‘Swanshake!” at Theatre/Theater; ‘Two on Two,’ ‘Zoo Story’ at Court; ‘Counter-Intelligence’ at Heliotrope; ‘Medal of Honor Rag’ at Theatre 40

Some artists leave the ballet because of its brutal logic of survival of the fittest and its cutthroat standard of excellence. At least that’s what informs Blue Palm’s latest performance excursion, “Swanshake!”, at Theatre/Theater. The Blue Palm team of Jacqueline Planeix and Tom Crocker continue to explore the aesthetic territory beyond dance proper, employing their training with Maurice Bejart for subversive purposes.

In many of their previous pieces, Planeix and Crocker structured their loose-limbed lampoons and postmodern commentaries in a series of scenes. “Swanshake!” by contrast, is a full two-act tale of backstage intrigue in the dance company of Maurice LeDance. Competitive jealousies between danseurs Odette and Odile, strained ankles and even more strained alliances result in the murder of LeDance--and a cast of suspects.

Planeix and Crocker, in six roles apiece, tweak gender-bending, Tchaikovsky and farce, but with an uneven sense of what is sustainable. Most of the sex jokes lack the intended effervescence; others jokes go to pun heaven. The brilliantly satiric dance scenes, however, completely overshadow the show’s weaker theatrical links. The second act, especially during the LeDance murder sequence, suffers from rhythmic fitfulness--this from a couple who usually never miss a beat.

At 1713 N. Cahuenga Blvd., Saturdays, 8 p.m.; Sundays, 7 p.m.; until Dec. 18, then Jan. 7-29. Tickets: $12.50; (213) 871-0210.

‘Two on Two’ and ‘The Zoo Story’

There’s nothing like a good game of two-on-two basketball to discuss the fate of the earth, especially when the fourth player hasn’t shown up. Woody Harrelson’s “Two on Two,” coupled with Edward Albee’s “The Zoo Story” at the Court Theatre, resists contrived conflicts and slice-of-life babbling as it shows three pals who care enough to try to change each other’s minds.

They all have minds of their own. Hank (Clint Allen) is well-versed on health habits and the global ecology crisis. Art (Harrelson) finds the small things in life irritating, like putting salt into drinking water. Sean (Rob Moran) counters Hank’s concerns with spiritual quietism.

Harrelson doesn’t completely avoid the temptation for babble dialogue, but the exchanges have shape, unexpected curves, and an almost anthropological accuracy for the way white fellows in the ‘80s relate to each other. Larry Gilman directs his trio like a coach who knows his players’ strengths. The actors even manage some nice hoop shots.

Gilman handles “The Zoo Story” as if it were a new play. Harrelson’s Jerry, a lonely young man with certain fatal proclivities, is a powerfully considered portrait of urban self-absorption. Jerry’s middle-class punching bag, Peter, risks becoming invisible with the wrong actor. But Brad Blaisdell lends the role sinew and a moral center.

At 722 N. La Cienega Blvd., Thursdays through Saturdays, 8 p.m.; Sundays, 3 and 7 p.m., until Dec. 10. Tickets: $15; (213) 466-1767.

‘A Counter-Intelligence Cabaret’

One of the crowning myths of this decade is that political protest has receded from the streets and performing halls. Singer-satirist Dave Lippman hasn’t taken to the streets yet; but at the Heliotrope, he ensures that, if George Bush ever composes an enemies list, Lippman will be on it.

His “The Committee to Intervene Anywhere, a Counter-Intelligence Cabaret” burrows like a mischievous mole into the CIA and covert action, and comes out with musical and other zingers that recall the Washington comedy team the Capitol Steps. As CIA operative George Shrub, Lippman stylishly dips into a chest of pop lyrics (“Work for the C-I-A,” “We are living in an Imperial World/And I am an Imperial Boy”), but the joke is stretched thin over two acts.

More taut is Lippman out of spy costume, blending original tunes that quirkily combine Phil Ochs and David Byrne with dry (if too quiet) commentary that jabs at the powerful as well as terminally serious folk crooners.

At 660 N. Heliotrope Ave., on Tuesdays and Wednesdays, 8 p.m. At the Powerhouse, 3116 2nd St., Santa Monica, Saturdays, 10:30 p.m. Through Jan. 14. Tickets: $9; (213) 398-7406.

‘Medal of Honor Rag’

The dark side of U.S. involvement abroad receives a more clinical reading in Tom Cole’s “Medal of Honor Rag” at Theatre 40. In the predictable clash between D.J., a medaled Vietnam veteran (Dino Shorte) in an Army mental ward and his psychiatrist (Bruce Gray), Cole searches for that New Insight that seems to dog every Vietnam play and movie.

In “Sticks and Bones,” it was the home front that killed us. In “Full Metal Jacket,” it was male sexuality’s capacity for self-destruction. In “Medal of Honor Rag,” it is our moral schisms that reward acts of atrocity. Cole, however, ungracefully delivers the message like a pamphlet. While director David Charles Keeton tries to cook up dramatic steam, Shorte heats up much more naturally than Gray, who must carry much of the play’s literalness.

At 241 Moreno Drive, Beverly Hills High School, Mondays through Wednesdays, 8 p.m., until Dec. 14. Tickets: $5; (213) 465-0070.