SF Mime Troupe’s “A RED CAROL” ★ ★ ★ BANG

You can’t have Christmas without “A Christmas Carol,” but no one said it has to be the same old-same old. Leave it to SF Mime Troupe to come up with “A Red Carol,” where only Scrooge remains unchanged. Played to perfection by Mike McShane, Scrooge is a banker now, because if there’s one thing the Mime Troupe dislikes, it’s bankers. Don't worry, he is as disagreeably penurious as ever. 

Bob Cratchit (Brian Rivera) is a working man who for unexplained reasons speaks in 21st Century slang. Tiny Tim is a stuffed teddy bear who (spoiler alert) does not live long enough to utter his famous line: “God Bless Us Everyone.” (The line is spoken by other characters.) Every few minutes Bob or his wife or someone else steps to the front of the stage to elucidate us on what Dickens really meant by “counting house” or “work house” or how many children under 10 died of starvation in post-industrial England. 

And yet the show is really endearing. There are always two undercurrents at play simultaneously in any Mime Troupe performance: grand, slapsticky humor and a nostalgia for labor unions and the politics that once accompanied them. Both are in evidence here. Forget Trumpy auto workers of today, feel your heart tug as the cast sings labor songs from the 1930s, condemning capitalism while at the same time passing around buckets to ask for donations. We love the troupe’s idealism as we chuckle at their terrific visual jokes, usually at our expense.

Zounds! What a money-grubbing tight-ass Scrooge is, until visited by three ghosts in succession, after which he begins dealing away his fortune like Bill Gates. That’s all it takes, apparently. We need more ghosts.

Velina Brown is terrific as Mrs. Cratchit. She can really sing, people. 

It all works. It always works. The reason is Michael Gene Sullivan, who wrote and directed this production. The shows are so damned smart. They know exactly what they’re doing and nobody does it better. 

We love the Mime Troupe. Merry Red Christmas to all and to all a good night.

RATINGS: ★★★ BANG

The San Francisco Theater Blog Holiday and Ghostly Apparition Division grants Three Stars with a Bangle of Praise to SF Mime Troupe’s “A Red Carol.” As always, writing, acting and music get one star each and the Bangle is for bassist Guinevere Q.'s wind machine, that she built herself.  It looks like an old-fashioned mangle washing machine, complete with a handle that rustles a spool of fabric. Every time G.Q. turns the handle we hear the sound of a freezing London gale. We can’t wait for the weather to get even worse so the characters will have to walk outside and we can watch her turn the handle again.

San Francisco Mime Troupe's "A Red Carol"

Z Space Theatre

450 Florida St., San Francisco

Through Dec. 29, 2024 

(Masked performances Dec. 22 and Dec. 29)

$ A Little or a Lot. Donations Requested.

Cabaret: ★★★ BANG

We have seen "Cabaret" before, and we have been in cabarets before, but this is the first time we have seen "Cabaret" in a cabaret. Theatre Rhinoceros is a tiny space to begin with, but transformed into a small nightclub in 1930s Berlin, listening to the timeless songs by Kander and Ebb, we get a chance to feel this music the way it might have sounded then.

John Fisher directs the story we are all familiar with -- young American Clifford Bradshaw, an aspiring novelist, finds himself at the Kit Kat Club in libertine Berlin between World Wars, a time and place where sex in all flavors is as popular as pretzels. He falls for Sally Bowles, a performer who has bounced from job to job and from partner to partner. She, unlike Clifford, is refusing to see the Nazi horror show rising ominously on the horizon, a time when the halcyon world of the Kit Kat Club is certain to be eradicated.

We cheered the ensemble cast, especially since they were forced to climb up and down rickety ladders and attempt dance routines with barely room to kick a leg. Our favorite was Stephanie Fields, who plays Fraulein Schneider, who rents rooms in her home in order to survive, and who will face the most difficult choice of all: Love, or survival.  In "What Would You Do?" Ms. Fields's voice is strong and resonates with us as she sings:

"...With a storm in the wind,

What would you do?

With the clock running down,

What would you do?

Would you pay the price?

What would you do?..."

Rudy Guerrero is brilliant as Emcee, far more threatening than the Joel Gray we have grown accustomed to. Kudos as well to Gabriel A. Ross, with his apples and pineapples, as Herr Schultz. And there is a moment at the end of Act One when, for the first time, several patrons at the Kit Kat are seen wearing red Nazi arm bands. Before this, the show is happy, funny, hopeful. From that moment on, we are brought back to a small theatre in the Castro, where we hope tomorrow still belongs to us. 

RATINGS: ★★★ BANG

The San Francisco Theater Blog Awards Division grants Three Stars with a Bangle of Praise to Theater Rhinoceros's "Cabaret." The three stars are for the ensemble cast, for Megan Soledad and Brendan Looney as Clifford and Sally, and for Armando Fox's band. The Bangle is for the theatre's great idea to stage this show in such an intimate and innovative setting. Now, that's chutzpah. 

