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"content": "\u003cp>Before the start of the Joe Goode Performance Group’s new show, \u003cb>Humansville\u003c/b>, we were told that the first half of the performance would be made up of vignettes, each about seven minutes long, which would repeat for the first half hour. We could walk from one to the other in our own time and then take our seats for the second half of the show. Before the doors opened, I thought about the scene in \u003cb>Willy Wonka and the Chocolate Factory\u003c/b> where Gene Wilder, as Willy Wonka, is preparing to open the doors of his factory to outsiders for the first time in decades. In the film, tiny bells sound and expectation builds. “Count to three. Make a wish.” Wonka whispers as he cracks open the door. The children are met with a confectionary wonderland and run about gorging themselves on sweets while Gene Wilder sings the movie’s theme song “Pure Imagination.”\u003c/p>\n\u003cp>“If you want to view paradise,\u003cbr>Simply look around and view it\u003cbr>Anything you want to, do it\u003cbr>Want to change the world?\u003cbr>There’s nothing to it.”\u003c/p>\n\u003cp>I didn’t know how apt this momentary flash would be.\u003c/p>\n\u003cp>Whenever one attends the theater, one expects the set to simulate some “permanent” reality wherein the show’s action will take place, but in \u003cb>Humansville\u003c/b> we are first encouraged to form a relationship with the set’s physical structure and therefore its temporary nature. On one side are three fully formed compartments, on the other is a wall of raw sheetrock, between the two — a passageway.\u003c/p>\n\u003cp>Our first contact is with compartmentalized selves, fully-constructed characters inside their own fully-constructed sets. In one vignette, dancers Melecio Estrella and Alexander Zendzian are each trapped in a tiny cell, they sing to one another through the walls and violently throw their bodies up against them. Are they trying to get out or just defining the limits of their compartments?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next door is a plush room lined with red velvet, high up in the back wall is a dark window from which Patricia West recounts her latest disappointment. Is she the part of the mind that chatters on endlessly about the myriad mundane frustrations of everyday life?\u003c/p>\n\u003cp>In the third room, Jessica Swanson, a willful fifties princess in puffy skirt and beehive hairdo talks on the phone with her dreamy boyfriend, telling him the details of the paper she is writing on Pocahontas. Her gestures — surprise, flirtation and mock fear — are classic Joe Goode, who often works in a physical “vernacular,” building up a dictionary of everyday gestures from which he constructs his dances. But then the moon comes up and our fifties princess looks at first like she is pushing it into the sky, and then seems to be struggling to hang onto it as it rises. When she returns later on in the piece, disheveled, definitely worse for wear, she made me think about how stubborn the idea of American inevitability has become — and how tired.\u003c/p>\n\u003cp>If you walk through the hallway first thing, like I did, you might be startled when you peek into the various compartments. You may come face to face with Melecio Estrella, who locked his intense gaze onto me and fiercely stared me down.\u003c/p>\n\u003cp>The other side of the set is unfinished. It is full of potential. You can project anything onto it. Felipe Barrueto-Cabello and Marit Brook-Kothlow, two of Joe’s veteran dancers, sit there under a projection of the fifties princess, who beckons us to come closer and to touch her. A brief story in words is projected about someone named “Itchy” who has no answers. I wondered if Itchy was Joe…\u003c/p>\n\u003cp>Let’s face it. The Joe Goode Performance Group is made up of some of the most attractive people you will ever see on stage. They perform with surprisingly little ego. Even though the dancers bring tremendous power to the movement, they make it look effortless. And costume designer Wendy Sparks knows just how to dress them — in costumes that look like the coolest street clothes imaginable. The set is genius. Austin Forbord’s videos are perfection. Meanwhile Kronos Quartet veteran Joan Jeanrenaud plays cello on a rolling cart that is pushed around the room. An embarrassment of riches. The stage is set and then…\u003c/p>\n\u003cp>Here is the question that I left the performance thinking, a paraphrase of something repeated throughout the show, “How did you get out of your cell, Joe Goode? Did you just push?” Joe’s humor is subtle and good-natured. Seeing his work is like being cajoled to witness the gentler side of the human experience by a wise uncle who comes to visit once a year, bringing campfire stories and insights about the follies and foibles of humanity. Joe Goode performances are always full of surprise, but \u003cb>Humansville\u003c/b> was TRANSCENDANT.