In case you’ve avoided the news cycle, the performing arts are in an unprecedented funding crisis. The U.S. government is slowly dismantling the National Endowments for the Arts and the Humanities, which have canceled millions of dollars in already-awarded grants across the country — including several nonprofits on this very summer theater preview.
This means the support of your favorite organizations is more crucial than ever. What better way to support than to simply show up? Get thee to a cabaret, a salon, or a summer musical. Buy a ticket, buy a drink, make the scene and make a difference.
Here are 12 ways to avail yourself of theater’s transformative potential all summer long.
(L–R) The ‘Co-Founders’ creative team of Beau Lewis, Adesha Adefela, and RyanNicole Austin. (Michaela Schulz)
The Bay Area-borne, Rhyme Combinator-conceived hip-hop musical Co-Founders has its world premiere at last. Taking audience immersion to the next level, this “tech-savvy” production promises next-level design elements, powerhouse local performers, and an of-the-moment tale of a Black woman’s attempt to break into the upper echelons of Silicon Valley without losing her soul (and her home). This show’s been a long time in the making, and it’s ready to make some noise.
Sasha Velour in ‘The Big Reveal Live Show,’ running at Berkeley Rep June 4–15. (Greg Endries)
The incomparable Sasha Velour, drag queen of 1,000 rose petals and winner of Season 9 of RuPaul’s Drag Race, comes back to her former hometown at Berkeley Rep with a revival of The Big Reveal Live Show. A showcase for Velour’s big ideas and even bigger drag, The Big Reveal offers a fabulous window into the creative landscape of one of drag’s most innovative performers. Sumptuous, playful, and profound.
(L–R) Jeremy Julian Greco, Tony Cyprien and Scott Cohen. (Courtesy Sunset Solos)
Ongoing; third Sunday of each month Sealevel, San Francisco
Since January 2024, a monthly solo performance showcase has been underway at Sealevel, a gallery and community space in San Francisco’s Outer Sunset. The brainchild of seasoned performer and producer Jeremy Julian Greco, this intimate, low-tech series brings some of the Bay Area’s best solo artists to a venue so close to the ocean you can smell the salt tang in the air. A flourishing testament to the arts’ ability to take root and bloom wherever it may be planted, Sunset Solos’ summer performers include Scott Cohen and Tony Cyprien, with more to be announced.
New York Police officers outside the Altoona Police Department, where Luigi Mangione was taken into police custody, on Dec. 9, 2024, in Altoona, Pa. (AP Photo/Gene J. Puskar)
June 13-28; more dates TBA Taylor Street Theater, San Francisco
If I’m being honest, when I first heard about Luigi: the Musical, I wondered if perhaps it was a little too soon. Especially since there are apparently two unrelated Luigi Mangione musicals in the works, one here and one in Austin, Texas. But rather than a sympathetic portrait or ill-timed SNL-style skit, this 60-minute musical satire imagines three notorious inmates — Mangione, the accused shooter of UnitedHealthcare CEO Brian Thompson; accused sex trafficker Sean “Diddy” Combs; and convicted cryptocurrency fraudster Sam Bankman-Fried — in a cell together, representing the worst manifestations of individualism and fracturing societal norms. Also, songs. Its initial run at Taylor Street Theatre is already sold out, so watch for new dates to be announced.
Written for and first performed by the extraordinary Lily Tomlin in 1985, Jane Wagner’s The Search for Signs of Intelligent Life in the Universe remains a skillful and relevant commentary on creativity, society and the human condition as experienced by a multi-generational collection of misfits, middle Americans, and muses. Aurora Theatre’s production stars Bay Area comedy performance legend Marga Gomez, poised to guide us — and some curious visitors from outer space — through a world where soup is art, art is soup, and the search for intelligence is a truly universal concern.
