STAGE

Antigone

Blue Monkey Theater puts a contemporary twist on the classic tale of teenage rebellion with Jean Anouilh's adaptation, translated by Jeremy Sams. Grant Turner directs. West End Theater, 1220 SW Taylor St., 593-2466. 7 pm Thursdays-Saturdays, 2 pm Sundays. Closes Feb. 24. $16-$20. All ages. Map

The Beard of Avon

There is a tremendous amount of labor on display at the Gerding Theater in Amy Freed’s nerdy comedy about who might have really written (at least according to a fringe contingent of conspiracy-minded scholars) the works attributed to William Shakespeare: From Deborah Trout’s stunning Elizabethan costumes and William Bloodgood’s handsome all-purpose set to the ensemble’s excellent comedic execution and a refreshingly restrained performance by Darius Pierce, it's blood sweat and tears all over. But the hardest labor of all must have come from Freed, whose intricate script is quick, clever and brainy, carefully tailored to appeal to a self-satisfied audience of lit majors and theater lovers. It must have taken ages to cram in this much trivia and artifice—but why bother? The play offers little in the way of moral or artistic satisfaction. It’s a tale told by an academic, full of in-jokes and bawdy humor, signifying nothing. See review. BEN WATERHOUSE. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays, 2 and 7:30 pm Sundays. Alternates with Twelfth Night. See wweek.com or pcs.org for more details. Closes March 16. $16.50-$61.50. All ages. Map

The Big Rock Show

"The World's Smallest Stadium Rock Concert," a two-man comedy routine featuring Chicagoan Scotty Iseri and Portlander Joe Bolenbaugh as his fresh-from-rehab roadie. Theater! Theatre!, 3430 SE Belmont St., 223-4240. 9 pm Thursdays-Saturdays. Closes Feb. 23. $10. All ages. Map

Bodas de Sangre (Blood Wedding)

Miracle Theatre’s artistic director, Olga Sanchez, has attempted to make Federico García Lorca’s weird 1932 tragedy a little more accessible through song, with haunting arrangements by Gerardo Calderón that span the breadth of Andalucia’s rich musical heritage. The music pulls you in, bringing out the best of Lorca’s voice (an outlandish lyricism that revels in the grotesque) and allowing you to overlook the production’s flaws. BEN WATERHOUSE. El Centro Milagro, 525 SE Stark St., 236-7253. 7:30 pm Thursdays, 8 pm Fridays-Saturdays, 2 pm Sundays. Closes Feb. 23. $15-$20. All ages. Map

The Clean House

What starts out as an entertaining series of encounters between stock characters—Lane (Susan Coromel), a humorless, uptight doctor, clad in white; Virginia (Marilyn Stacey), her humorless, uptight, neat-freak sister, in khaki; and Lane’s maid, Matilde (Amaya Villazan), who wears black, hates cleaning and would rather be a comedian like her parents, the funniest people in Brazil, who died in a tragic, humor-related murder-suicide when her father came up with a joke so good it killed—starts to go downhill when Lane’s husband, Charles (Shelly Lipkin), runs off with a 67-year-old cancer patient (Linda Williams Janke) and the whole thing degenerates into a maudlin mishmash of smug quirkiness and sentimentality, like a Lifetime movie penned by Gabriel García Márquez. By the time Charles heads for the Arctic to cut down a Pacific yew for his cancer-patient mistress and Lane overcomes her jealousy to care for her, the play is beyond all hope of recovery. See review. BEN WATERHOUSE. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Tuesdays-Saturdays, 2 pm Sundays. Closes March 2. $20-$47. All ages. Map

The Communist Dracula Pageant

Meet Dracula. No, not that Dracula, though he’s invited as well. We’re talking about the communist Dracula: Nicolae Ceausescu, the former dictator of Romania. Anne Washburn’s new play, running in a workshop production at defunkt theatre, ambitiously attempts to encompass in 95 minutes a sketchy history of the Romanian revolution, nuanced portraits of the dictator and his wife and some dime-store philosophizing about the nature of freedom. It doesn’t quite succeed. The defunkt ensemble has impeccable comedic timing, and the show’s humorous scenes manage to hold the audience’s attention, but the story loses steam during a few scenes that don’t quite make sense to the viewer who comes without prior knowledge of the December Revolution—that is, almost all of us. The show is, nonetheless, worth seeing for Kenichi Hillis’ bizarre, toothy performance as Vlad "The Impaler" Tepes. He steals the show. See review. (Playwright Anne Washburn will lead talkbacks after the show Feb. 8 and 9.) The Back Door Theater, 4319 SE Hawthorne Blvd., 481-2960. 8 pm Thursdays-Sundays. Closes Feb. 16. $10-$15. All ages. Map

