reviewed Apr. 4.

Jesus Hopped the "A" Train. On a gray concrete set, deftly standing in for Riker's Island Prison in New York, two adjacent cells hold two murderers. One is Angel Cruz (Daveed Diggs), an atheist on trial for shooting a reprehensible cult leader in the ass, and the other is Lucius Jenkins (Carl Lumbly), a brutal serial killer and born-again Christian. Thus the setup: an "angel" in one cage, a "devil" in another. What ensues is a masterful debate about anger, innocence, lying, and ultimately being "right" in God's eyes. Diggs' intellectually articulate delivery is finely nuanced with a voice edged with vulnerable tears, and Lumbly effortlessly makes Lucius soulful and inspirational — a difficult task. This wouldn't be possible without Stephen Adly Guirgis' spitfire dialogue that builds, twists, and relentlessly questions characters' motivations. Guirgis adeptly spins the debate: Will you lie for what you believe in, or will you step up and pay a bigger price for that belief? This is one of those singular theatrical occasions when a top-notch script is helmed by a solid director (Bill English) and performed by a splendidly skilled and committed cast. Gabriel Marin is deceptively charismatic as the corrections officer bent on breaking inmates. Susi Damilano, as Angel's compassionately torn attorney, and Joe Madero, as the kindhearted guard, round out the cast and bring a softness to this searing drama. It's rare that a night of theater can deliver on so many complex levels of intellect and emotion. This production should not be missed. Through April 21 at the SF Playhouse, 533 Sutter (between Powell and Mason), S.F. Tickets are $18-60; call 677-9596 or visit (N.E.) Reviewed April 4.

The Magnificence of the Disaster. The material doesn't get any more raw or emotionally wrought than the content of Rebecca Fisher's new solo show. In 1995, Fisher lost her mother in a brutal and highly publicized murder that rocked Memphis. Four years later she lost her brother in another devastating and tragic episode. The title is drawn from the premise that Southerners have "an inherently different approach to tragedy because [they] lost the Civil War. There's a magnificence in how bad it got." This is dark and heavy material, but Fisher employs plenty of Southern-styled comedy and physical humor to relate the tender details of her late mother (social drinking at "Margarita Mondays" and jazzercise workouts at the Baptist Healthplex). The show veers sharply back and forth between despair and an almost forced joviality — much like the reality of mourning — that can be an emotionally confusing narrative arc for an audience to connect with. This, most likely, is due to the shocking fact that the murder trial has been ongoing and just concluded three weeks ago. Magnificence offers up an unresolved, yet unnerving and unflinching look into one family's tragedy. Fisher has absolutely no distance from these heartbreaking events and she points out that the plot doesn't wrap up neatly like a Law & Order episode. Though this monologue feels understandably unfinished, both in structure and tone, it is a moving and unique experience to witness a performer act out scenarios onstage that she is still working through in present-day life. Extended run through April 28 at the Marsh Theater, 1602 Valencia (between 21st & 22nd), S.F. Tickets are $15-22; call 800-838-3006 or visit (N.E.) Reviewed Feb. 14.

The Rose Tattoo. While this production has many fine individual moments, overall it fails to harness its full theatrical potential of this rarely produced Tennessee Williams play. The stage is so full with the real-world details of the Gulf Coast home of Serafina — a sewing machine, sofa, chair, partial walls, and so on — that there is literally no room for the moments of ethereal magic that Williams' otherwise heavy-handed script constantly calls for. As Serafina, actress Maggie DeVera brings a vibrant, soulful presence to her role, and Serafina's constant heartache becomes touching in her hands. Jessica Coghill and Duncan Phillips are also sweetly affecting as Serafina's daughter Rosa and Rosa's sincere suitor. But all the heart-wrenching anguish would go a lot further with a lighter touch — a touch that would get Williams' densely poetic words off the ground and flying around the stage. Through April 14 at Actors Theatre of San Francisco, 855 Bush St. (between Mason and Taylor), S.F. Tickets are $10-30; call 345-1287 or visit (M.R.) Reviewed April 4.

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. Extended run through May 6 at the Marsh, 1062 Valencia (between 21st and 22nd sts.), S.F. Tickets are $15-22; call 826-5750 or visit (C.V.) Reviewed Jan. 10.

