After a year of particular rockiness, Bay Area theatre continues to experience ups and downs. While some companies have closed, such as 3Below in San Jose, others are reinventing old spaces into new beginnings, like San Francisco’s Ray of Light and their fresh, intimate performance space, the Barbary Stage.
This summer’s theater in our region offers new ideas, but also some nostalgia. Lisa Vroman played Christine Daaé in The Phantom of the Opera when it ran in San Francisco for more than five years in the 1990s; when the revitalized production returns to the city May 29–June 21, Vroman will take on the role of choreographer Madame Giry.
And if an angry vocal instructor with bad skin who lives in the damp catacombs of an opera house isn’t your vibe, never fear — here are 11 other fantastic plays and musicals running all over the Bay Area this summer.
Jean-Michel (Landyn Endo) and Anne (Akhila Narayanan) navigate their very opposite parents on their journey toward impending nuptials in ‘La Cage aux Folles’ at Theatre Rhinoceros in San Francisco. (Scott Sidorsky)
Jean-Michel’s dad Georges is the master of ceremonies at a Saint-Tropez drag nightclub. Anne’s dad is head of the Tradition, Family and Morality Party that’s trying to close drag clubs. How will these two get along now that their kids are in love? A bevy of lies ensue to try and assuage Anne’s family, yet by the end, everyone needs each other and drag artists win the day. The intimate performance space in the historic Castro District is a perfect spot for this joyous musical, written by dynamic duo Jerry Herman and Harvey Fierstein. Longtime executive artistic director John Fisher and development director/company manager Crystal Liu share directing duties.
Manu Narayan, background and Kuhoo Verma star in the world premiere musical adaptation of the 2013 film ‘The Lunchbox’ at Berkeley Rep, directed by Rachel Chavkin. (HanJie Chow)
Berkeley Repertory Theatre, Berkeley May 17–June 28, 2026
Bay Area audiences can certainly get used to seeing the uber-talented Kuhoo Verma, who’s spent time at both Berkeley Rep and ACT San Francisco in recent years. She completed an Off-Broadway run in Heathers this past April; she now stars in this newly adapted musical. Based on Ritesh Batra’s popular 2013 film, The Lunchbox is set in Mumbai, where a young wife and an older widower close to retirement begin a correspondence through a wrong lunch delivery. Notes hold deeper truths, and a romance begins to blossom. Batra serves as co-lyricist with sibling music group The Lazours (We Live in Cairo), while Hadestown director Rachel Chavkin handles the directing.
Lisa Ramirez rehearses as the title character of ‘The House of Bernarda Alba’ at Oakland Theater Project. The company is producing a new adaptation by Chay Yew. (Adam Elder Montanaro)
Oakland Theater Project, Oakland May 22–June 7, 2026
Spanish poet and playwright Federico Garcia Lorca remains one of the most thrilling artists of the 20th century. A sly critic of the brutal General Francisco Franco, Lorca was ultimately killed by firing squad in 1936 at age 38. In a new adaptation of Lorca’s The House of Bernarda Alba by Chay Yew, Matriarch Bernarda demands that her five daughters mourn the loss of their father for eight years. Yet as time goes on, the sisters begin to self-destruct, mostly driven by a single love interest among multiple sisters, a man the audience never sees. Lisa Ramirez, a terrific actor and co-artistic director of the company, takes on the title role, directed by Michael Socrates Moran.
Bess Wohl’s ‘Continuity’ at Shotgun Players takes place on a Hollywood set. (Shotgun Players)
Emilie Whelan directs this fast-paced comedy about life on a Hollywood set. As art imitates life, Maria is on edge as she keeps the production together amidst wild chaos. Egos, secrets and too much truth for comfort inform the story, a classic example of art imitating life. Shotgun Players are coming off a terrific production of another Pulitzer winning playwright, Edward Albee, and his risk-taking play The Goat, or Who is Sylvia?, continuing a daring streak of staging stories with penetrating questions and complicated answers.
Billie J. Simmons, left, and Kelly Rinehart take on powerful emotional demands in ‘’night, Mother’ at the Altarena Playhouse in Alameda. (Altarena Playhouse)
The winner of the 1983 Pulitzer Prize for Drama, Marsha Norman’s story focuses on mother Thelma (Billie J. Simmons) and her daughter Jessie (Kelly Rinehart), who declares she is about to take her own life. Thelma’s battle for Jessie to reconsider becomes a bond, based on old secrets and long-standing harm. The small Altarena Playhouse in Alameda, featuring a three-quarter stage and just north of 100 seats, is an ideal venue for these types of personal stories. Actor, director and podcaster ShawnJ West directs.