The Complete History of America (Abridged)

Bag&Baggage presents a 97-minute summary of our nation's story, written by the hooligans behind The Complete Works of Shakespeare (Abridged).  The Kingstad Center, 15450 SW Millikan Way, Beaverton., 626-6338. 7 pm Thursday-Saturday, 2 pm Sunday. Closes Feb. 17. $17. All ages. Map

Cuentos—Searching for My Story

Rebecca Martinez, Joaquin López and Stan Olmstead's multidisciplinary performance confronts tradition, and racial and national identity. Take the kids. El Centro Milagro, 525 SE Stark St., 236-7253. 3 pm Saturdays. Closes Feb. 23. $5-$10. All ages. Map

The Curate Shakespeare As You Like It

Try as they might, this energetic cast can’t save a sinking script. This meta-theatrical farce is so thoroughly and distractingly self-conscious that it never really gets going. The premise is this: A traveling repertory company attempts to put on Shakespeare’s As You Like It. But things keep going wrong: Amiens (Jonathan Lay) can’t remember his lines; William (Zachary Koval) has an existential identity crisis; Rosalind (Christy Bigelow) has gone temporarily crazy. What results is a lot of lag, and dead-end questions (“but how can I be Audrey and Rosalind at the same time?”) that ought to have been asked in Intro to Dramatic Lit. The actors—although at times they play it like a high-school show—have a good sense of Shakespearean bawdiness, and they do their best to liven things up, keeping the audience in stitches until Act II, when things really slow down. Why, it must be asked, do professionals possessing otherwise fine senses of artistic good taste insist on producing this sort of self-indulgent stinker? JOHN MINERVINI. Lakewood Center for the Arts, 368 S State St., Lake Oswego., 635-3901. 8 pm Thursdays-Saturdays, 7 pm Sundays, 2 pm Feb. 10 and 17. Closes Feb. 17. $23-$25. All ages. Map

Dead of Winter

Local playwright Steve Patterson premieres three one-act ghost stories (“Whitechapel,” “Wet Paint” and “The Body”) in a joint effort by Pavement Productions and the Bluestockings. Lisa Abbott directs. While the scripts themselves aren’t that bad per se—about on par with an average episode of The Outer Limits—the weaknesses in Patterson’s dialogue (Americans really shouldn’t dabble in English dialects) are amplified by Lisa Abbott’s heavy-handed direction and some really frightening acting. An exception is Ben Plont, who sinks his teeth into the camp and doesn’t let go, shamelessly hamming it up as a ghost-hunter and a haunted surgeon. Unfortunately, he can’t be onstage all the time. BEN WATERHOUSE. Performance Works NW, 4625 SE 67th Ave., 222-2305. 8 pm Thursdays-Saturdays. Closes Feb. 23. $10. All ages. Map

The Devil and Daniel Webster

Charming and sweet, while at the same time wickedly funny, this show weaves together a tale of youthfully innocent love and guilty desperation. A lighthearted contemporary adaptation of a 19th-century tale, the story loses a bit of its momentum in the second half when the devil and Sen. Daniel Webster argue for a farmer’s soul, especially for younger audience members. Sets are inspired, the young actors are energetic, and the older ones casually confident. Come early and, from a cushioned wooden pew, soak up the sight of the lovely and lofty cross-barrel vaulted ceiling in this beautiful old auditorium. DEEDA SCHROEDER. NW Neighborhood Cultural Center, 1819 NW Everett St., 222-4480. 7 pm Fridays, 2 and 7 pm Saturdays, 2 pm Sundays. Closes Feb. 24. $15-$20. All ages. Map