July 11-27 Oakland Theater Project at FLAX, Oakland
In 1961, the prominent playwright and activist Lorraine Hansberry penned a thoughtful takedown of Jean Genet’s The Blacks for the Village Voice. She worked on a theatrical response as well — her posthumously produced Les Blancs. Set on the African continent, this seldom-performed play tackles the deep wounds of colonialism, and the right of indigenous people everywhere for self-determination and freedom from oppression and exploitation.
Torange Yeghiazarian, the founding artistic director of Golden Thread Productions. (Navid G. Maghami)
July 15-Aug. 3 514 Fourth Street Theater, San Rafael
Something artistic this way comes. Marin Shakespeare Company and Play On Shakespeare team up for this festival of works-in-progress that reimagine classics into theatrical expressions of the now. Mostly Shakespeare-inspired — with Chekov and 12th century Persia in the mix — the six featured plays riff on themes of love, identity, power, motherhood and AI. A feast of local talent and fervent ideas.
Grace Margaret Craig in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. (Jenni Chapman/Courtesy NCTC)
July 11-Aug. 15 New Conservatory Theatre Center, San Francisco
If jukebox musicals have a “season,” surely it’s summer, when long days and languid nights seem to demand lighter, more joyous fare. City Lights Theater Company’s production of Head Over Heels — a jukebox musical featuring the greatest hits of the Go-Go’s — can fill that need. A less-than idyllic romp through ancient Arcadia, punctuated by songs such as “We Got the Beat,” “Our Lips are Sealed” and “Vacation,” Head Over Heels takes on gender, love and destiny with poppy aplomb. For fun-loving levity with original songs made popular on TikTok, New Conservatory Theatre Center in San Francisco brings back their well received and raucous production of teenage afterlife musical Ride the Cyclone.
Circus Bella performs at the 25th Yerba Buena Gardens Festival on June 20 and 21. (Emil Alex)
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"slug": "best-plays-musicals-summer-bay-area",
"title": "10 of the Best Plays and Musicals in the Bay Area This Summer",
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"headTitle": "10 of the Best Plays and Musicals in the Bay Area This Summer | KQED",
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"content": "\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>In case you’ve avoided the news cycle, the performing arts are in an unprecedented funding crisis. The U.S. government is slowly dismantling the National Endowments for the Arts and the Humanities, which have \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">canceled millions of dollars in already-awarded grants\u003c/a> across the country — including several nonprofits on this very summer theater preview.\u003c/p>\n\u003cp>This means the support of your favorite organizations is more crucial than ever. What better way to support than to simply \u003cem>show up\u003c/em>? Get thee to a cabaret, a salon, or a summer musical. Buy a ticket, buy a drink, make the scene and make a difference. \u003c/p>\n\u003cp>Here are 12 ways to avail yourself of theater’s transformative potential all summer long.\u003c/p>\n\u003cfigure id=\"attachment_13976131\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13976131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The ‘Co-Founders’ creative team of Beau Lewis, Adesha Adefela, and RyanNicole Austin. \u003ccite>(Michaela Schulz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/co-founders/\">Co-Founders\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 29–July 6, 2025\u003c/em>\u003cbr>\n\u003cem>Strand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Bay Area-borne, \u003ca href=\"https://www.rhymecombinator.com/\">Rhyme Combinator\u003c/a>-conceived hip-hop musical \u003cem>Co-Founders\u003c/em> has its world premiere at last. Taking audience immersion to the next level, this “tech-savvy” production promises next-level design elements, powerhouse local performers, and an of-the-moment tale of a Black woman’s attempt to break into the upper echelons of Silicon Valley without losing her soul (and her home). This show’s been \u003ca href=\"https://www.kqed.org/arts/13905839/startup-dreams-hip-hop-and-theater-meet-in-a-new-play-about-tech-art\">a long time in the making\u003c/a>, and it’s ready to make some noise.