Sean Okuniewicz and Erin Rose Solorio play the roles of Galileo and Scaramouche in the San Jose Stage production of ‘We Will Rock You,’ featuring the hits of rock band Queen. (San Jose Stage)
There’s never a bad time to dive into the hits of legendary rock band Queen, which boasted one of rock music’s greatest frontmen, Freddie Mercury. In this jukebox musical, two misfits, Galileo and Scaramouche, join a group of bohemians tasked with finding the buried sacred instruments that will allow them to save rock and roll. Featuring some of Queen’s biggest hits, such as “Bohemian Rhapsody,” “We Are the Champions,” and “Somebody to Love,” the show is an opportunity to rock out to live Queen covers and dance in the aisles.
Playwright Denmo Ibrahim’s ‘Arab Spring’ premiere is a collaboration between Golden Thread Productions and SFBATCO. (Clara Rice Photography)
Potrero Stage, San Francisco June 19–July 12, 2026
Golden Thread Productions and SFBATCO, two of the Bay Area’s most consequential creators of new work, join forces for this promising co-production. In Arab Spring, two siblings (played by Salim Razawi and Arti Ishak) return to the suburbs to bury their deadbeat dad, and themes of family and religion come to the forefront. Written by Golden Thread resident playwright Denmo Ibrahim and directed by Crowded Fire co-executive director Nailah Unole didanas’ea Harper-Malveaux, the play promises to be explosive and timely. It’s also the first full production under new artistic director Nabra Nelson, who took over from Sahar Assaf in December.
Evren Odcikin presents his adaptation of ‘As You Like It’ at Marin Shakespeare Company in June and July. (Courtesy Evren Odcikin)
If it’s summer in the Bay Area and one does not go see Shakespeare outdoors, is it really summertime? Transitioning from T-shirt to jacket to blanket throughout a summer night is a rite of passage in these parts, and very few places are better suited for it than Marin. This year, exceptional theater maker Evren Odcikin is premiering his adaptation of As You Like It, with one of Shakespeare’s most beloved characters, the brilliant light Rosalind. Banished from the court, Rosalind disguises herself as the boy Ganymede and darts to the forest of Arden, where she encounters her love interest Orlando. It’s a classic pastoral comedy of music and romance.
Bay Area-based playwright and screenwriter Geetha Reddy’s world premiere of ‘The Employee Dharma Handbook’ opens at TheatreWorks Silicon Valley in July. (Courtesy Geetha Reddy)
TheatreWorks Silicon Valley, Mountain View July 8–Aug. 2, 2026
In this prominent world premiere, Bay Area playwright Geetha Reddy explores dharma as a concept of morals and responsibilities in the workplace, as HR executive Val wrestles with suspicions of sexism among a group of lead engineers preparing a rocket launch. Reddy’s exploration of identity, culture and nepotism is directed by Snehal Desai, a former artistic director at Los Angeles’ East West Players currently serving as Artistic Director at the Center Theatre Group.
SF Playhouse’s production of the Broadway hit musical ‘Hairspray’ opens in July. (Getty Images)
Sometimes you just want to go to the theater and dance in your seat. While Hairspray is loaded with great hits in the spirit of 1960s R&B groups, it also doubles as a slick commentary on racism and societal acceptance. The story is told through the lens of plus-sized Tracy Turnblad and her mission to bring marginalized people into the spotlight through a television dance show. As good as the 2007 film was, starring John Travolta, Christopher Walken, Zac Efron and a fresh-faced Nikki Blonsky, hearing the numbers live is a whole ‘nother vibe. Artistic director Bill English handles directing duties.
Stephen Sherwood and Vanessa Alvarez in ‘A Mysterious Demise’ by Paul Braverman, part of last year’s 2025 Pear Slices Festival. (The Pear)
New works are the heartbeat of the American theater, and terrific incubators abound in the Bay Area, including the popular Pear Slices festival at the Pear Theatre. Over the course of the festival’s 24 years, more than 100 new works have been brought to audiences, with the 2025 production offering eight brand new stories. At this year’s 24th annual iteration of the series, the plays are nicely varied, with a mix of comic and poignant works. Tonya Mara and Joey Dippel tag-team the direction.