\u003c/p>\n\u003cp>The movement in the second half of the performance really took flight. Watching a duet between Filipe and Marit, which seemed to symbolize the struggle toward relationship, toward intimacy, was like watching a couple of baby birds learn to fly. Each dancer deals with his or her own internal demons before that intimacy can be attainted, which looks something like struggling to get out of an invisible straight jacket or being attacked by biting flies! This struggle is intertwined with moments of almost absurd tenderness. At one point, Marit rubs the back of her head all over Filipe’s body, and the gesture is innocent, vulnerable, the look on her face is both bewildered and determined.\u003c/p>\n\u003cp>During one of the final dances, each motion seemed interlocked so seamlessly to the next that it felt light, conveying a rising sense of euphoria. I could hear Billie Holliday’s version of “You Go to My Head” in the dancers’ feet — “and I find you spinning round in my brain, like the bubbles in a glass of champagne…” The dance got so giddy, it was like watching the physical expression of a playful mind.\u003c/p>\n\u003cp>The final video image could have been interpreted as the light at the end of life — the one you’re not supposed to go into unless you are ready to “pass on.” Or it could just as easily have been seen as the view directly into an empty film projector. It could be read as a blank, as possibility. Perhaps what Joe Goode was saying is that in \u003cb>Humansville\u003c/b>, you create your own box and live your life inside its boundaries until you realize that it’s just a construct. And how do you get out? You just push.\u003c/p>\n\u003cp>At the end of \u003cb>Willy Wonka and the Chocolate Factory\u003c/b>, the great glass elevator has smashed through the roof and is flying over the village. Wonka leans in and asks, “What happened to the boy who got everything he ever wanted?” The answer is “he lived happily ever after.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Humansville\u003c/b> runs through June 9, 2007 at Yerba Buena Center for the Arts. \u003ca href=\"http://www.ybca.org/tickets/\" target=\"offsite\" rel=\"noopener\">Get tickets and information.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next door is a plush room lined with red velvet, high up in the back wall is a dark window from which Patricia West recounts her latest disappointment. Is she the part of the mind that chatters on endlessly about the myriad mundane frustrations of everyday life?\u003c/p>\n\u003cp>In the third room, Jessica Swanson, a willful fifties princess in puffy skirt and beehive hairdo talks on the phone with her dreamy boyfriend, telling him the details of the paper she is writing on Pocahontas. Her gestures — surprise, flirtation and mock fear — are classic Joe Goode, who often works in a physical “vernacular,” building up a dictionary of everyday gestures from which he constructs his dances. But then the moon comes up and our fifties princess looks at first like she is pushing it into the sky, and then seems to be struggling to hang onto it as it rises. When she returns later on in the piece, disheveled, definitely worse for wear, she made me think about how stubborn the idea of American inevitability has become — and how tired.\u003c/p>\n\u003cp>If you walk through the hallway first thing, like I did, you might be startled when you peek into the various compartments. You may come face to face with Melecio Estrella, who locked his intense gaze onto me and fiercely stared me down.