\u003c/p>\n\u003cfigure id=\"attachment_13976132\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1.jpg\" alt=\"\" width=\"2000\" height=\"1272\" class=\"size-full wp-image-13976132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-1536x977.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-1920x1221.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Velour in ‘The Big Reveal Live Show,’ running at Berkeley Rep June 4–15. \u003ccite>(Greg Endries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/the-big-reveal-live-show/\">Sasha Velour: The Big Reveal Live Show\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 4–15, 2025\u003c/em>\u003cbr>\n\u003cem>Roda Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>The incomparable Sasha Velour, drag queen of 1,000 rose petals and winner of Season 9 of \u003cem>RuPaul’s Drag Race\u003c/em>, comes back to her former hometown at Berkeley Rep with a revival of \u003cem>The Big Reveal Live Show\u003c/em>. A showcase for Velour’s big ideas and even bigger drag, \u003cem>The Big Reveal\u003c/em> offers a fabulous window into the creative landscape of one of drag’s most innovative performers. Sumptuous, playful, and profound.\u003c/p>\n\u003cfigure id=\"attachment_13976126\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_.jpg\" alt=\"\" width=\"2000\" height=\"661\" class=\"size-full wp-image-13976126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-1020x337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-1536x508.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-1920x635.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeremy Julian Greco, Tony Cyprien and Scott Cohen. \u003ccite>(Courtesy Sunset Solos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sunsetsolos.com/\">Sunset Solos\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Ongoing; third Sunday of each month\u003c/em>\u003cbr>\n\u003cem>Sealevel, San Francisco\u003c/em>\u003c/p>\n\u003cp>Since January 2024, a monthly solo performance showcase has been underway at Sealevel, a gallery and community space in San Francisco’s Outer Sunset. The brainchild of seasoned performer and producer Jeremy Julian Greco, this intimate, low-tech series brings some of the Bay Area’s best solo artists to a venue so close to the ocean you can smell the salt tang in the air. A flourishing testament to the arts’ ability to take root and bloom wherever it may be planted, Sunset Solos’ summer performers include Scott Cohen and Tony Cyprien, with more to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13976134\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13976134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">New York Police officers outside the Altoona Police Department, where Luigi Mangione was taken into police custody, on Dec. 9, 2024, in Altoona, Pa. \u003ccite>(AP Photo/Gene J. Puskar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://luigithemusical.info/\">Luigi: the Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13-28; more dates TBA\u003c/em>\u003cbr>\n\u003cem>Taylor Street Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>If I’m being honest, when I first heard about \u003cem>Luigi: the Musical\u003c/em>, I wondered if perhaps it was a little \u003cem>too soon\u003c/em>. Especially since there are apparently two unrelated Luigi Mangione musicals in the works, one here and \u003ca href=\"https://www.lonestarlive.com/life/2025/02/austin-company-behind-young-greg-abbott-creating-satirical-musical-inspired-by-luigi-mangione.html\">one in Austin, Texas\u003c/a>. But rather than a sympathetic portrait or ill-timed SNL-style skit, this 60-minute musical satire imagines three notorious inmates — Mangione, the accused shooter of UnitedHealthcare CEO Brian Thompson; accused sex trafficker Sean “Diddy” Combs; and convicted cryptocurrency fraudster Sam Bankman-Fried — in a cell together, representing the worst manifestations of individualism and fracturing societal norms. Also, songs. Its initial run at Taylor Street Theatre is already sold out, so watch for new dates to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13976125\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://auroratheatre.org/search-for-signs\">The Search for Signs of Intelligent Life in the Universe\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>July 12-Aug. 10\u003c/em>\u003cbr>\n\u003cem>Aurora Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Written for and first performed by the extraordinary Lily Tomlin in 1985, Jane Wagner’s \u003cem>The Search for Signs of Intelligent Life in the Universe\u003c/em> remains a skillful and relevant commentary on creativity, society and the human condition as experienced by a multi-generational collection of misfits, middle Americans, and muses. Aurora Theatre’s production stars Bay Area comedy performance legend Marga Gomez, poised to guide us — and some curious visitors from outer space — through a world where soup is art, art is soup, and the search for intelligence is a truly universal concern.