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When: June 15-16, 8 p.m., Sun., June 17, 2 p.m., Tue., June 19, 7 p.m., Wed., June 20, 8 p.m., Wednesdays-Saturdays, 8 p.m., Sundays, 2 & 7 p.m., Tuesdays, 7 p.m., July 26-28, 8 p.m. and Sun., July 29, 2 p.m. Continues through July 22 2012
Price: $30-$55

Six years after his resurrection of the Oscar Wilde play Salomé, director Mark Jackson returns with an ambitious sequel. This time he focuses on the story of dancer Maud Allan, a San Francisco-raised artist who caused a stir with her own interpretation of Wilde's opus, which she premiered in Vienna in 1906. Allan's Vision of Salomé was taken as a provocation and derided in a right-wing tabloid, which ran a capsule review of the performance under the headline "The Cult of the Clitoris." Allan sued the paper's editor, Noel Pemberton-Billing, for libel, unaware that he would use the courtroom as a platform to expound on his own conspiracy theories about Germans and gays (he accused her of belonging to and/or sympathizing with both). Jackson dramatizes the whole trial with a script largely based on original court transcripts. Madeline H.D. Brown looks serene and regal as Allen; Mark Anderson Phillips plays the petulant Pemberton-Billing; Kevin Clarke, as the judge, milks all his lines for prurience and comic effect. Jackson juxtaposes the court story with an ancillary plot about World War I and the air of paranoia it generated in Western Europe. Nina Ball's set is deceptively simple and endlessly mutable. Through July 29 at Aurora Theatre (2081 Addison St., Berkeley). $30-$48. 510-843-4822 or

— Rachel Swan


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