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"slug": "best-plays-musicals-bay-area-oakland-san-francisco-berkeley-2026",
"title": "The 10 Best Plays and Musicals to See This Summer in the Bay Area",
"publishDate": 1778680853,
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"headTitle": "The 10 Best Plays and Musicals to See This Summer in the Bay Area | KQED",
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"content": "\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>After a year of particular rockiness, Bay Area theatre continues to experience ups and downs. While some companies have closed, such as \u003ca href=\"https://www.instagram.com/p/DWAoR6UFB3r/?img_index=1\">3Below in San Jose\u003c/a>, others are reinventing old spaces into new beginnings, like San Francisco’s \u003ca href=\"https://www.rayoflighttheatre.com/thebarb\">Ray of Light\u003c/a> and their fresh, intimate performance space, the Barbary Stage. \u003c/p>\n\u003cp>This summer’s theater in our region offers new ideas, but also some nostalgia. Lisa Vroman played Christine Daaé in \u003ci>The Phantom of the Opera\u003c/i> when it ran in San Francisco for more than five years in the 1990s; when the revitalized production returns to the city May 29–June 21, Vroman will take on the role of choreographer Madame Giry.\u003c/p>\n\u003cp>And if an angry vocal instructor with bad skin who lives in the damp catacombs of an opera house isn’t your vibe, never fear — here are 11 other fantastic plays and musicals running all over the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13989541\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3.jpg\" alt=\"\" width=\"2000\" height=\"1452\" class=\"size-full wp-image-13989541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3-1536x1115.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel (Landyn Endo) and Anne (Akhila Narayanan) navigate their very opposite parents on their journey toward impending nuptials in ‘La Cage aux Folles’ at Theatre Rhinoceros in San Francisco. \u003ccite>(Scott Sidorsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.therhino.org/\">La Cage aux Folles\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Theatre Rhinoceros, San Francisco\u003c/em>\u003cbr>\n\u003cem>May 16–June 7\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jean-Michel’s dad Georges is the master of ceremonies at a Saint-Tropez drag nightclub. Anne’s dad is head of the Tradition, Family and Morality Party that’s trying to close drag clubs. How will these two get along now that their kids are in love? A bevy of lies ensue to try and assuage Anne’s family, yet by the end, everyone needs each other and drag artists win the day. The intimate performance space in the historic Castro District is a perfect spot for this joyous musical, written by dynamic duo Jerry Herman and Harvey Fierstein. Longtime executive artistic director John Fisher and development director/company manager Crystal Liu share directing duties. \u003c/p>\n\u003cfigure id=\"attachment_13989543\" class=\"wp-caption aligncenter\" style=\"max-width: 1601px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed.png\" alt=\"\" width=\"1601\" height=\"1281\" class=\"size-full wp-image-13989543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed.png 1601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-160x128.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-768x614.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1536x1229.png 1536w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\">\u003cfigcaption class=\"wp-caption-text\">Manu Narayan, background and Kuhoo Verma star in the world premiere musical adaptation of the 2013 film ‘The Lunchbox’ at Berkeley Rep, directed by Rachel Chavkin. \u003ccite>(HanJie Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/the-lunchbox-nkft\">The Lunchbox\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>May 17–June 28, 2026\u003c/em>\u003c/p>\n\u003cp>Bay Area audiences can certainly get used to seeing the uber-talented Kuhoo Verma, who’s spent time at both Berkeley Rep and ACT San Francisco in recent years. She completed an Off-Broadway run in \u003ci>Heathers\u003c/i> this past April; she now stars in this newly adapted musical. Based on Ritesh Batra’s popular 2013 film, \u003ci>The Lunchbox\u003c/i> is set in Mumbai, where a young wife and an older widower close to retirement begin a correspondence through a wrong lunch delivery. Notes hold deeper truths, and a romance begins to blossom. Batra serves as co-lyricist with sibling music group The Lazours (\u003ci>We Live in Cairo\u003c/i>), while \u003ci>Hadestown\u003c/i> director Rachel Chavkin handles the directing. \u003c/p>\n\u003cfigure id=\"attachment_13989497\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1.jpg\" alt=\"\" width=\"2000\" height=\"1054\" class=\"size-full wp-image-13989497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1-1536x809.