"Kings," Sarah Burgess' engagingly unsavory behind-the-scenes D.C. drama now being staged by Berkeley's Shotgun Players, is a sort of Capitol Hill "Jurassic Park."
There's an all-too-familiar glimmer of today's San Francisco in "American Psycho," the musical adaptation of Bret Easton Ellis' black comic 1991 novel about a white-collar murderer, now making its West Coast debut.
In his latest collection of essays and performance pieces, Tim Miller demonstrates a well-honed sense of humor, a passion for queer history, and the kind of melodrama only a true performance artist can exude.
The title of "Significant Other," playwright Joshua Harmon's curdled romantic comedy now in its local premiere at the San Francisco Playhouse, refers not to one of the play's many soon-to-be-spouses but to Jordan Berman (Kyle Cameron).
Miriam, the sharp-witted atheist academic played by Annette O'Toole in "The Good Book" now at Berkeley Rep, is the kind of professor whose bravura makes a lecture hall come alive.
Joe Trace and his wife Violet tell two sides of the same story in "Jazz," an adaptation of Toni Morrison's 1992 novel now in its West Coast premiere at the Marin Theatre Company.
There's plenty of unsavory behavior on display in this American Conservatory Theater co-production with Washington, D.C.'s Shakespeare Theatre Company.
Joshua Harmon has seen his share of romantic comedies. "You often have this gay sidekick to the female lead who will come into a scene, say something funny or supportive, then disappear for a while."
In the national touring production of "Charlie and the Chocolate Factory" now playing at the Golden Gate Theatre, there isn't anything the Candy Man can do to compensate for the Vegetable Woman.
