However critical of San Francisco Mime Troupe politics you might be, the bottom line is that they remain stellar performing artists. With impeccable timing, costuming, acting, and blocking, these guys just can’t be faulted.

What does it feel like to be five years old and locked in a trunk with a dummy that looks exactly like you?

While the show is smart enough to throw in bits of comedy, be it an insouciant toss of a tail, or fat, self-important geese waddling into stage center, you hope against hope for the unlikely happy ending, weighing the grimness of World War I, against the need for resolution.

On stages like this, the actor’s craft is laid bare. This performance had nary a stick of scenery or stitch of costume, and only the most humble of light and sound design. Ross romanced his crowd for a solid 70 minutes, with only the briefest of water breaks.

Saturday night’s performance at the Herbst Theatre did not disappoint the enthusiastic crowd

Chicago continues to resonate with an audiences even more than it did when it was introduced on Broadway in the 70s. This original City Lights production is no exception. It is a wonderful finish to an excellent season.

The thundering of the horse hooves, the mysteries of the video and even the cool air that hits the audience in the face when it rains on stage are guaranteed to take you out of your virtual life and get you re-centered back in the world of your senses.

SF Playhouse's 'My Fair Lady' is such a purified extract of the Lerner and Lowe original that you'll be clapping along with the audience, and singing "Get Me to the Church on Time" for days afterwards.

Schellhardt's words are achingly genuine and never trite; especially those of Kiddo who I suspect bears more than a passing resemblance to herself, having grown up around the family piano.

During intermission, the audience fell into two camps – those who insisted that the sound issues were due to the musicians playing too loudly, and those who opined that the acoustics were to blame.