\u003c/p>\n\u003cp>The other side of the set is unfinished. It is full of potential. You can project anything onto it. Felipe Barrueto-Cabello and Marit Brook-Kothlow, two of Joe’s veteran dancers, sit there under a projection of the fifties princess, who beckons us to come closer and to touch her. A brief story in words is projected about someone named “Itchy” who has no answers. I wondered if Itchy was Joe…\u003c/p>\n\u003cp>Let’s face it. The Joe Goode Performance Group is made up of some of the most attractive people you will ever see on stage. They perform with surprisingly little ego. Even though the dancers bring tremendous power to the movement, they make it look effortless. And costume designer Wendy Sparks knows just how to dress them — in costumes that look like the coolest street clothes imaginable. The set is genius. Austin Forbord’s videos are perfection. Meanwhile Kronos Quartet veteran Joan Jeanrenaud plays cello on a rolling cart that is pushed around the room. An embarrassment of riches. The stage is set and then…\u003c/p>\n\u003cp>Here is the question that I left the performance thinking, a paraphrase of something repeated throughout the show, “How did you get out of your cell, Joe Goode? Did you just push?” Joe’s humor is subtle and good-natured. Seeing his work is like being cajoled to witness the gentler side of the human experience by a wise uncle who comes to visit once a year, bringing campfire stories and insights about the follies and foibles of humanity. Joe Goode performances are always full of surprise, but \u003cb>Humansville\u003c/b> was TRANSCENDANT.\u003c/p>\n\u003cp>The movement in the second half of the performance really took flight. Watching a duet between Filipe and Marit, which seemed to symbolize the struggle toward relationship, toward intimacy, was like watching a couple of baby birds learn to fly. Each dancer deals with his or her own internal demons before that intimacy can be attainted, which looks something like struggling to get out of an invisible straight jacket or being attacked by biting flies! This struggle is intertwined with moments of almost absurd tenderness. At one point, Marit rubs the back of her head all over Filipe’s body, and the gesture is innocent, vulnerable, the look on her face is both bewildered and determined.\u003c/p>\n\u003cp>During one of the final dances, each motion seemed interlocked so seamlessly to the next that it felt light, conveying a rising sense of euphoria. I could hear Billie Holliday’s version of “You Go to My Head” in the dancers’ feet — “and I find you spinning round in my brain, like the bubbles in a glass of champagne…” The dance got so giddy, it was like watching the physical expression of a playful mind.\u003c/p>\n\u003cp>The final video image could have been interpreted as the light at the end of life — the one you’re not supposed to go into unless you are ready to “pass on.” Or it could just as easily have been seen as the view directly into an empty film projector. It could be read as a blank, as possibility. Perhaps what Joe Goode was saying is that in \u003cb>Humansville\u003c/b>, you create your own box and live your life inside its boundaries until you realize that it’s just a construct. And how do you get out? You just push.\u003c/p>\n\u003cp>At the end of \u003cb>Willy Wonka and the Chocolate Factory\u003c/b>, the great glass elevator has smashed through the roof and is flying over the village. Wonka leans in and asks, “What happened to the boy who got everything he ever wanted?” The answer is “he lived happily ever after.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Humansville\u003c/b> runs through June 9, 2007 at Yerba Buena Center for the Arts. \u003ca href=\"http://www.ybca.org/tickets/\" target=\"offsite\" rel=\"noopener\">Get tickets and information.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Would you overthrow your government? If not, why not?” Spoken quite matter-of-factly on the Yerba Buena Center stage, the question hangs in the air for a moment, as we all consider what it would mean.\u003c/p>\n\u003cp>In perhaps his most provocative work to date, David Dorfman turns a none-too-oblique gaze at contemporary apathy in \u003cb>underground\u003c/b>, a multi-textured work that had its Bay Area premiere on September 21. His examination of activism and terrorism comes wrapped in a reminiscence of the “Days of Rage,” when the ’60s militant group, The Weathermen — a splinter of the leftist Students for a Democratic Society — waged a guerilla war against the U.S. government in protest of the Vietnam War. Bombings, riots — they even busted Timothy Leary out of jail and got him to Algeria — and yet, as revolutions go, the Weathermen’s efforts to shake Americans from complacency through violence brought home to our doorsteps largely fizzled.\u003c/p>\n\u003cp>Is the revolution over? Many of the Weathermen, now in their 60s, have long since turned themselves in and are now holding down middle class jobs. One of its leaders, Bill Ayers, is currently a professor at the University of Illinois at Chicago and it was one of those eerie coincidences of life that the \u003ci>New York Times\u003c/i> happened to run an interview with Ayers about his memoir \u003cb>Fugitive Days\u003c/b> on September 11, 2001. In it, Ayers quotes from the great Irish poet, Seamus Heaney: “Human beings suffer,/ They torture one another./ They get hurt and get hard./History says, Don’t hope /On this side of the grave. /But then, once in a lifetime /The longed-for tidal wave /Of justice can rise up /And hope and history rhyme.”