42nd Street
San Jose Center for the Performing Arts, 255 Almaden (at Park), San Jose, 408-277-5277.
After the War
American Conservatory Theater, 415 Geary (at Mason), 749-2228.
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.
Blue Door
Berkeley Repertory's Roda Theatre, 2015 Addison (at Shattuck), Berkeley, 510-647-2949.
Lorraine Hansberry Theatre, 620 Sutter (at Mason), 474-8800.
Brown Bag Theatre
SFSU Campus, 1600 Holloway (at 19th Ave).
Clown Bible
Willard Middle School, 2425 Stuart St. (at Regent), Berkeley.
Corpus Christi
Mama Calizo's Voice Factory, 1519 Mission (at Van Ness), 690-9410.
Dead Certain
Off-Market Theater, 965 Mission (at Fifth St.), 896-6477.
Death of a Salesman
Project Artaud Theater, 450 Florida (at 17th St.), 626-4370.
Eat Cake Smorgasbord
CounterPULSE, 1310 Mission (at Ninth St.), 626-2060.
FURY Factory
Traveling Jewish Theatre, 470 Florida (at Mariposa), 285-8282.
Cadillac Building, 1000 Van Ness Ave. (at O'Farrell), 776-1747.
Gay Divorce
Eureka Theatre, 215 Jackson (at Front), 788-7469.
Off-Market Studio, 965 Mission (at Fifth St.), 896-6477.
The Global Age Project
Aurora Theatre, 2081 Addison (at Shattuck), Berkeley, 510-843-4822.
How We First Met
Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero).
Jesus Hopped the A Train
SF Playhouse, 536 Sutter (at Powell), 677-9596.
Love, Chaos & Dinner
Pier 29, Embarcadero (at Battery), 273-1620.
Low Hanging Fruit
CounterPULSE, 1310 Mission (at Ninth St.), 626-2060.
Live Oak Theater, 1301 Shattuck (at Berryman), Berkeley, 510-704-8210.
Menopause the Musical
Theatre 39 at Pier 39, 2 Beach (Beach & Embarcadero), 433-3939.
Merrily We Roll Along
Mountain View Center for the Performing Arts, 500 Castro (at Mercy), Mountain View, 650-903-6000.
Midsummer Night's Dream
Phoenix Theatre, 414 Mason (at Geary), Suite 601, 989-0023.
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.
Moscow Cats Theatre
Palace of Fine Arts, 3301 Lyon (at Bay), 567-6642.
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.
One Night Only: Jersey Boys
Club Fugazi, 678 Green (at Powell), 421-4222.
The Passion of the Crawford
Empire Plush Room, York Hotel, 940 Sutter (at Hyde), 885-2800.
Private Jokes, Public Places
Aurora Theatre, 2081 Addison (at Shattuck), Berkeley, 510-843-4822.
The Next Stage, 1620 Gough (at Bush), Trinity Episcopal Church, 650-326-0656.
The Rose Tattoo
Actors Theatre San Francisco, 533 Sutter (at Powell), 296-9179.
Shopping! The Musical
Shelton Theater, 533 Sutter (at Powell), 433-1226.
Smokey Joe's Café
San Jose Center for the Performing Arts, 255 Almaden (at Park), San Jose, 408-277-5277.
Terre Haute
New Conservatory Theatre Center, 25 Van Ness (at Market), 861-8972.
Yugen Presents
Noh Space, 2840 Mariposa (at Florida), 621-7978.
Z/Magic Mondays
Magic Theatre, Fort Mason, Bldg. D, Marina & Buchanan, 441-8822.


Subscribe to this thread:

Add a comment

Popular Stories

  1. Most Popular Stories
  2. Stories You Missed


  • clipping at Brava Theater Sept. 11
    Sub Pop recording artists 'clipping.' brought their brand of noise-driven experimental hip hop to the closing night of 2016's San Francisco Electronic Music Fest this past Sunday. The packed Brava Theater hosted an initially seated crowd that ended the night jumping and dancing against the front of the stage. The trio performed a set focused on their recently released Sci-Fi Horror concept album, 'Splendor & Misery', then delved into their dancier and more aggressive back catalogue, and recent single 'Wriggle'. Opening performances included local experimental electronic duo 'Tujurikkuja' and computer music artist 'Madalyn Merkey.'"