Exit the King

A ruler who has run his country into the ground now refuses to let go. Sound familiar? Probably its resonance with our current national leadership crisis prompted Arts Equity to take on Ionesco’s political satire, and it does a fine job playing up the similarities. King Berenger (Rod Harrel) and his court speak with thick Texas accents, and Berenger himself makes apelike facial expressions and frequently lets fly a sinister airy cackle—heh, heh, heh—that will be instantly familiar to anyone with a TV. This spirited production—nimbly directed by Llewellyn Rhoe—successfully straddles the line between tragedy and farce, and it has the advantage of lending itself to contemporary allegory. Unfortunately, the script hasn’t aged well; what may have challenged audiences in 1962 drags in the new millennium. The second act features unforgettable monologues by Berenger and Queen Marguerite (Virginia Belt), and, in general, the performances are solid. However, not all characters speak with the same accent—the maid is French, the guard is German, and the actors step on each others’ lines. JOHN MINERVINI. The Main Street Theater, 606 Main St., Vancouver., 360-695-3770. 8 pm Thursdays-Saturdays, 2 pm Sundays. Closes Feb. 16. $10-$24. All ages. Map

Faust, U.S.

For this first production from his new company, Re-Theatre Instrument, director Jason Zimbler asked his cast to improvise a script from his plot summary. It shows. The show’s premise—a retelling of Marlowe’s cautionary tale with an ambitious presidential candidate (Jeff Gorham) as Faust, a coal-company executive (Lior Zadok) as Mephistopheles and the nation’s air quality at stake—might have made for an interesting evening of theater. Here, though, it feels like everyone’s reciting their favorite bits from The West Wing from memory. Our advice: Next time, spend more time on the dialogue. BEN WATERHOUSE. Imago Theatre, 17 SE 8th Ave., 231-3959. Call 201-2591 or visit retheatre.org for tickets. 7:30 pm Fridays-Sundays. Closes Feb. 16. $16-$26. All tickets are two-for-one. All ages. Map

A Few Stout Individuals

The second play of Profile Theatre’s season of John Guare looks great—but don’t let it fool you. This purported comedy about the writing of Ulysses S. Grant’s memoirs is brutal. It’s not all the actors’ or director’s fault, though—Guare’s play, which he admits to tossing off under deadline in the three weeks following 9/11, is an awkward mélange of war tragedy, history lecture and madcap farce that plays footsie with the fun, the interesting, the informative and even the artful, but keeps falling short in endless asides and digressions. It’s 2 1/2 hours of subpar writing made even harder to endure by a trio of particularly terrible performances by actors I will not name. With this script, they’ve already suffered enough. BEN WATERHOUSE. Theater! Theatre!, 3430 SE Belmont St., 242-0080. 8 pm Thursdays-Saturdays, 2 pm Sundays. Closes Feb. 17. $10-$28. All ages. Map

The Front Page

Richard Morley's comic drama, set in the press room of the Chicago Criminal Courts Building. Hillsboro Artists' Regional Theatre, 185 SE Washington St., Hillsboro., 693-7815. 8 pm Fridays-Saturdays, 2 pm Sundays. Closes March 22. $7-$14. All ages. Map

The Importance of Being Earnest

Northwest Classical Theatre Company brings an American slapstick sensibility to Oscar Wilde’s oft-performed comedy, keeping it loose and funny until the end of the third act. The women carry the show, with deliciously venomous performances by Kelly Godell (Gwendolyn) and Paige Jones (Lady Bracknell). The men seem to be straining, though, and Tom Walton exhibits a disagreeable habit of closing his eyes while delivering lines. Thematically, the production, directed by Blue Monkey Theater’s John Monteverde, lays heavy emphasis on vanity, a theme reflected in the placement of floor-length mirrors along the set’s back wall. This design has the unfortunate consequence that the actors, whenever they are admiring themselves, are forced to turn their backs on the audience. Also: because Earnest is really only dialogue, costumes come under unusually close scrutiny. In this regard, the women once again fared better, looking tip-top, whereas the men seem to have been dressed out of bins. How can you be a fop if your clothes don’t match, or even fit? Nevertheless, the audience laughed loud and often, and you will too. JOHN MINERVINI. Shoe Box Theater, 2110 SE 10th Ave., 971-244-3740. 7 pm Thursdays-Saturdays, 2 pm Sundays. Closes March 2. $12-$18. All ages. Map

A Midsummer Night's Dream

Puck, Bottom and the gang. RPHS Main Stage, 4950 SE Roethe Road, Milwaukie., 367-2620. 7:30 pm Thursdays-Fridays, 2 and 7 pm Feb. 16. $10-$12. All ages. Map