\u003c/p>\n\u003cfigure id=\"attachment_13857596\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS.jpg\" alt='Still from \"Lorraine Hansberry: Sighted Eyes/Feeling Heart,\" a documentary directed by Tracy Heather Strain that premiered on PBS in 2018.' width=\"1920\" height=\"1082\" class=\"size-full wp-image-13857596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-1200x676.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lorraine Hansberry. \u003ccite>(Courtesy of PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/blancs\">Les Blancs\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>July 11-27\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX, Oakland\u003c/em> \u003c/p>\n\u003cp>In 1961, the prominent playwright and activist Lorraine Hansberry penned \u003ca href=\"https://www.villagevoice.com/genet-mailer-the-new-paternalism/\">a thoughtful takedown\u003c/a> of Jean Genet’s \u003cem>The Blacks\u003c/em> for the \u003cem>Village Voice\u003c/em>. She worked on a theatrical response as well — her posthumously produced \u003cem>Les Blancs\u003c/em>. Set on the African continent, this seldom-performed play tackles the deep wounds of colonialism, and the right of indigenous people everywhere for self-determination and freedom from oppression and exploitation.\u003c/p>\n\u003cfigure id=\"attachment_13976135\" class=\"wp-caption aligncenter\" style=\"max-width: 1679px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web.jpg\" alt=\"\" width=\"1679\" height=\"1011\" class=\"size-full wp-image-13976135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web.jpg 1679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-1536x925.jpg 1536w\" sizes=\"auto, (max-width: 1679px) 100vw, 1679px\">\u003cfigcaption class=\"wp-caption-text\">Torange Yeghiazarian, the founding artistic director of Golden Thread Productions. \u003ccite>(Navid G. Maghami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.marinshakespeare.org/seeds/\">Seeds of Time Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15-Aug. 3\u003c/em>\u003cbr>\n\u003cem>514 Fourth Street Theater, San Rafael\u003c/em>\u003c/p>\n\u003cp>Something artistic this way comes. Marin Shakespeare Company and Play On Shakespeare team up for this festival of works-in-progress that reimagine classics into theatrical expressions of the now. Mostly Shakespeare-inspired — with Chekov and 12th century Persia in the mix — the six featured plays riff on themes of love, identity, power, motherhood and AI. A feast of local talent and fervent ideas.\u003c/p>\n\u003cfigure id=\"attachment_13966072\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Grace Margaret Craig in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://cltc.org/current-events/\">Head Over Heels\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>July 17- Aug. 24\u003c/em>\u003cbr>\n\u003cem>City Lights Theater, San Jose\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://nctcsf.org/event/ride-the-cyclone-returns/\">Ride the Cyclone\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>July 11-Aug. 15\u003c/em>\u003cbr>\n\u003cem>New Conservatory Theatre Center, San Francisco\u003c/em> \u003c/p>\n\u003cp>If jukebox musicals have a “season,” surely it’s summer, when long days and languid nights seem to demand lighter, more joyous fare. City Lights Theater Company’s production of \u003cem>Head Over Heels\u003c/em> — a jukebox musical featuring the greatest hits of the Go-Go’s — can fill that need. A less-than idyllic romp through ancient Arcadia, punctuated by songs such as “We Got the Beat,” “Our Lips are Sealed” and “Vacation,” \u003cem>Head Over Heels\u003c/em> takes on gender, love and destiny with poppy aplomb. For fun-loving levity with original songs made popular on TikTok, New Conservatory Theatre Center in San Francisco brings back their \u003ca href=\"https://www.kqed.org/arts/13966064/ride-the-cyclone-musical-review-san-francisco\">well received\u003c/a> and raucous production of teenage afterlife musical \u003cem>Ride the Cyclone\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13976129\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13976129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Circus