"Cabaret"

Theatre Rhinoceros

4229 18th St., San Francisco

EXTENDED Through Dec. 29

$17.50-$55

Circus Bella 2024: Kaleidoscope: ★★★★

Who knew? From 2nd Street to the Embarcadero east and west, and Mission St. to Harrison north to south, is a tiny downtown neighborhood called The East Cut. And throughout the holiday season, smack-dab in the middle is a giant and colorful circus tent where Circus Bella has opened their holiday show "Kaleidoscope." 

Thankfully, for those of us who loved the show last year, not much has changed. Clowns, jugglers, chair stackers and contortionists slither up and down poles and across wires while showing off ridiculously strong shoulder muscles and amazing balance. Between each act a trio of clowns runs through routine after routine, accompanied by Rob Reich's fabulous 6-piece All Star Band. Reich also wrote original music for each performer's segment.

Our buddies are back: Veronica Blair on aerial straps whose power and beauty continues to amaze us; Contortionist Elise Hing who manages to bend herself into impossible angles; and, still our favorite: The Super Duper Hula Hooper Natasha Kaluza, who doubles as one of the three clowns, along with Jamie Coventry (tall) and Calvin Kai Ku (short), 

Special thanks to Abigail Munn, Director and Ringmaster. Everyone is always looking for somewhere to take a date or their family during Christmas. Kids and adults will love this show equally. Best of all,  Kaleidoscope runs through January 5. 

RATINGS: ★★★★

The San Francisco Theater Blog Awards Division, whose members would fall on their face trying to balance one coffee cup on their nose, grants FOUR STARS to Circus Bella's "Kaleidoscope." There is something for everyone here and it makes us remember how wonderful it is to live in this extraordinary city. 

Circus Bella: Kaleidoscope

The Crossing at East Cut

Howard and Beale Streets, San Francisco

Through January 5, 2025

$55-$75 (kids $5 off)

“Waitress” ★★★ BANG

 It’s coming on Christmas. We want to feel good. “Waitress,” at San Francisco Playhouse, adapted for the stage by Jessie Nelson with Music and Lyrics by Sara Bareilles, gives us a healthy dose of home-baked kitsch guaranteed to raise our spirits. It’s not a perfect musical and the SFP version, directed by Susi Damilano, runs long. But judging from the applause from a Sunday matinee audience, no one minds jumping into this story with both forks. After the curtain, lots of people can be seen ordering and consuming pieces of pie from the snack stand.

Ruby Day plays Jenna, a pregnant waitress who isn’t so sure she wants this baby. Her husband Earl (Ben Euphrat) is an out-of-work creep, so bad that Jenna is anxious to have a fling with her gynecologist Dr. Pomatter (Zeke Edmonds). 

This might seem a little weird but no weirder than fellow-waitress Dawn (Sharon Shao) being attracted to weirdo and fellow Revolutionary War re-enacter Ogie (Michael Parrott). 

We really like both Edmonds and Parrott, though Edmond’s Dr. Pomatter would certainly lose his medical license if he actually did what he does while his pregnant patient has her legs spread. It’s ludicrous, but strangely…OK. Meanwhile, Shao manages to make us believe she could care for a love interest with a terrible mullet who spouts such bad poetry.

Jenna is the world’s greatest pie baker. Her pies seem to turn otherwise-normal people into mush. She is certain to win the Grand Prize at the upcoming Pie Contest. Or is she? 

You just have to suspend your disbelief and go with the pie.

RATINGS ★★★BANG

The San Francisco Theater Blog Awards Division is in favor of Edible Art. We grant “Waitress” Three Stars with a Bangle of Praise. We loved the way the band is located in a rear alcove that looks like an extension of Joe’s Pie Diner. They get the most from a relatively bland score that makes non-hummable songs seem downright tasty.

“Waitress”

San Francisco Playhouse

450 Post St. (2d floor of Kensington Park Hotel), San Francisco

Through Jan 18, 2025

$35-$135

Word for Word: “The Strange Library” ★★★★ BANG

WE NOW NOTICE THAT ALL PERFORMANCES FOR THIS SHOW HAVE BEEN SOLD OUT! PLEASE CHECK WITH BOX OFFICE FOR CANCELLATIONS.

Haruki Murakami’s stories are frequently weird but always inventive. The new Word For Word production of “The Strange Library” is all that, plus unique, fun and a feast for the eyes. 

Acting must be mentioned first: Jed Parsario is fabulous as The Boy, confused but always hopeful as his woeful situation becomes more and more worrisome; and Julie Kuwabara is perfect as Sheep Man, who is probably The Boy’s friend, but with a Murakami story you never know for sure. There are also strong performances by a young girl who is clearly not real, being manipulated puppet-style by Ogie Zulueta and Vivienne Truong. Chuck Lacson is hilarious as a library girl with a mustache and beard, to say nothing about Hattam, the hulking and bejeweled Turkish Tax Collector. And in case you are not suffering from enough nightmares these days, the evil old man (Zulueta) will add to your load. 