Monologic

A long-form improv show from the Brodys that blends fiction and reality. The Brody Theater Studio, 3314 SW 1st Ave., door on Southwest Gibbs Street., 224-0688. 8 pm Saturdays. Closes March 8. $7-$10. All ages. Map

The Neutrino Project

Why watch live, unedited improv when you could see a movie, acted and filmed on the fly by the ambitious folks at Curious Productions? Directed by Bob Ladewig, The Neutrino Project is shot at three locations—edited, scored and projected almost live. BEN WATERHOUSE. Hollywood Theatre, 4122 NE Sandy Blvd., 281-4215. 9:30 pm Fridays. Closes Feb. 22. $10. All ages. Map

Okage Sama De: I Am What I Am, Because of You

Storyteller Alton Takiyama-Chung recounts the experiences of Japanese Americans in World War II. Hipbone Studio, 1847 E Burnside St., 360-882-3581. 8 pm Fridays-Saturdays. Closes Feb. 16. $12. All ages. Map

Rabbit Hole

In David Lindsay-Abaire's first serious drama we join Becca (Susannah Mars) and Howie (forcefully portrayed by Duffy Epstein), a middle-aged suburbanite couple, eight months after the death of their 4-year-old son Danny, who ran out in the street after his dog and was mowed down by a teenage driver. Becca is a wreck, and the well-intentioned efforts of her mother (Vana O’Brien) and lowlife sister (Adrienne Flagg) aren’t helping. The playwright's refusal to assign blame for or give meaning to Danny’s death is hard on the audience—where’s the gratification in random tragedy?—but makes for an artistic achievement more satisfying than any morality play. Rabbit Hole is a beautiful, deeply affecting and surprisingly funny work, and director Allen Nause has done it justice in a fine production, bucking the persistent mediocrity that has plagued the company this season. BEN WATERHOUSE. Artists Repertory Theatre, 1515 SW Morrison St., 241-1278. 7:30 pm Tuesdays-Saturdays, 2 pm Sundays. Closes March 23. $20-$47. All ages. Map

Riches

[READING] Lee Blessing's one-act about passion-crazed lovers, presented by Readers Theatre Repertory. Blackfish Gallery, 420 NW 9th Ave., 295-4997. 8 pm Friday-Saturday, Feb. 15-16. $8. All ages. Map

Tales of Ordinary Madness

Stepán Simek directs his own translation of Petr Zelenka’s Czech hit, a crackling comedy full of good old-fashioned American-style dysfunction. Peter (Brian Allard) is a beer-swilling thirtysomething who follows his shut-in and sexual deviant friend Midge’s (an exuberantly goofy Shuhe Hawkins) black-magic advice to lure his girlfriend, Jeanette, back to him. Peter vacillates between midday delusions, watching his neighbors fuck (at their behest) and suffering through visits home, where his excitable mother (Dalene Young) donates blood obsessively and predicts her husband’s (an endearingly meek Michael Chambers) downfall. Dad, meanwhile, plays with beer bubbles and bemoans his old career as a radio mouthpiece for the Party. A truly theatrical act of desperation ties the madness up nicely, and anchoring performances by Young and Chambers provide a jarring few moments of heartbreak in the last act. See review. SAUNDRA SORENSON. The CoHo Theater, 2257 NW Raleigh St., 220-2646. 8 pm Thursdays-Saturdays, 2 pm Sundays. Closes Feb. 23. $20-$23. All ages. Map

Twelfth Night

Too many bored directors, forced by tradition and economics to stage another goddamn Shakespeare, try to shoehorn a perfectly decent comedy into an awkward fancy-dress conceit or inappropriate political statement, but Jane Jones, down from Seattle to direct Portland Center Stage’s production of the mistaken-identity romantic comedy, has the good sense to leave the play alone. This is, without hyperbole, an entirely satisfying production. On the technical side, William Bloodgood’s set is modestly beautiful, Deborah Trout’s costumes are dazzling, Nancy Schertler’s lights are a show in their own right, and Joshua Kohl’s music is just delightful—but the ensemble, made up mostly of Ashland vets, could get along just fine without them. They’re all good, but Brad Bellamy stands out with an inspired take on Feste the fool that lands somewhere between Jack Nicholson and Sancho Panza. If you’re looking for real entertainment, this is it. BEN WATERHOUSE. Gerding Theater, 128 NW 11th Ave., 445-3700. 7:30 pm Tuesdays-Saturdays, 2 and 7:30 pm Sundays, noon Thursdays. Alternates with The Beard of Avon. See wweek.com or pcs.org for more details. Closes March 9. $16.50-$61.50. All ages. Map