Bella performs at the 25th Yerba Buena Gardens Festival on June 20 and 21. \u003ccite>(Emil Alex)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All Summer Long\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Take it outside with Circus Bella and ChoreoFest at the \u003ca href=\"https://ybgfestival.org/\">Yerba Buena Gardens Festival\u003c/a>; an \u003ca href=\"https://www.clubfugazisf.com/walking-tour\">arts-centered walking tour of North Beach\u003c/a> presented by the team behind circus spectacle \u003cem>Dear San Francisco\u003c/em>; an ode to California, SF Shakes-style, with \u003cem>\u003ca href=\"https://sfshakes.org/performance/free-shakes/gentlemen/\">Two Gentlemen of Verona\u003c/a>\u003c/em>; a hopefully restored mini-tour from the SF Mime Troupe (\u003ca href=\"https://secure.lglforms.com/form_engine/s/oyEZqUJSGrc_p45PgwHjhg\">donations are being accepted\u003c/a> to make it happen); \u003cem>\u003ca href=\"https://pineconesandportals.com/alice2025\">Alice in Wander Land\u003c/a>\u003c/em>, a “hiking theatre” production for the young with ADA and ASL options for extra access; or \u003ca href=\"https://www.aeofberkeley.org/\">Shakespeare’s \u003cem>Cymbeline\u003c/em> and \u003cem>The Taming of the Shrew\u003c/em>\u003c/a> with Actor’s Ensemble of Berkeley in John Hinkel Park.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2025\">2025 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>In case you’ve avoided the news cycle, the performing arts are in an unprecedented funding crisis. The U.S. government is slowly dismantling the National Endowments for the Arts and the Humanities, which have \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">canceled millions of dollars in already-awarded grants\u003c/a> across the country — including several nonprofits on this very summer theater preview.\u003c/p>\n\u003cp>This means the support of your favorite organizations is more crucial than ever. What better way to support than to simply \u003cem>show up\u003c/em>? Get thee to a cabaret, a salon, or a summer musical. Buy a ticket, buy a drink, make the scene and make a difference. \u003c/p>\n\u003cp>Here are 12 ways to avail yourself of theater’s transformative potential all summer long.\u003c/p>\n\u003cfigure id=\"attachment_13976131\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13976131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/BAR9-2024_Credit_MichaelaSchulz-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The ‘Co-Founders’ creative team of Beau Lewis, Adesha Adefela, and RyanNicole Austin. \u003ccite>(Michaela Schulz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/co-founders/\">Co-Founders\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>May 29–July 6, 2025\u003c/em>\u003cbr>\n\u003cem>Strand Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Bay Area-borne, \u003ca href=\"https://www.rhymecombinator.com/\">Rhyme Combinator\u003c/a>-conceived hip-hop musical \u003cem>Co-Founders\u003c/em> has its world premiere at last. Taking audience immersion to the next level, this “tech-savvy” production promises next-level design elements, powerhouse local performers, and an of-the-moment tale of a Black woman’s attempt to break into the upper echelons of Silicon Valley without losing her soul (and her home). This show’s been \u003ca href=\"https://www.kqed.org/arts/13905839/startup-dreams-hip-hop-and-theater-meet-in-a-new-play-about-tech-art\">a long time in the making\u003c/a>, and it’s ready to make some noise.\u003c/p>\n\u003cfigure id=\"attachment_13976132\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1.jpg\" alt=\"\" width=\"2000\" height=\"1272\" class=\"size-full wp-image-13976132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-1536x977.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/TBRLS_6.2_GregEndries-1-1920x1221.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Velour in ‘The Big Reveal Live Show,’ running at Berkeley Rep June 4–15. \u003ccite>(Greg Endries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/the-big-reveal-live-show/\">Sasha Velour: The Big Reveal Live Show\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 4–15, 2025\u003c/em>\u003cbr>\n\u003cem>Roda Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>The incomparable Sasha Velour, drag queen of 1,000 rose petals and winner of Season 9 of \u003cem>RuPaul’s Drag Race\u003c/em>, comes back to her former hometown at Berkeley Rep with a revival of \u003cem>The Big Reveal Live Show\u003c/em>. A showcase for Velour’s big ideas and even bigger drag, \u003cem>The Big Reveal\u003c/em> offers a fabulous window into the creative landscape of one of drag’s most innovative performers. Sumptuous, playful, and profound.