"Do You Feel The Anger?" ★baub

Let's call it Theater of Mathematical Mindlessness, where a ridiculous situation is presented and then multiplied, the actors trapped inside algorithms that have them shouting "Blowjobs Without Reciprocation" and "Piss Chart!," and the boss carrying around a golf club while turning up the Smarm Dial to eleven.  If humans actually behaved the way these characters do, especially the men, they would be hauled off to the insane asylum and shackled together with Billy Bibbit. 

In fairness to Marin Theater's production of Becca Wolff's "Do You Feel The Anger?" let us assume the absurdity on stage is calculated to lead to a more basic truth, such as loneliness, or despair. Here, the author seems to be making two statements: First, men are blithering, juvenile morons and, second, women in offices are often treated poorly and with disrespect. Points taken.

That took five minutes. The show lasts ninety. 

Please. There is no office, nor any other collection of humans past the age of Cub Scouts, where a male boss (with or without his putter) would never have heard of a woman's period. These situations are so egregious that anger would be more than justified. But there is no anger in "Do You Feel the Anger," except perhaps for the audience who paid good money to see this stuff.

We enjoyed Sam Jackson as Sophia the empathy coach, until she joined on with the juvenile men, ostensibly to save her job. We’re glad Little Spider almost reconciled with her mother at the end, Nice touch. 

RATINGS: ★baub

The San Francisco Theater Blog Awards Division grants One Star with a Bauble of Despair to “Do You Feel The Anger?” You get One Star just for doing the work and showing up. The Bauble is for the inexplicable set piece where three women sit on toilets while crouching to pee. You can't make this stuff up.

This rating falls below the Julie Andrews Line (See Side Bar at right for explanation).

“Do You Feel The Anger?”

Marin Theater Company

397 Marin Avenue, Mill Valley

Through June 29

$$47-$85

"Doodler" ★★★ BANG

He is house manager, stage manager, writer and performer all at once. He also holds out a hat at the end for donations. One of the many impressive things about John Fisher's solo piece "Doodler" is that solo means solo. Fisher does it all - controls the lights, the cues, requests audience participation and rides his bicycle across the stage, all the while acting out a fascinating San Francisco historical piece about a never-found serial killer. 

The Doodler was real - a serial killer who lured gay men into liaisons on the beach. Their bodies were discovered the next day, covered with stab wounds. Fisher's story, on the surface, is about one young man who decides to find and stop the Doodler. But it is at its core a coming-out story familiar to many gay boys, in which they find a way to stop feelings of inadequacy and discover the joys of being who they really are. 

John Fisher is a great performer - funny, wry, breaking the fourth wall continually to get his audience cheering and making battle and sex sounds. He is able to change voices mid-sentence as one character turns into another. We loved gravely-voiced Mama, the Queen of Finocchio's, and also Glen the Pothead ("Duuuude!"), the Joan Crawford bit and the terrific set pieces behind stacks of apology pancakes at Orphan Andy's. 

And Moroney the Cop, the symbol of police brutality towards gay men that was a given in 1970s San Francisco.

This is a wonderful performance. The ending is perhaps a bit far-fetched, but by then we are totally on the side of the good guy. His short homage to Supervisor Harvey Milk, who in real life was murdered by a cop, brings us right back to the city we live in today. 

                                                                                          RATINGS: ★★★BANG

The San Francisco Theater Blog Awards Division grants THREE STARS with a Bangle of Praise to John Fisher's "Doodler." The stars are for the show and the Bangle is for Fisher's keeping us involved with his story while simultaneously doing a balancing act with lights and cues. He's a magician on stage and a lot of fun. 

"Doodler"

The Marsh

1062 Valencia St., San Franisxco

Fridays and Saturdays through July 6

$25-$35

The Curious Incident of The Dog in the Night-Time: ★★★★ BANG

Adapted by Simon Stephens from a novel by Mark Haddon, and winner of multiple major awards since its debut in 2012, including Drama Desks and a Tony for Best Play of 2015, “The Curious Incident of the Dog in the Night-Time” is unlike anything else you’ve seen. It is that rare show where one actor dominates a ten-person ensemble and pulls us out of our seats and into his world. We suspect Brendan Looney will win numerous personal awards for this stellar  performance.

Looney, who is autistic in real life, plays Christopher, an autistic English teenager who cannot understand why the world works as it does. He sees what we can’t see. Things are true or they’re not and there is no in-between. He is brilliant but fragmented, and his fears and jerky physical movements are echoed by frenzied music and precision choreography that only makes sense when you think about it in the car driving home. 