\u003c/p>\n\u003cp>Dorfman doesn’t cite Ayers specifically and yet, he is present, perhaps in the person of Dorfman himself, who was already onstage as the audience walked into the Center for the Arts. Against Cameron Anderson’s projection of a blood-hued brick wall, it’s hard not to see the lonely solo as the aging professor reviewing, perhaps longing for, the passion of his terrorist years. In loose-fitting street clothes, Dorfman curls, charges, backs away and hurls imaginary …epithets? Rocks? Grenades?\u003c/p>\n\u003cp>The loose, grounded style, the chaotic flinging perfectly suits both Dorfman’s talented troupe of dancers and the theme at hand. Everywhere you look there are bodies flying through space. He places motifs into a new context. An extended yoga pose (aptly enough, a variation on the Warrior pose), adds a raised fist, à la Black Power, or Che Guevara’s “Smash Capital Now.” Stark oblongs of light emerge on the stage like open graves, and the dancers fall into them willingly. A riot of projections — film clips and moving figures — flash onto the backdrop as the dance evolves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dorfman’s company has a talent for manifesting the essence of an idea physically. Jennifer Nugent’s assessment of her frustrations run from a raging screech that echoes in retching convulsions throughout her body, to a protracted whimper that sucks her into a contracted, balled up tantrum. It’s an instantly recognizable embodiment of the same responses that perhaps you or I might feel, say, while watching a presidential press conference.\u003c/p>\n\u003cp>In the midst of all this, Karl Rogers conducts an exercise, which, he and Dorfman later noted, was derived out of diversity trainings and seminars. Rogers asks a question and the dancers jeté forward or backwards presumably signifying a “yes” or a “no.” The questions can be benign, (“Do birds make you happy?” “Are you prone to forgiveness?”), or provocative (“Does what you do make a difference?” “Is your country worth killing for?” “Can we live without war?”). We are watching an informal poll of the personal leanings of each dancer, but these questions are a gauge, not for them but for us. In a later round of questions, tidal waves of dancers ebb and flow in visually arresting masses, before walking away wordlessly from the fight. Hope and history are apparently not rhyming nowadays.\u003c/p>\n\u003cp>Although underground is ultimately as much nostalgia as manifesto, Dorfman clearly feels a certain affinity for the passion of the Weathermen, and the ending of the piece leans toward the programmatic. Three of the dancers discover a “relic” — an activist (Joseph Poulson) frozen into inaction. The dancers chat amongst themselves — can they get him going again? Can they get him to DO something? They propel Paulson forward into stumbling action, and as one by one the group enlarges they all assist in getting Poulson moving again. It’s a piece of sentimentality that is at odds with the carefully crafted understatement of the rest of the piece.\u003c/p>\n\u003cp>I prefer to come back to Dorfman’s opening solos, the image of the lonely aging activist. Is he a relic of the past viewed through a rose-colored lens, or just a guy left behind when radicalism moved on? In a letter to the \u003ci>Times\u003c/i> five days after the September 11 attacks, Ayers notes that his story “is now receiving attention in a radically changed context.” Five years on, it seems we’re still working out the parameters of that context.\u003c/p>\n\u003cp>Still, if the audience goes out of the theater asking themselves questions, Dorfman’s work is done. Does what you do make a difference? Jeté your response forward or backward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>underground\u003c/b> was performed September 21-24, 2006 at the Yerba Buena Center for the Arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorfman’s company has a talent for manifesting the essence of an idea physically. Jennifer Nugent’s assessment of her frustrations run from a raging screech that echoes in retching convulsions throughout her body, to a protracted whimper that sucks her into a contracted, balled up tantrum. It’s an instantly recognizable embodiment of the same responses that perhaps you or I might feel, say, while watching a presidential press conference.