\u003c/p>\n\u003cfigure id=\"attachment_13976126\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_.jpg\" alt=\"\" width=\"2000\" height=\"661\" class=\"size-full wp-image-13976126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-800x264.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-1020x337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-768x254.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-1536x508.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/jeremy.tony_.scott_-1920x635.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jeremy Julian Greco, Tony Cyprien and Scott Cohen. \u003ccite>(Courtesy Sunset Solos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sunsetsolos.com/\">Sunset Solos\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Ongoing; third Sunday of each month\u003c/em>\u003cbr>\n\u003cem>Sealevel, San Francisco\u003c/em>\u003c/p>\n\u003cp>Since January 2024, a monthly solo performance showcase has been underway at Sealevel, a gallery and community space in San Francisco’s Outer Sunset. The brainchild of seasoned performer and producer Jeremy Julian Greco, this intimate, low-tech series brings some of the Bay Area’s best solo artists to a venue so close to the ocean you can smell the salt tang in the air. A flourishing testament to the arts’ ability to take root and bloom wherever it may be planted, Sunset Solos’ summer performers include Scott Cohen and Tony Cyprien, with more to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13976134\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13976134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/NYPDAP-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">New York Police officers outside the Altoona Police Department, where Luigi Mangione was taken into police custody, on Dec. 9, 2024, in Altoona, Pa. \u003ccite>(AP Photo/Gene J. Puskar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://luigithemusical.info/\">Luigi: the Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>June 13-28; more dates TBA\u003c/em>\u003cbr>\n\u003cem>Taylor Street Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>If I’m being honest, when I first heard about \u003cem>Luigi: the Musical\u003c/em>, I wondered if perhaps it was a little \u003cem>too soon\u003c/em>. Especially since there are apparently two unrelated Luigi Mangione musicals in the works, one here and \u003ca href=\"https://www.lonestarlive.com/life/2025/02/austin-company-behind-young-greg-abbott-creating-satirical-musical-inspired-by-luigi-mangione.html\">one in Austin, Texas\u003c/a>. But rather than a sympathetic portrait or ill-timed SNL-style skit, this 60-minute musical satire imagines three notorious inmates — Mangione, the accused shooter of UnitedHealthcare CEO Brian Thompson; accused sex trafficker Sean “Diddy” Combs; and convicted cryptocurrency fraudster Sam Bankman-Fried — in a cell together, representing the worst manifestations of individualism and fracturing societal norms. Also, songs. Its initial run at Taylor Street Theatre is already sold out, so watch for new dates to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13976125\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13976125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/MargaGomez.CheshireIsaacs-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://auroratheatre.org/search-for-signs\">The Search for Signs of Intelligent Life in the Universe\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>July 12-Aug. 10\u003c/em>\u003cbr>\n\u003cem>Aurora Theatre, Berkeley\u003c/em>\u003c/p>\n\u003cp>Written for and first performed by the extraordinary Lily Tomlin in 1985, Jane Wagner’s \u003cem>The Search for Signs of Intelligent Life in the Universe\u003c/em> remains a skillful and relevant commentary on creativity, society and the human condition as experienced by a multi-generational collection of misfits, middle Americans, and muses. Aurora Theatre’s production stars Bay Area comedy performance legend Marga Gomez, poised to guide us — and some curious visitors from outer space — through a world where soup is art, art is soup, and the search for intelligence is a truly universal concern.