Gee, trying to take a train to London. We want to jump on stage and just buy him the ticket. For Christopher, everything is an agonizing voyage of discovery. Train coming. Stop. Doors Open. Train going. Silence. Repeat. Repeat. Repeat.

Sophia Alawi, as Christopher’s teacher and Liz Sklar, as his mother, have interesting turns in the plot, but this show is all about Christopher. He walks on a wire across chasms of everyday chaos. Will he make it? And will Brendan Looney really be able to repeat this brilliant and taxing performance for six more weeks?

RATINGS: ★★★★ BANG

The San Francisco Theater Blog Awards Division was blown away by Brendan Looney. We grant “The Curious Incident of the Dog in the Night-Time” Four Stars with a Bangle of Praise for the phenomenal coda, a tour de force of acting, lighting, electronics and sound. 

Folks, don’t miss this one.

“The Curious Incident of the Dog in the Night-Time”

San Francisco Playhouse

450 Post Street (2d floor of Kensington Park Hotel)

Through July 21, 2025

$35-$145

"Fat Ham" ★★★★

They say there is no blood on the pulled pork in James IJames’s “Fat Ham,” but we're not so sure. We get Margo Hall directing, a terrific ensemble of actors, a danceable music score and a story that has plenty of meat to go with all that grease. The story jumps in a direction that was somewhat unexpected, given it’s connection with Hamlet, written by William Shakespeare, the old white guy who published it in 1603. But we see where the story is going for the entire one hour and forty minutes, so there are no surprises here.

It’s difficult to say who the stars are - each actor gives us something to love. Jordan Covington starts us off as Tio (above, with chin in hand), best friend and cousin of Juicy, played by Devin A. Cunningham. Juicy is fat and gay, Tio is slim and horny. Tio is happy, Juicy is morose. 

Ron Chapman is one scary dude, both as the frightening ghost of the slain Pap and Pap’s evil brother Rev. We especially love Courtney Gabrielle Williams as Opal, the only character who seems at peace with herself.

Jenn Stephens, who looks great in turquoise, Phaedra Tillery-Boughton, who really knows how to pray, and Samuel Ademola, the one character whose confession seems forced, round out the cast. 

It truly is a shame that Rev, the mean pitmaster, was such a hard head — “He really did know his way around a pig.” 

RATINGS ★★★★

The San Francisco Theater Blog Awards Division has but one reviewer in charge of gender-bending Elizabethan dramas about barbecue. We are granting “Fat Ham” Four Stars. The show is a lot of fun and clearly an audience favorite. Shoutout for the prayer sequence.

And here’s the rub: It’s on the pork. Fat Ham feels like a hit.

_____

“Fat Ham”

San Francisco Playhouse

450 Post St. (Second floor of Kensington Park Hotel)

Through 4-19-25

$35-$135

“Mrs. Krishnan’s Party” ★★★ BANG

It’s a new and different night at Marin Theater Company, normally a theater but tonight a grocery where rice meets dahl and story meets improv.  It  takes awhile to get to your seat, through the revamped rear stage doors and up the stairs, but when you do you find yourself in the back room of Mrs Krishnan’s grocery store, somewhere in a country we are taking to be New Zealand. 

The two co-writers and the two actors are Kiwis. So New Zealand is a good guess.

In the back of the store, we are taking part in a celebration of the joyous Indian holiday of Onam. As the party evolves, we go a little deeper and understand Mrs. Krishnan is thinking of selling her store and moving back to India, where she was born. 

Kalyani Nagarajan, who plays Mrs. Krishnan, is a gifted physical comic, doing brilliant things with voice timbre and body language. Her two dance sequences are spectacular, worthy of a ticket all by themselves.

We need all of these physical gifts because we can’t understand much of her thick dialogue. Fortunately. the show is raucous and slapstick.  Mrs. K. and James, her young helper, played by show co-writer Justin Lewis, are flying constantly around the room, joking with audience members, cajoling some into coming upstage and stirring the rice, others into talking about how long they have been married. We who remain seated, garlands around our necks and balloons on our laps, can tell Mrs. K. is distraught. You would be too if your late husband’s ashes had just been mistaken for salt and tossed into the pot of dahl and rice.

No, Mrs. K! Don't taste the rice!

We get it. Poor Mrs. Krishnan has been working too hard. Her son is refusing to come home for the holiday. And James has a secret as well. 

This show is meant to draw us in, to burst through the barrier between artist and audience. We love the idea. We'd like to hear a little better. But we love balloons. It feels good to walk out of a theater smiling.