\u003c/p>\n\u003cp>In the midst of all this, Karl Rogers conducts an exercise, which, he and Dorfman later noted, was derived out of diversity trainings and seminars. Rogers asks a question and the dancers jeté forward or backwards presumably signifying a “yes” or a “no.” The questions can be benign, (“Do birds make you happy?” “Are you prone to forgiveness?”), or provocative (“Does what you do make a difference?” “Is your country worth killing for?” “Can we live without war?”). We are watching an informal poll of the personal leanings of each dancer, but these questions are a gauge, not for them but for us. In a later round of questions, tidal waves of dancers ebb and flow in visually arresting masses, before walking away wordlessly from the fight. Hope and history are apparently not rhyming nowadays.\u003c/p>\n\u003cp>Although underground is ultimately as much nostalgia as manifesto, Dorfman clearly feels a certain affinity for the passion of the Weathermen, and the ending of the piece leans toward the programmatic. Three of the dancers discover a “relic” — an activist (Joseph Poulson) frozen into inaction. The dancers chat amongst themselves — can they get him going again? Can they get him to DO something? They propel Paulson forward into stumbling action, and as one by one the group enlarges they all assist in getting Poulson moving again. It’s a piece of sentimentality that is at odds with the carefully crafted understatement of the rest of the piece.\u003c/p>\n\u003cp>I prefer to come back to Dorfman’s opening solos, the image of the lonely aging activist. Is he a relic of the past viewed through a rose-colored lens, or just a guy left behind when radicalism moved on? In a letter to the \u003ci>Times\u003c/i> five days after the September 11 attacks, Ayers notes that his story “is now receiving attention in a radically changed context.” Five years on, it seems we’re still working out the parameters of that context.\u003c/p>\n\u003cp>Still, if the audience goes out of the theater asking themselves questions, Dorfman’s work is done. Does what you do make a difference? Jeté your response forward or backward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>underground\u003c/b> was performed September 21-24, 2006 at the Yerba Buena Center for the Arts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On bright sunny afternoons, the Yerba Buena Gardens looks like the storybook picture of an urban oasis, with the waterfall rolling down on one side, sunbathers dotting the sloping hills and kids playing soccer on the green lawn. Perhaps it’s not the most ideal setting for a dance performance. It’s true that low flying pigeons don’t usually buzz the audience in the nearby Center for the Arts Theater, nor is the music usually obscured by a passing Harley. But there’s something pleasantly escapist about slipping out for lunch hour and seeing a free show, and when the show turns out to be well-conceived and satisfying, well, you feel as though you’ve gotten away with something.\u003c/p>\n\u003cp>\u003cb>The Yerba Buena Gardens Festival\u003c/b> puts on free midday concerts and events through October, and this year for a week in August, the festival turned its focus on local choreographers and dancers, culminating in an hour-long program brought together by curator Brechin Flournoy and directed by Laura Elaine Ellis. Festivals that put their artists in a lineup and send them out one after the other are a dime a dozen, but for the \u003cb>Choreofest\u003c/b> program Ellis eschewed such usual conventions and created instead a performance that blended and overlapped performers in a cohesive and engaging way. Just big enough to suit the outdoor expanse, and yet intimate enough to suit the eclectic style of the artists.\u003c/p>\n\u003cp>Some of the work has been performed before in other contexts, and intermingling the segments was a risky choice. With a line-up of as different as beatboxer Elaine Chao, poet Marc Bamuthi Joseph, choreographer and dancer Sue Li Jue and hip hop group New Style Motherlode, it could have come off as a disjointed mishmash. But Ellis, who also directs the \u003cb>Black Choreographers Festival\u003c/b>, puts the pieces together with a canny ear to form a mosaic of experiences that maintain a thread of continuity and commonality. Rhythms from Chao’s chill beatboxing style (she mimics everything from cruising in a low rider to playing basketball) merge into the rhythm of Bamuthi Joseph’s words, and Joseph’s final lines of poetry pick up the lyrics of the New Style Motherlode number. Sue Li-Jue’s political understatement and Joseph’s outspoken choreo-poetic style moved us seamlessly from the political to the personal and back again.