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Whether charging about the skewed faux living room, tucking a leg under herself in a big easy chair, or guiding us through “Hollywood 101” with a pointer, Fisher is an exaggerated, appealing personality decked out in leggings, gilt-trimmed shmatas, and sparkly eye shadow. Berkeley Rep honcho Tony Taccone is at the helm of her quick-moving show, which borrows a page or two from Dame Edna in its folksy engagement of individual audience members. I’m not a fan of shanghaiing the audience, but, as with Dame Edna, there seems to be no resisting Carrie Fisher. The force is with her.

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Related: Year in Theater: Staged right, Review: Sorority Row, Who wants to be a filmmaker?, More more >
  Topics: Theater , Britney Spears, Sylvia Plath, John Simon,  More more >
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ARTICLES BY CAROLYN CLAY
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  •   NO COUNTRY FOR OLD MEN  |  December 01, 2009
    Louis de Rougemont makes James Frey look like a documentarian. A sickly Victorian lad who arose from his cot, knocked around the Southern Hemisphere for a while, and returned to England with a hifalutin new moniker and captivating tales of seafaring perils and aboriginal idylls, he was the subject of a popular serialized autobiography.
  •   LINCOLN YULE LOG  |  November 24, 2009
    Abraham Lincoln, as he said in his second inaugural address, yearned to "bind up the nation's wounds." Since the great man was assassinated little more than a month later, he didn't quite get around to it. No worry, Paula Vogel has taken over the job with A Civil War Christmas: An American Musical Celebration.
  •   DODGING DEATH  |  November 18, 2009
    Even the sweetest life can shatter in an instant, sending you through the looking glass like Alice. For the euphoric heroine of Craig Lucas's 1988 fable of holiday festivity and arbitrary mayhem, Reckless the moment of reckoning comes when her husband tearfully confesses, on Christmas Eve, that he has taken out a contract on her life.
  •   MARS VS. VENUS  |  October 28, 2009
    It’s been 21 years since Speed-the-Plow first milked the cravenness of Hollywood and the self-described “whores” who turn its celluloid tricks. But David Mamet’s scathing, staccato comedy has held up at least as well as Madonna, who made her Broadway debut in the original 1988 production.
  •   ONLY CONNECT  |  October 20, 2009
    Usually when a cell phone goes off in the theater, you want to kill someone. In the case of Dead Man’s Cell Phone , that’s not necessary.

 See all articles by: CAROLYN CLAY

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