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez rehearses as the title character of ‘The House of Bernarda Alba’ at Oakland Theater Project. The company is producing a new adaptation by Chay Yew. \u003ccite>(Adam Elder Montanaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/\">The House of Bernarda Alba\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project, Oakland\u003c/em>\u003cbr>\n\u003cem>May 22–June 7, 2026\u003c/em>\u003c/p>\n\u003cp>Spanish poet and playwright Federico Garcia Lorca remains one of the most thrilling artists of the 20th century. A sly critic of the brutal General Francisco Franco, Lorca was ultimately killed by firing squad in 1936 at age 38. In a new adaptation of Lorca’s \u003ci>The House of Bernarda Alba\u003c/i> by Chay Yew, Matriarch Bernarda demands that her five daughters mourn the loss of their father for eight years. Yet as time goes on, the sisters begin to self-destruct, mostly driven by a single love interest among multiple sisters, a man the audience never sees. Lisa Ramirez, a terrific actor and co-artistic director of the company, takes on the title role, directed by Michael Socrates Moran. \u003c/p>\n\u003cfigure id=\"attachment_13989544\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910.jpeg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bess Wohl’s ‘Continuity’ at Shotgun Players takes place on a Hollywood set. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/show/continuity/\">Continuity\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003c/em>\u003cbr>\n\u003cem>May 23–June 21, 2026\u003c/em>\u003c/p>\n\u003cp>Emilie Whelan directs this fast-paced comedy about life on a Hollywood set. As art imitates life, Maria is on edge as she keeps the production together amidst wild chaos. Egos, secrets and too much truth for comfort inform the story, a classic example of art imitating life. Shotgun Players are coming off a terrific production of another Pulitzer winning playwright, Edward Albee, and his risk-taking play \u003ci>The Goat, or Who is Sylvia?\u003c/i>, continuing a daring streak of staging stories with penetrating questions and complicated answers.\u003c/p>\n\u003cfigure id=\"attachment_13989542\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons.jpg\" alt=\"\" width=\"2000\" height=\"1475\" class=\"size-full wp-image-13989542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons-1536x1133.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Billie J. Simmons, left, and Kelly Rinehart take on powerful emotional demands in ‘’night, Mother’ at the Altarena Playhouse in Alameda.\u003cbr> \u003ccite>(Altarena Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.altarena.org/2026-season-announcement/night-mother/\">’night, Mother\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Altarena Playhouse, Alameda\u003c/em>\u003cbr>\n\u003cem>May 29–June 28, 2026\u003c/em>\u003c/p>\n\u003cp>The winner of the 1983 Pulitzer Prize for Drama, Marsha Norman’s story focuses on mother Thelma (Billie J. Simmons) and her daughter Jessie (Kelly Rinehart), who declares she is about to take her own life. Thelma’s battle for Jessie to reconsider becomes a bond, based on old secrets and long-standing harm. The small Altarena Playhouse in Alameda, featuring a three-quarter stage and just north of 100 seats, is an ideal venue for these types of personal stories. Actor, director and podcaster ShawnJ West directs. \u003c/p>\n\u003cfigure id=\"attachment_13989539\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed.jpg\" alt=\"\" width=\"900\" height=\"585\" class=\"size-full wp-image-13989539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-768x499.jpg 768w\" sizes=\"auto, (max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Sean Okuniewicz and Erin Rose Solorio play the roles of Galileo and Scaramouche in the San Jose Stage production of ‘We Will Rock You,’ featuring the hits of rock band Queen.\u003cbr> \u003ccite>(San Jose Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thestage.org/\">We Will Rock You\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Jose Stage\u003c/em>\u003cbr>\n\u003cem>June 3–28, 2026\u003c/em>\u003c/p>\n\u003cp>There’s never a bad time to dive into the hits of legendary rock band Queen, which boasted one of rock music’s greatest frontmen, Freddie Mercury. In this jukebox musical, two misfits, Galileo and Scaramouche, join a group of bohemians tasked with finding the buried sacred instruments that will allow them to save rock and roll. Featuring some of Queen’s biggest hits, such as “Bohemian Rhapsody,” “We Are the Champions,” and “Somebody to Love,” the show is an opportunity to rock out to live Queen covers and dance in the aisles.\u003c/p>\n\u003cfigure id=\"attachment_13989492\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Denmo Ibrahim’s ‘Arab Spring’ premiere is a collaboration between Golden Thread Productions and SFBATCO. \u003ccite>(Clara Rice Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://goldenthread.org/productions/arab-spring/\">Arab Spring\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003cbr>\n\u003cem>June 19–July 12, 2026\u003c/em>\u003c/p>\n\u003cp>Golden Thread Productions and SFBATCO, two of the Bay Area’s most consequential creators of new work, join forces for this promising co-production. In \u003ci>Arab Spring\u003c/i>, two siblings (played by Salim Razawi and Arti Ishak) return to the suburbs to bury their deadbeat dad, and themes of family and religion come to the forefront. Written by Golden Thread resident playwright Denmo Ibrahim and directed by Crowded Fire co-executive director Nailah Unole didanas’ea Harper-Malveaux, the play promises to be explosive and timely. It’s also the first full production under new artistic director Nabra Nelson, who took over from Sahar Assaf in December. \u003c/p>\n\u003cfigure id=\"attachment_13989538\" class=\"wp-caption aligncenter\" style=\"max-width: 1009px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Evren-Odcikin.jpg\" alt=\"\" width=\"1009\" height=\"673\" class=\"size-full wp-image-13989538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Evren-Odcikin.jpg 1009w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Evren-Odcikin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Evren-Odcikin-768x512.jpg 768w\" sizes=\"auto, (max-width: 1009px) 100vw, 1009px\">\u003cfigcaption class=\"wp-caption-text\">Evren Odcikin presents his adaptation of ‘As You Like It’ at Marin Shakespeare Company in June and July. \u003ccite>(Courtesy Evren Odcikin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/as-you-like-it/\">As You Like It\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Marin Shakespeare Co.