\u003c/p>\n\u003cp>In the end, the most seductive element of the show was the informality of the gardens, which seemed to give the performers license to move off the stage and get a little closer to the audience. Chao began the show up on the stage with a mike and stomp box, but it wasn’t long before she joined Joseph who came from somewhere amidst the audience. Meanwhile, the dancers of New Style, in saucy, Prohibition era outfits, lounged comfortably on a picnic blanket on the grass with a large dark parasol, before strutting and posing their way to the front on their way in a skittish dance that could be set in the foxy little dress era of the Cotton Club or at Milk on Haight. They worked their way all the way around the group of seats to the waterfall, stopping strolling couples on the path that snakes around the gardens before heading back to the blankets — that’s one way to stop people in their tracks.\u003c/p>\n\u003cp>Actually, for that matter, it felt like any of us could have gotten up to dance along with them — indeed, some of the kids moved right up to the front and were practically underfoot, until an overzealous security guard shooed them back to the blankets. By the end of the show, though, all the performers went out to lure assorted audience members into shimmying up at the front — when you gotta dance, you gotta dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>ChoreoFest ran August 20-26, 2006 at Yerba Buena Gardens in San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On bright sunny afternoons, the Yerba Buena Gardens looks like the storybook picture of an urban oasis, with the waterfall rolling down on one side, sunbathers dotting the sloping hills and kids playing soccer on the green lawn. Perhaps it’s not the most ideal setting for a dance performance. It’s true that low flying pigeons don’t usually buzz the audience in the nearby Center for the Arts Theater, nor is the music usually obscured by a passing Harley. But there’s something pleasantly escapist about slipping out for lunch hour and seeing a free show, and when the show turns out to be well-conceived and satisfying, well, you feel as though you’ve gotten away with something.\u003c/p>\n\u003cp>\u003cb>The Yerba Buena Gardens Festival\u003c/b> puts on free midday concerts and events through October, and this year for a week in August, the festival turned its focus on local choreographers and dancers, culminating in an hour-long program brought together by curator Brechin Flournoy and directed by Laura Elaine Ellis. Festivals that put their artists in a lineup and send them out one after the other are a dime a dozen, but for the \u003cb>Choreofest\u003c/b> program Ellis eschewed such usual conventions and created instead a performance that blended and overlapped performers in a cohesive and engaging way. Just big enough to suit the outdoor expanse, and yet intimate enough to suit the eclectic style of the artists.\u003c/p>\n\u003cp>Some of the work has been performed before in other contexts, and intermingling the segments was a risky choice. With a line-up of as different as beatboxer Elaine Chao, poet Marc Bamuthi Joseph, choreographer and dancer Sue Li Jue and hip hop group New Style Motherlode, it could have come off as a disjointed mishmash. But Ellis, who also directs the \u003cb>Black Choreographers Festival\u003c/b>, puts the pieces together with a canny ear to form a mosaic of experiences that maintain a thread of continuity and commonality. Rhythms from Chao’s chill beatboxing style (she mimics everything from cruising in a low rider to playing basketball) merge into the rhythm of Bamuthi Joseph’s words, and Joseph’s final lines of poetry pick up the lyrics of the New Style Motherlode number. Sue Li-Jue’s political understatement and Joseph’s outspoken choreo-poetic style moved us seamlessly from the political to the personal and back again.\u003c/p>\n\u003cp>In the end, the most seductive element of the show was the informality of the gardens, which seemed to give the performers license to move off the stage and get a little closer to the audience. Chao began the show up on the stage with a mike and stomp box, but it wasn’t long before she joined Joseph who came from somewhere amidst the audience. Meanwhile, the dancers of New Style, in saucy, Prohibition era outfits, lounged comfortably on a picnic blanket on the grass with a large dark parasol, before strutting and posing their way to the front on their way in a skittish dance that could be set in the foxy little dress era of the Cotton Club or at Milk on Haight. They worked their way all the way around the group of seats to the waterfall, stopping strolling couples on the path that snakes around the gardens before heading back to the blankets — that’s one way to stop people in their tracks.