Vampire Lesbians of Sodom

Years before Joss Whedon had even conceived of Angel, Charles Busch's duo of vampiric actresses were whooping it up through time. The Back Door Theater, 4319 SE Hawthorne Blvd., 970-8874. 10:30 pm Fridays-Saturdays. Closes Feb. 16. $12. All ages. Map

We Won't Pay! We Won't Pay!

Portland Actors Conservatory plays this show by Nobel Prize-winner Dario Fo like a two-hour episode of I Love Lucy, repeatedly executing obvious sight gags and then mooning out to the audience, “Uh-oh.” The problem is that they’re dealing with white-collar Italians, an ethnic group plagued by troubling stereotypes. Director Philip Cuomo’s decision to leave these stereotypes unquestioned—and, indeed, to milk them for all they’re worth—results in a show that is not only troublingly shallow, but also ethnically insensitive. Of course, Fo’s 1974 script lends itself to this kind of misinterpretation. It makes compassionate sense only if a production emphasizes the widening tragedy—these characters are broke, about to be evicted from their apartments, with no food to eat—alongside their increasingly absurd antics. There’s no such tragedy at PAC, unless you count the hodgepodge of dialects. The actors’ “Italian” accents ranged from Russian to Hispanic to Super Mario Brothers. JOHN MINERVINI. Portland Actors Conservatory, 1436 SW Montgomery St., 274-1717. 7:30 pm Thursdays-Saturdays, 2 pm Sundays. Closes March 2. $15-$25. All ages. Map

Who Stole My Dead Husband?

Lou Pallotta’s Italo-sploitation family dinner theater, starring Jim Caputo. Madison's East Wing, 1125 SE Madison St., 800-966-8865. 7:30 pm Fridays-Saturdays. Open-ended run. $64-$69, dinner included. All ages. Map

CLASSICAL

Handel's Rodelinda

Portland Opera serves up a rare hearing of a midcareer Handel opera masterwork, Rodelinda, brimming with gorgeous music. The company fields an attractively voiced cast (with the vibrant soprano Jennifer Aylmer in the title role), a cogent conductor (George Manahan, music director at NYC Opera) and a kind of brave attitude by choosing to perform the work on modern instruments. Ah, well. At least 2009's planned production of Cavalli's La Calisto offers authentic baroque players in the pit. STEPHEN MARC BEAUDOIN. Keller Auditorium, 222 SW Clay St., 248-4335. 7:30 pm Thursday and Saturday, Feb. 14 & 16. $41.75-$200. All ages. Map

Liszt, Bizet and More

Of all the distinguished works by American composer Samuel Barber (1910-81) for the Oregon Symphony to program, Souvenirs is truly an odd choice. The work is classically Barber with its highbrow elegant sheen on low- (or middle-) brow early-20th-century dance tunes: the waltz, the tango, the two-step. It's a cream puff of a piece with a few rhythmic tricks tucked in—the Adagio for Strings (or Medea's Dance of Vengeance, or the Overture to the School for Scandal, or the Violin Concerto, etc., etc.) it ain't. Four other works crammed onto this dessert tray: the Copland Fanfare for the Common Man, Bizet Symphony in C, and Liszt's Les Preludes and Piano Concerto No. 2 in A Major. Carlos Kalmar conducts; Brazilian pianist Arnaldo Cohen solos in the Liszt concerto. STEPHEN MARC BEAUDOIN. Arlene Schnitzer Concert Hall, 1037 SW Broadway., 248-4335. 7:30 pm Saturday-Sunday, Feb. 16-17; 8 pm Monday, Feb. 18. $15-$93. All ages. Map