\u003c/p>\n\u003cfigure id=\"attachment_13857596\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS.jpg\" alt='Still from \"Lorraine Hansberry: Sighted Eyes/Feeling Heart,\" a documentary directed by Tracy Heather Strain that premiered on PBS in 2018.' width=\"1920\" height=\"1082\" class=\"size-full wp-image-13857596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LorraineHansberry-PBS-1200x676.jpg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lorraine Hansberry. \u003ccite>(Courtesy of PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/blancs\">Les Blancs\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>July 11-27\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX, Oakland\u003c/em> \u003c/p>\n\u003cp>In 1961, the prominent playwright and activist Lorraine Hansberry penned \u003ca href=\"https://www.villagevoice.com/genet-mailer-the-new-paternalism/\">a thoughtful takedown\u003c/a> of Jean Genet’s \u003cem>The Blacks\u003c/em> for the \u003cem>Village Voice\u003c/em>. She worked on a theatrical response as well — her posthumously produced \u003cem>Les Blancs\u003c/em>. Set on the African continent, this seldom-performed play tackles the deep wounds of colonialism, and the right of indigenous people everywhere for self-determination and freedom from oppression and exploitation.\u003c/p>\n\u003cfigure id=\"attachment_13976135\" class=\"wp-caption aligncenter\" style=\"max-width: 1679px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web.jpg\" alt=\"\" width=\"1679\" height=\"1011\" class=\"size-full wp-image-13976135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web.jpg 1679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Torange-Photo-by-Navid-G-Maghami-for-web-1536x925.jpg 1536w\" sizes=\"auto, (max-width: 1679px) 100vw, 1679px\">\u003cfigcaption class=\"wp-caption-text\">Torange Yeghiazarian, the founding artistic director of Golden Thread Productions. \u003ccite>(Navid G. Maghami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.marinshakespeare.org/seeds/\">Seeds of Time Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 15-Aug. 3\u003c/em>\u003cbr>\n\u003cem>514 Fourth Street Theater, San Rafael\u003c/em>\u003c/p>\n\u003cp>Something artistic this way comes. Marin Shakespeare Company and Play On Shakespeare team up for this festival of works-in-progress that reimagine classics into theatrical expressions of the now. Mostly Shakespeare-inspired — with Chekov and 12th century Persia in the mix — the six featured plays riff on themes of love, identity, power, motherhood and AI. A feast of local talent and fervent ideas.\u003c/p>\n\u003cfigure id=\"attachment_13966072\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Grace Margaret Craig in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://cltc.org/current-events/\">Head Over Heels\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>July 17- Aug. 24\u003c/em>\u003cbr>\n\u003cem>City Lights Theater, San Jose\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://nctcsf.org/event/ride-the-cyclone-returns/\">Ride the Cyclone\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>July 11-Aug. 15\u003c/em>\u003cbr>\n\u003cem>New Conservatory Theatre Center, San Francisco\u003c/em> \u003c/p>\n\u003cp>If jukebox musicals have a “season,” surely it’s summer, when long days and languid nights seem to demand lighter, more joyous fare. City Lights Theater Company’s production of \u003cem>Head Over Heels\u003c/em> — a jukebox musical featuring the greatest hits of the Go-Go’s — can fill that need. A less-than idyllic romp through ancient Arcadia, punctuated by songs such as “We Got the Beat,” “Our Lips are Sealed” and “Vacation,” \u003cem>Head Over Heels\u003c/em> takes on gender, love and destiny with poppy aplomb. For fun-loving levity with original songs made popular on TikTok, New Conservatory Theatre Center in San Francisco brings back their \u003ca href=\"https://www.kqed.org/arts/13966064/ride-the-cyclone-musical-review-san-francisco\">well received\u003c/a> and raucous production of teenage afterlife musical \u003cem>Ride the Cyclone\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13976129\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13976129\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/Circus-Bella-credit-Emil-Alex-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Circus Bella performs at the 25th Yerba Buena Gardens Festival on June 20 and 21. \u003ccite>(Emil Alex)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All Summer Long\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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