\u003c/em>\u003cbr>\n\u003cem>June 19–July 19, 2026\u003c/em>\u003c/p>\n\u003cp>If it’s summer in the Bay Area and one does not go see Shakespeare outdoors, is it really summertime? Transitioning from T-shirt to jacket to blanket throughout a summer night is a rite of passage in these parts, and very few places are better suited for it than Marin. This year, exceptional theater maker Evren Odcikin is premiering his adaptation of \u003ci>As You Like It\u003c/i>, with one of Shakespeare’s most beloved characters, the brilliant light Rosalind. Banished from the court, Rosalind disguises herself as the boy Ganymede and darts to the forest of Arden, where she encounters her love interest Orlando. It’s a classic pastoral comedy of music and romance.\u003c/p>\n\u003cfigure id=\"attachment_13989536\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Geetha-Reddy-Headshot-2026-small.jpg\" alt=\"\" width=\"750\" height=\"500\" class=\"size-full wp-image-13989536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Geetha-Reddy-Headshot-2026-small.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Geetha-Reddy-Headshot-2026-small-160x107.jpg 160w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area-based playwright and screenwriter Geetha Reddy’s world premiere of ‘The Employee Dharma Handbook’ opens at TheatreWorks Silicon Valley in July. \u003ccite>(Courtesy Geetha Reddy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/mainstage/the-employee-dharma-handbook/\">The Employee Dharma Handbook\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003c/em>\u003cbr>\n\u003cem>July 8–Aug. 2, 2026\u003c/em>\u003c/p>\n\u003cp>In this prominent world premiere, Bay Area playwright Geetha Reddy explores dharma as a concept of morals and responsibilities in the workplace, as HR executive Val wrestles with suspicions of sexism among a group of lead engineers preparing a rocket launch. Reddy’s exploration of identity, culture and nepotism is directed by Snehal Desai, a former artistic director at Los Angeles’ East West Players currently serving as Artistic Director at the Center Theatre Group.\u003c/p>\n\u003cfigure id=\"attachment_13989537\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595.jpg\" alt=\"\" width=\"2000\" height=\"1391\" class=\"size-full wp-image-13989537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595-1536x1068.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SF Playhouse’s production of the Broadway hit musical ‘Hairspray’ opens in July. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfplayhouse.org/2025-2026-season/hairspray/\">Hairspray\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>SF Playhouse\u003c/em>\u003cbr>\n\u003cem>July 10–Sept. 12, 2026\u003c/em>\u003c/p>\n\u003cp>Sometimes you just want to go to the theater and dance in your seat. While \u003ci>Hairspray\u003c/i> is loaded with great hits in the spirit of 1960s R&B groups, it also doubles as a slick commentary on racism and societal acceptance. The story is told through the lens of plus-sized Tracy Turnblad and her mission to bring marginalized people into the spotlight through a television dance show. As good as the 2007 film was, starring John Travolta, Christopher Walken, Zac Efron and a fresh-faced Nikki Blonsky, hearing the numbers live is a whole ‘nother vibe. Artistic director Bill English handles directing duties. \u003c/p>\n\u003cfigure id=\"attachment_13989540\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/PS-2025.jpg\" alt=\"\" width=\"940\" height=\"627\" class=\"size-full wp-image-13989540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/PS-2025.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/PS-2025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/PS-2025-768x512.jpg 768w\" sizes=\"auto, (max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Sherwood and Vanessa Alvarez in ‘A Mysterious Demise’ by Paul Braverman, part of last year’s 2025 Pear Slices Festival. \u003ccite>(The Pear)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thepear.org/season24\">Pear Slices\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Pear Theatre\u003c/em>\u003cbr>\n\u003cem>July 19–Aug. 3, 2026\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>New works are the heartbeat of the American theater, and terrific incubators abound in the Bay Area, including the popular \u003ci>Pear Slices\u003c/i> festival at the Pear Theatre. Over the course of the festival’s 24 years, more than 100 new works have been brought to audiences, with the 2025 production offering eight brand new stories. At this year’s 24th annual iteration of the series, the plays are nicely varied, with a mix of comic and poignant works. Tonya Mara and Joey Dippel tag-team the direction. \u003c/p>\n\n",