Pianist Jon Kimura Parker in recital

Canadian pianist Jon Kimura Parker once toured the most remote parts of the Canadian Arctic with a group of classical musicians, jamming out in shows ranging from Beethoven and Brahms to Alanis Morissette. Yikes. He's one hell of a player, and Portland Piano International offers him in a two-night engagement—the intriguing program includes the Schumann Carnaval, the Parker one-piano arrangement of the Stravinsky Rite of Spring, and Canadian composer Alexina Louie's newish work, Scenes from a Jade Terrace, which Parker commissioned in 1988. STEPHEN MARC BEAUDOIN. Newmark Theatre, 1111 SW Broadway., 248-4335. 7:30 pm Sunday-Monday, Feb. 17-18. $13-$42. All ages. Map

Vagabond Opera + Portland Cello Project V-Day Spectacular

The Portland Cello Project is probably the best example in town of what that terribly termed genre we call "classical music" can mean—and be—in a 21st-century hip metropolitan city: They are sharp, irreverent, inventive and just damn good players. No wonder they swooped up the first-ever Portland Music Award last month for "Most Innovative Achievement in Classical Music." They've got the goods, kids. They're teaming up with Eric Stern's balkan brassy ragtag Vagabond Opera for a knockout V-Day lovefest show at the Wonder, complete with kissing booths, chocolate nummies by Sugarcube and, gulp, a "love clairvoyant." STEPHEN MARC BEAUDOIN. Wonder Ballroom, 128 NE Russell St., 284-8686. 7 pm Thursday, Feb. 14. $13-$15. 21+. Map

DANCE

The Balancing Act: Making Art and Making Money

To paraphrase that famous philosophical query, if dance happens in an empty hall, does it really exist? With the hope that you’ll never have to ask, the Regional Arts and Culture Council is offering a professional development workshop by Carolyn Campbell and Bob Sterry, who provide tools and advice to increase artists’ visibility, profitability and ultimately, self-sustainability. HEATHER WISNER. New Columbia Community Education Center, 4625 N Trenton St., 823-5111. 9 am Friday, Feb. 15. $25. All ages. Map

Irish Céilí Dance

The Riverdance farewell tour stomped through town last month, but Portland’s love for Irish dance isn’t going anywhere. Hard on the heels of the touring Irish-dance juggernaut, the Portland Céilí Society stages a third-Friday dance with guest Geraldine Murray, a tin whistle-playing hoofer rumored to be capable of dancing a jig whilst clutching a full pint of Guinness—truly a talent to admire. Students know her from the Murray school of Irish Dance and music fans from her backup work with the Chieftans. A night of breathless fun begins with Irish dance lessons for all. HEATHER WISNER. PPAA, 618 SE Alder St., 206-9311. 8 pm Friday, Feb. 15. $6-$10. All ages. Map

Key Turn Project

The Ivon Rose Family Jamboree, a 15-piece musical ensemble whose sonic output ranges from traditional Americana to sleazy garage rock, sets the tone for the Key Turn Project’s “Day In: Day Out” show. The musicians play live as seven professionally schooled modern dancers, in duos and ensembles, offer a moving investigation of the many ways human physicality is shaped by work and home settings. Key Turn keeps it casual, inviting viewers to come and sit a spell, enjoy some snacks and drinks and take it all in. HEATHER WISNER. Village Ballroom, 700 NE Dekum St., 8 pm Friday-Saturday, Feb. 15-16. $8-15. All ages. Map

Susan Banyas

Black history has had its share of bad old days, including July 5, 1954, when a grade school for “colored” kids was torched in Hillsboro, Ohio, setting off a protest from a group of angry mothers and sparking a test case for Brown v. Board of Education. Contemporary choreographer Susan Banyas was a grade-school kid herself back then, and has woven her own memories with narrative, images and motion, set to a sound score by jazz composer David Ornette Cherry. Check out excerpts from the Hillsboro Story at the Dance Uncovered Open Rehearsal before Banyas and her collaborators set off for a gig in New York City. HEATHER WISNER. Conduit Dance Ballroom, 918 SW Yamhill St., Suite 401., 221-5857. 1 pm Saturday, Feb. 16. Free. All ages. Map

tEEth Audition

Do you have what it takes to join the Portland-based performance company tEEth? You might want to do a little research first, just to be sure. The company specializes in deliciously inventive all-out weirdness, from the shiny costuming to the counterintuitive (even comic) movement. They’re seeking three to five new members, so if you’re interested, arrive with a one- to two-minute solo and a résumé. HEATHER WISNER. North Star Ballroom, 635 N. Killingsworth Ct., 240-6088. 11 am Saturday, Feb. 16. Free. All ages. Map