\u003c/p>\n\u003cp>Actually, for that matter, it felt like any of us could have gotten up to dance along with them — indeed, some of the kids moved right up to the front and were practically underfoot, until an overzealous security guard shooed them back to the blankets. By the end of the show, though, all the performers went out to lure assorted audience members into shimmying up at the front — when you gotta dance, you gotta dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>ChoreoFest ran August 20-26, 2006 at Yerba Buena Gardens in San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hello, my name is Alison and I am a musical theater geek. You wouldn’t know it from looking at me. I won’t go so far as to say I am closeted, because I have recently come clean about this, and have even gone so far as to admit (and even brag) that I am writing a full-length Broadway musical. It will probably take me about ten years to finish it, but it will happen. In the meantime, I am happy to embrace and express my inner M.T.G., and to mourn the lost years where I buried this passion under layers of cool ass rock n’ roll.\u003c/p>\n\u003cp>I spent most of my childhood and early adolescence performing in musicals and plays, and the absolute happiest moments of my life were play rehearsals. Even more than the performances, I loved being at rehearsal. It was a special, insulated place where my talents were recognized, my friends were all around me, and most of all — I belonged. In the outside world, and at school, I was too smart, too Jewish, had a big butt, had divorced parents, was an only child, preferred listening to records to playing with other kids. But at play rehearsal I was part of an elite group of people who were working on something important, learning lines, singing, dancing, blocking scenes, all those cool fun things that I loved more than anything in the world. We would start after school, and work into the evening, when it would feel incredibly romantic and glamorous to be toiling so late into the night. In reality it was probably only six o’clock, but it sure felt exciting.\u003c/p>\n\u003cp>At some point, that all changed. It’s sad to think about, but there were several factors that turned me away from musical theater. I honestly saw theater as my career path, my calling, and my lot in life. But then the musical theater director left our high school, and I discovered smoking pot and punk rock. I continued to act in plays and even went to NYU theater school for my freshman year of college, but at some point I decided that theater was clearly for the uncool, self-absorbed actorly types, and I just wanted to play in rock bands. My attitude won the fight, and that was that — I switched majors, started a band and never looked back.\u003c/p>\n\u003cp>But during those lovely years when I was all-singing-all-dancing-all-the-time, I had the good fortune of seeing some original musicals on Broadway during their initial runs. \u003cb>Godspell\u003c/b>, \u003cb>Annie\u003c/b>, \u003cb>The Wiz\u003c/b>, and best of all — \u003cb>A Chorus Line\u003c/b>. I had never experienced anything like it. Even at ten years old, \u003cb>A Chorus Line\u003c/b> spoke to my soul. I probably didn’t understand most of the dirty jokes, and some of the more sophisticated ideas may have floated right over my head, but I sure got what that play was about. It was about loving everything about performing, and never being able to let go of it.\u003c/p>\n\u003cp>The current production of \u003cb>A Chorus Line\u003c/b> playing here in San Francisco is about to open on Broadway, and it brings back all the passion and beauty and pathos of the original, without modernizing a single word. For those uninitiated, \u003cb>A Chorus Line\u003c/b> takes place at the audition for a Broadway show. The actors stand in a line and answer questions about themselves asked by a director who sits in front of the stage. Their personal revelations turn into universal truths, and ultimately fantastic songs. Sure, the cultural references are outdated, and the musical arrangement is ’70s cheeseball Broadway (written by Marvin Hamlisch, for chrissakes!), but