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"excerpt": "From world premiere dramas to classic musicals, your guide to summertime theater in the Bay Area is here.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Be sure to check out our full \u003ca href=\"https://www.kqed.org/arts/tag/summer-guide-2026\">2026 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/em>\u003c/p>\n\u003cp>After a year of particular rockiness, Bay Area theatre continues to experience ups and downs. While some companies have closed, such as \u003ca href=\"https://www.instagram.com/p/DWAoR6UFB3r/?img_index=1\">3Below in San Jose\u003c/a>, others are reinventing old spaces into new beginnings, like San Francisco’s \u003ca href=\"https://www.rayoflighttheatre.com/thebarb\">Ray of Light\u003c/a> and their fresh, intimate performance space, the Barbary Stage. \u003c/p>\n\u003cp>This summer’s theater in our region offers new ideas, but also some nostalgia. Lisa Vroman played Christine Daaé in \u003ci>The Phantom of the Opera\u003c/i> when it ran in San Francisco for more than five years in the 1990s; when the revitalized production returns to the city May 29–June 21, Vroman will take on the role of choreographer Madame Giry.\u003c/p>\n\u003cp>And if an angry vocal instructor with bad skin who lives in the damp catacombs of an opera house isn’t your vibe, never fear — here are 11 other fantastic plays and musicals running all over the Bay Area this summer.\u003c/p>\n\u003cfigure id=\"attachment_13989541\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3.jpg\" alt=\"\" width=\"2000\" height=\"1452\" class=\"size-full wp-image-13989541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/3-1536x1115.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel (Landyn Endo) and Anne (Akhila Narayanan) navigate their very opposite parents on their journey toward impending nuptials in ‘La Cage aux Folles’ at Theatre Rhinoceros in San Francisco. \u003ccite>(Scott Sidorsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.therhino.org/\">La Cage aux Folles\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Theatre Rhinoceros, San Francisco\u003c/em>\u003cbr>\n\u003cem>May 16–June 7\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jean-Michel’s dad Georges is the master of ceremonies at a Saint-Tropez drag nightclub. Anne’s dad is head of the Tradition, Family and Morality Party that’s trying to close drag clubs. How will these two get along now that their kids are in love? A bevy of lies ensue to try and assuage Anne’s family, yet by the end, everyone needs each other and drag artists win the day. The intimate performance space in the historic Castro District is a perfect spot for this joyous musical, written by dynamic duo Jerry Herman and Harvey Fierstein. Longtime executive artistic director John Fisher and development director/company manager Crystal Liu share directing duties. \u003c/p>\n\u003cfigure id=\"attachment_13989543\" class=\"wp-caption aligncenter\" style=\"max-width: 1601px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed.png\" alt=\"\" width=\"1601\" height=\"1281\" class=\"size-full wp-image-13989543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed.png 1601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-160x128.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-768x614.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1536x1229.png 1536w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\">\u003cfigcaption class=\"wp-caption-text\">Manu Narayan, background and Kuhoo Verma star in the world premiere musical adaptation of the 2013 film ‘The Lunchbox’ at Berkeley Rep, directed by Rachel Chavkin. \u003ccite>(HanJie Chow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/the-lunchbox-nkft\">The Lunchbox\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>May 17–June 28, 2026\u003c/em>\u003c/p>\n\u003cp>Bay Area audiences can certainly get used to seeing the uber-talented Kuhoo Verma, who’s spent time at both Berkeley Rep and ACT San Francisco in recent years. She completed an Off-Broadway run in \u003ci>Heathers\u003c/i> this past April; she now stars in this newly adapted musical. Based on Ritesh Batra’s popular 2013 film, \u003ci>The Lunchbox\u003c/i> is set in Mumbai, where a young wife and an older widower close to retirement begin a correspondence through a wrong lunch delivery. Notes hold deeper truths, and a romance begins to blossom. Batra serves as co-lyricist with sibling music group The Lazours (\u003ci>We Live in Cairo\u003c/i>), while \u003ci>Hadestown\u003c/i> director Rachel Chavkin handles the directing. \u003c/p>\n\u003cfigure id=\"attachment_13989497\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1.jpg\" alt=\"\" width=\"2000\" height=\"1054\" class=\"size-full wp-image-13989497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/HOBA_53-1-1536x809.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez rehearses as the title character of ‘The House of Bernarda Alba’ at Oakland Theater Project. The company is producing a new adaptation by Chay Yew. \u003ccite>(Adam Elder Montanaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/\">The House of Bernarda Alba\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oakland Theater Project, Oakland\u003c/em>\u003cbr>\n\u003cem>May 22–June 7, 2026\u003c/em>\u003c/p>\n\u003cp>Spanish poet and playwright Federico Garcia Lorca remains one of the most thrilling artists of the 20th century. A sly critic of the brutal General Francisco Franco, Lorca was ultimately killed by firing squad in 1936 at age 38. In a new adaptation of Lorca’s \u003ci>The House of Bernarda Alba\u003c/i> by Chay Yew, Matriarch Bernarda demands that her five daughters mourn the loss of their father for eight years. Yet as time goes on, the sisters begin to self-destruct, mostly driven by a single love interest among multiple sisters, a man the audience never sees. Lisa Ramirez, a terrific actor and co-artistic director of the company, takes on the title role, directed by Michael Socrates Moran. \u003c/p>\n\u003cfigure id=\"attachment_13989544\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910.jpeg\" alt=\"\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13989544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/IMG_0910-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bess Wohl’s ‘Continuity’ at Shotgun Players takes place on a Hollywood set. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/show/continuity/\">Continuity\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003c/em>\u003cbr>\n\u003cem>May 23–June 21, 2026\u003c/em>\u003c/p>\n\u003cp>Emilie Whelan directs this fast-paced comedy about life on a Hollywood set. As art imitates life, Maria is on edge as she keeps the production together amidst wild chaos. Egos, secrets and too much truth for comfort inform the story, a classic example of art imitating life. Shotgun Players are coming off a terrific production of another Pulitzer winning playwright, Edward Albee, and his risk-taking play \u003ci>The Goat, or Who is Sylvia?\u003c/i>, continuing a daring streak of staging stories with penetrating questions and complicated answers.\u003c/p>\n\u003cfigure id=\"attachment_13989542\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons.jpg\" alt=\"\" width=\"2000\" height=\"1475\" class=\"size-full wp-image-13989542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Billie-J.-Simmons-1536x1133.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Billie J. Simmons, left, and Kelly Rinehart take on powerful emotional demands in ‘’night, Mother’ at the Altarena Playhouse in Alameda.\u003cbr> \u003ccite>(Altarena Playhouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.altarena.org/2026-season-announcement/night-mother/\">’night, Mother\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Altarena Playhouse, Alameda\u003c/em>\u003cbr>\n\u003cem>May 29–June 28, 2026\u003c/em>\u003c/p>\n\u003cp>The winner of the 1983 Pulitzer Prize for Drama, Marsha Norman’s story focuses on mother Thelma (Billie J. Simmons) and her daughter Jessie (Kelly Rinehart), who declares she is about to take her own life. Thelma’s battle for Jessie to reconsider becomes a bond, based on old secrets and long-standing harm. The small Altarena Playhouse in Alameda, featuring a three-quarter stage and just north of 100 seats, is an ideal venue for these types of personal stories. Actor, director and podcaster ShawnJ West directs. \u003c/p>\n\u003cfigure id=\"attachment_13989539\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed.jpg\" alt=\"\" width=\"900\" height=\"585\" class=\"size-full wp-image-13989539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-768x499.jpg 768w\" sizes=\"auto, (max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Sean Okuniewicz and Erin Rose Solorio play the roles of Galileo and Scaramouche in the San Jose Stage production of ‘We Will Rock You,’ featuring the hits of rock band Queen.\u003cbr> \u003ccite>(San Jose Stage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thestage.org/\">We Will Rock You\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Jose Stage\u003c/em>\u003cbr>\n\u003cem>June 3–28, 2026\u003c/em>\u003c/p>\n\u003cp>There’s never a bad time to dive into the hits of legendary rock band Queen, which boasted one of rock music’s greatest frontmen, Freddie Mercury. In this jukebox musical, two misfits, Galileo and Scaramouche, join a group of bohemians tasked with finding the buried sacred instruments that will allow them to save rock and roll. Featuring some of Queen’s biggest hits, such as “Bohemian Rhapsody,” “We Are the Champions,” and “Somebody to Love,” the show is an opportunity to rock out to live Queen covers and dance in the aisles.\u003c/p>\n\u003cfigure id=\"attachment_13989492\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim.jpg\" alt=\"\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13989492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/DenmoIbrahim-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Denmo Ibrahim’s ‘Arab Spring’ premiere is a collaboration between Golden Thread Productions and SFBATCO. \u003ccite>(Clara Rice Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://goldenthread.org/productions/arab-spring/\">Arab Spring\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Potrero Stage, San Francisco\u003c/em>\u003cbr>\n\u003cem>June 19–July 12, 2026\u003c/em>\u003c/p>\n\u003cp>Golden Thread Productions and SFBATCO, two of the Bay Area’s most consequential creators of new work, join forces for this promising co-production. In \u003ci>Arab Spring\u003c/i>, two siblings (played by Salim Razawi and Arti Ishak) return to the suburbs to bury their deadbeat dad, and themes of family and religion come to the forefront. Written by Golden Thread resident playwright Denmo Ibrahim and directed by Crowded Fire co-executive director Nailah Unole didanas’ea Harper-Malveaux, the play promises to be explosive and timely. It’s also the first full production under new artistic director Nabra Nelson, who took over from Sahar Assaf in December. \u003c/p>\n\u003cfigure id=\"attachment_13989538\" class=\"wp-caption aligncenter\" style=\"max-width: 1009px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Evren-Odcikin.jpg\" alt=\"\" width=\"1009\" height=\"673\" class=\"size-full wp-image-13989538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Evren-Odcikin.jpg 1009w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Evren-Odcikin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Evren-Odcikin-768x512.jpg 768w\" sizes=\"auto, (max-width: 1009px) 100vw, 1009px\">\u003cfigcaption class=\"wp-caption-text\">Evren Odcikin presents his adaptation of ‘As You Like It’ at Marin Shakespeare Company in June and July. \u003ccite>(Courtesy Evren Odcikin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/as-you-like-it/\">As You Like It\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Marin Shakespeare Co.