Playwright Kim Rosenstock is a rising star in the American theater scene, and local audiences are about to get a double shot of her unique brand of comedy-drama. With two of her shows going into production in the Bay Area, the New York-based Rosenstock has just arrived for a busy schedule of rehearsals, previews and openings.
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The timing couldn’t have been better. The folks at San Francisco Playhouse may not have planned it that way, but giving “Reborning” its world premiere on the eve of Mother’s Day seemed to add an extra layer of resonance to Zayd Dohrn’s compelling dark comedy.
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The idea of artificially induced intelligence is not necessarily new. (The current movie “Limitless” is about a drug that allows us to access the unused 90 percent of our brainpower.)But “Wirehead,” a futuristic thriller by Matthew Benjamin and Logan Brown onstage at SF Playhouse, includes clever little details (like cochlear telephone implants; you stick your finger in your ear to talk and jiggle a tooth to adjust reception).
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While an IQ test is required for some careers, “genius” profiling has yet to become a widespread phenomenon. But what if it was?
Brain implants that increase intelligence capabilities cause the dominant rift in society in “Wirehead,” a play by award-winning writers Matt Benjamin and Logan Brown, which has its Bay Area premiere in an SF Playhouse production directed by Susi Damilano.
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Imagine you’re a depressed fortysomething wife and mother with a rebellious teenage daughter, a serious marital issue, an unemployed husband, no friends in the new town you’ve been forced to move to, a job you don’t like, financial worries, a mother you’re estranged from and a weird, gabby boss who says he’ll fire you if you take time off to go visit your dying dad in the hospital.
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The talent is top-notch in SF Playhouse’s West Coast premiere of the new, family-friendly minimusical “Coraline.”
For starters, there is Neil Gaiman’s dark, “Alice in Wonderland”-ish children’s book upon which the show is based. In it, an adventurous English schoolgirl — with distracted, workaholic parents — wanders through a mysterious door in her house to find herself in a parallel universe.
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“Nothing can go wrong,” says Flaco, the ringleader of what might be the most foolproof heist ever planned.
In “Den of Thieves,” the task of stealing $750,000 from a local disco seems a breeze. Two hours later, his plan has unraveled like a cheap sweater.
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There’s a two-character scene in the middle of David Greenspan’s hilarious, gender-bending, meta-theatrical comedy in which local treasure Amy Resnick plays both characters simultaneously.
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