Poor Boy. All he wanted to do was go to the library, like the obedient child he is. He is at once frightened but also perfectly willing to enjoy Sheep Man’s doughnuts to say nothing about the little girl’s kiss on his cheek. Parsario has us on our toes worrying about what will happen to him. And Kuwabara gives Sheep Man a child-like sheen, though his situation is at least as precarious as The Boy's.

We wish there were a chance to applaud for the actors at the end. This production decision makes us feel incomplete. If there is one flaw in an excellent evening of theater, this is it. 

Kudos to co-directors Lisa Hori-Garcia and Keiko Shimosato Carreiro for direction as well as choreography, and to the entire company for this adaptation. 

RATINGS  ★★★★ BANG

The San Francisco Theater Blog Awards Department, Nightmare Division, grants “The Strange Library” Four Stars with a BANGLE OF PRAISE. This is a high award for a first-rate production. We add the BANGLE for Mikiko Uesegi’s set design and the infinitely labyrinthine arrangements on stage.

"Word for Word: "Strange Library"

Z-Space Below

499 Florida St., San Francisco

Through Dec. 8

SORRY! SOLD OUT! 

Don Reed: "The DMV" ★★★

There are always terrific bits in Don Reed shows, and "The DMV" is no exception. We see seven folding chairs set up next to each other on the stage and Reed takes turns sitting in one after the other. The premise is that each chair holds a different character waiting for his or her number to be called. We all have been caught up in the endless slog that is the DMV, so we understand how there is plenty of time for the performer to give a five or ten minute monologue in the voice of each of the seven unfortunate people.

There are standout characters -- Alberta, the DMV lady behind the counter probably being the most memorable, with Reed's palm serving hysterically as Alberta's hair flips. We also loved the dick jokes - "muledick" being the best -- and especially enjoyed the Punjabi Dance. Don Reed is a funny man but he is also a great dancer. The final bit, where he does a modern-dance to an ethereal song being played over the house speakers -- is a tour de force. 

We wish there were more about the DMV. We modern humans may not be able to agree on much but everyone of us gags at going to the DMV.  Every reference Reed makes to that  dreaded place drags a dyspeptic "Oh, yeah!" out of us. But there weren't nearly enough of those. The show could have been set in a doctor's office or on the moon. 

RATINGS: ★ ★ ★

The San Francisco Theater Blog Awards Division grants THREE STARS to "The DMV." We have seen Don Reed many times before. He's a personable man and excellent performer. He is breaking no new ground here, but he is still a Bay Area treasure. 

Don Reed: "The DMV"

The Marsh

1062 Valencia. San Francisco

Through Nov 22

$20-$35 (sliding scale)

Baba Yaga ★

San Francisco Theater Blog has been reviewing theater in San Francisco since 2002. In all that time the only rule that we have religiously adhered to is No Walking Out At Intermission. You might miss something. 

But, you know, we're not getting any younger. Each hour counts more than it used to. There could be an earthquake that knocks over the Golden Gate Bridge. Time is Money. (Except that we're theatre reviewers so, ha ha ha, no.) Still. Dysfunctional times call for exceptional responses. 

As for "Baba Yaga," Lance Gardener's newest production at Marin Theater Company, written by Kat Sandler, let's just say that when I asked my wife why she didn't insist that we stay for Act Two, after 20+ years of insisting that we show enough respect to the actors to remain in our seats for the entire production, no matter how cringy Act One had been, her answer, tonight, was "I was afraid I had carbon monoxide poisoning because I kept passing out." 

I wanted to slap the actor (I will not say his name) playing the two male leads (each actor plays several parts). It wasn't his fault, he was saying the lines written by the playwright while following the director's orders to make sure his characters were so supercilious and insincere that the audience won't mind when, presumably, they are killed and eaten by the witch in Act Two. 

But it's hard to watch.

The two female leads were trying really hard to pretend to fall for these pathetic young men. The older woman was going to kill the detective, clearly, or at the very least strip him of his bones and grind them down to sprinkle on her vegetables. The younger woman just seemed...empty, as if she had fallen down a well and no one had called Lassie. 

It is possible that this whole thing is a spoof and that Act Two will pay it all off. I may have missed the joke: it has happened before and I won't know until tomorrow when I poll those reviewers whose partners would not let them leave. To be honest, there was lots of squealy laughter from one particular spot in the center of the audience, perhaps from relatives who live deep in the forest and don't get out much. They thought it absolutely spectacular that the young man would kiss the older woman. Can you imagine! Old people kissing! They applauded and whistled. 

There is one big positive: The Super-Duper Burger across the street is as good as ever. 

RATINGS: ★

You get one Star just for showing up.

The San Francisco Theater Blog Awards Division knows how difficult this business is. We are not mentioning actors' names, for search-engine purposes. But for the sake of our readers, if you do attend, bring a wooden cross and for the love of God do not kiss anybody.

"Baba Yaga"

Marin Theatre Company

397 Miller Avenue. Mill Valley

Until Nov. 3

$30-$80