\u003c/em>\u003cbr>\n\u003cem>June 19–July 19, 2026\u003c/em>\u003c/p>\n\u003cp>If it’s summer in the Bay Area and one does not go see Shakespeare outdoors, is it really summertime? Transitioning from T-shirt to jacket to blanket throughout a summer night is a rite of passage in these parts, and very few places are better suited for it than Marin. This year, exceptional theater maker Evren Odcikin is premiering his adaptation of \u003ci>As You Like It\u003c/i>, with one of Shakespeare’s most beloved characters, the brilliant light Rosalind. Banished from the court, Rosalind disguises herself as the boy Ganymede and darts to the forest of Arden, where she encounters her love interest Orlando. It’s a classic pastoral comedy of music and romance.\u003c/p>\n\u003cfigure id=\"attachment_13989536\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Geetha-Reddy-Headshot-2026-small.jpg\" alt=\"\" width=\"750\" height=\"500\" class=\"size-full wp-image-13989536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Geetha-Reddy-Headshot-2026-small.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Geetha-Reddy-Headshot-2026-small-160x107.jpg 160w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area-based playwright and screenwriter Geetha Reddy’s world premiere of ‘The Employee Dharma Handbook’ opens at TheatreWorks Silicon Valley in July. \u003ccite>(Courtesy Geetha Reddy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/mainstage/the-employee-dharma-handbook/\">The Employee Dharma Handbook\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>TheatreWorks Silicon Valley, Mountain View\u003c/em>\u003cbr>\n\u003cem>July 8–Aug. 2, 2026\u003c/em>\u003c/p>\n\u003cp>In this prominent world premiere, Bay Area playwright Geetha Reddy explores dharma as a concept of morals and responsibilities in the workplace, as HR executive Val wrestles with suspicions of sexism among a group of lead engineers preparing a rocket launch. Reddy’s exploration of identity, culture and nepotism is directed by Snehal Desai, a former artistic director at Los Angeles’ East West Players currently serving as Artistic Director at the Center Theatre Group.\u003c/p>\n\u003cfigure id=\"attachment_13989537\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595.jpg\" alt=\"\" width=\"2000\" height=\"1391\" class=\"size-full wp-image-13989537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/GettyImages-162712595-1536x1068.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SF Playhouse’s production of the Broadway hit musical ‘Hairspray’ opens in July. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfplayhouse.org/2025-2026-season/hairspray/\">Hairspray\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>SF Playhouse\u003c/em>\u003cbr>\n\u003cem>July 10–Sept. 12, 2026\u003c/em>\u003c/p>\n\u003cp>Sometimes you just want to go to the theater and dance in your seat. While \u003ci>Hairspray\u003c/i> is loaded with great hits in the spirit of 1960s R&B groups, it also doubles as a slick commentary on racism and societal acceptance. The story is told through the lens of plus-sized Tracy Turnblad and her mission to bring marginalized people into the spotlight through a television dance show. As good as the 2007 film was, starring John Travolta, Christopher Walken, Zac Efron and a fresh-faced Nikki Blonsky, hearing the numbers live is a whole ‘nother vibe. Artistic director Bill English handles directing duties. \u003c/p>\n\u003cfigure id=\"attachment_13989540\" class=\"wp-caption aligncenter\" style=\"max-width: 940px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/PS-2025.jpg\" alt=\"\" width=\"940\" height=\"627\" class=\"size-full wp-image-13989540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/PS-2025.jpg 940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/PS-2025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/PS-2025-768x512.jpg 768w\" sizes=\"auto, (max-width: 940px) 100vw, 940px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Sherwood and Vanessa Alvarez in ‘A Mysterious Demise’ by Paul Braverman, part of last year’s 2025 Pear Slices Festival. \u003ccite>(The Pear)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.thepear.org/season24\">Pear Slices\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Pear Theatre\u003c/em>\u003cbr>\n\u003cem>July 19–Aug. 3, 2026\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>New works are the heartbeat of the American theater, and terrific incubators abound in the Bay Area, including the popular \u003ci>Pear Slices\u003c/i> festival at the Pear Theatre. Over the course of the festival’s 24 years, more than 100 new works have been brought to audiences, with the 2025 production offering eight brand new stories. At this year’s 24th annual iteration of the series, the plays are nicely varied, with a mix of comic and poignant works. Tonya Mara and Joey Dippel tag-team the direction. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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