RATINGS ★★★ BANG

The San Francisco Theater Blog Awards Division, International Branch, awards THREE STARS with a Bangle of Praise to “Mrs. Krishnan’s Party.” It turns out to be a simple story — the lady is lonely. She misses her son. Life is what you make it. Nagarajan and Justin Lewis are terrific. The sound mix is too, a collection of Bollywood and Indian trad music worthy of the Bangle of Praise.

Mrs. Krishnan’s Holiday Party

Marin Theater Company

397 Miller Avenue, Mill Valley

Through March 30, 2025

$45-$95

“Art” ★★★★

It’s brilliant, funny and real. “Art,” written by Jasmina Reza, is almost 30 years old now, but hits home for this reviewer in a way most newer “relationship plays” never do. This is a story about male friendship, the way men actually talk, relate, think and act. They are getting older.

They are hotheads, they storm in and out of the room. Each has issues of his own as well as with the other two. But the heart of this story is the strong desire that Marc, Serge and Ivan have to remain friends. 

And it's 1998. It's still a world where you have to be in the same room to fight. No one can send anyone else a nasty text and then ghost him. It feels...refreshing. 

David Sinaiko plays Marc, who feels the way most of us in the audience feel about the painting for which Serge, played by Benoit Morin, has just paid $200,000. Some men, as they hit their forties, take mistresses or buy Porsches. Serge buys a painting, but not just any painting. It is completely white. No frame. No color. A 4' x  5' white rectangle. 

Serge feels it is "art." Marc tells him it's a piece of "shit." 

Meanwhile, Ivan, the third member of the troika, is trying to appease both Marc and Serge. It's not working, primarily because Ivan is being drawn into a marriage he doesn't want and neither do Marc and Serge. This is the one thing about which they can agree.

On the surface, "Art" is about art - what makes it so? Why does an artist's reputation determine its worthiness? And what makes up a friendship? Can you speak the truth, even if it hurts? Does friendship have a frame around it? 

We love the staging of the show along with lights and sound -- the way the characters can break the fourth wall and speak directly to the audience in an echo-y reverb with lights up on the speaker and dimmed on the others. It's effective and funny.

RATINGS: ★★★★

The San Francisco Theater Blog Awards Division gives The Shotgun Players' production of "Art" FOUR STARS, one each for writing, acting, directing (Emilie Whelan) and staging. There is no lead actor-- each member of the ensemble is terrific. We identify most with Marc (David Sinaiko), because, well...he's right about that idiotic painting.

---------

"Art"

Shotgun Players at Ashby Playhouse

1901 Ashby Avenue, Berkeley

EXTENDED through April 12, 2025

Prices from Pay What You Can to $80

Happy Pleasant Valley: a Senior Sex Scandal Murder Mystery Musical: UNRATED

A few comments:

1.) A musical is a giant puzzle. It is very difficult to write, cast and stage. Someone sitting in an audience can imagine only a fraction of the time and effort writers, designers, producers, directors and actors must invest in order to assemble all the pieces into a flowing work of art.

2.) Nobody is getting rich doing theater in Palo Alto.

2.) Any Opening Night performance, particularly for a World Premiere, is bound to be laden with nervous energy. The theater has been filled with comps and everybody’s parents and boyfriends are there.

3.) Sometimes this nervous energy leads to greatness.

4.) We all have stereotypes. Some are harder than others to break. 

5.) It's easier to fit "Cats" or "Gigi" or "Hamilton" on a marquee than “Happy Pleasant Valley: A Senior Sex Scandal Murder Mystery Musical,” 

5a) So it’s always a good idea, when the title of your show is “Happy Pleasant Valley: A Senior Sex Scandal Murder Mystery Musical,” to make sure the story makes sense, the music is tuneful, the murders are comprehensible and you don’t patronize everyone over fifty in the audience, which at the Lucie Stern Theater pretty much includes the entire roster of season ticket holders. 

6.) Sophie Oda (Jade) and Lucinda Hitchcock Cone (Vicki) are excellent singers and underutilized Miller Liberatore (Dean) appears to be as well.

And that’s my review.

RATINGS: UNRATED

The San Francisco Theater Blog Awards Division, several members being over fifty, is too tired to give this show a rating. We’re going to the potluck and then we’ll need a nap.

Happy Pleasant Valley: a Senior Sex Scandal Murder Mystery Musical

Lucie Stern Theater

1305 Middlefield Road, Palo Alto

Through Mar 30

$44-$94