somehow the show has remained an absolute marvel, a true masterpiece of its kind. And oh, those songs. The second Sheila started singing “At the Ballet,” I had to nudge my mom (my date for the evening) for a tissue so I could bawl my eyes out. My favorite song, sung by the character I always wanted to play but never got the chance, Diana Morales, is called “Nothing.” For anyone who has ever been to acting school, this song hits the nail right on the self-indulgent head. Diana describes her first week at the High School for the Performing Arts, where her acting teacher is trying to get the students to work with sense memory. Diana cannot connect, and feels frustrated and unworthy:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Okay… we’re going to do improvisations.\u003cbr>Now, you’re on a bobsled. It’s snowing out.\u003cbr>And it’s cold…Okay…GO!”\u003c/p>\n\u003cp>Ev’ry day for a week we would try to\u003cbr>Feel the motion, feel the motion\u003cbr>Down the hill.\u003c/p>\n\u003cp>Ev’ry day for a week we would try to\u003cbr>Hear the wind rush, hear the wind rush,\u003cbr>Feel the chill.\u003c/p>\n\u003cp>And I dug right down to the bottom of my soul\u003cbr>To see what I had inside.\u003cbr>Yes, I dug right down to the bottom of my soul\u003cbr>And I tried, I tried.\u003c/p>\n\u003cp>And everybody’s goin’ “Whooooosh, whooooosh …\u003cbr>I feel the snow… I feel the cold… I feel the air.”\u003cbr>And Mr. Karp turns to me and he says,\u003cbr>“Okay, Morales. What did you feel?”\u003c/p>\n\u003cp>And I said…”Nothing,\u003cbr>I’m feeling nothing,”\u003cbr>And he says “Nothing could get a girl transferred.”\u003c/p>\n\u003cp>They all felt something,\u003cbr>But I felt nothing\u003cbr>Except the feeling\u003cbr>That this bullshit was absurd!\u003c/p>\n\u003cp>Well, this cast is worthy, and they handle the material with great flair and exuberance. The current choreographer played the part of Connie in the original Broadway cast, which brings a nice continuity to the affair.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I have seen so many musicals over the past ten or twenty years, and most of them suck, I must say. In this age of hackneyed shows wrung from the greatest hits of ABBA or Queen, there is nothing that compares to an original piece of work, a story spun from the hearts and souls of the people who created it, with songs that were written to propel the emotional highs into the stratosphere, and convey the essence of the characters’ inner lives. That doesn’t seem too much to ask from a show. At least it’s what I’m going to try to do with my musical, if I ever get it done. Although I have continued performing in bands (and some theater) all these years and have never stopped working as an artist, I am continually awed by beauty of this magnitude — voices singing together, feet dancing together, people expressing in song what they cannot say in words. So I shall sing to the rafters: I am a musical theater geek, and proud of it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hello, my name is Alison and I am a musical theater geek. You wouldn’t know it from looking at me. I won’t go so far as to say I am closeted, because I have recently come clean about this, and have even gone so far as to admit (and even brag) that I am writing a full-length Broadway musical. It will probably take me about ten years to finish it, but it will happen. In the meantime, I am happy to embrace and express my inner M.T.G., and to mourn the lost years where I buried this passion under layers of cool ass rock n’ roll.\u003c/p>\n\u003cp>I spent most of my childhood and early adolescence performing in musicals and plays, and the absolute happiest moments of my life were play rehearsals. Even more than the performances, I loved being at rehearsal. It was a special, insulated place where my talents were recognized, my friends were all around me, and most of all — I belonged. In the outside world, and at school, I was too smart, too Jewish, had a big butt, had divorced parents, was an only child, preferred listening to records to playing with other kids. But at play rehearsal I was part of an elite group of people who were working on something important, learning lines, singing, dancing, blocking scenes, all those cool fun things that I loved more than anything in the world. We would start after school, and work into the evening, when it would feel incredibly romantic and glamorous to be toiling so late into the night. In reality it was probably only six o’clock, but it sure felt exciting.\u003c/p>\n\u003cp>At some point, that all changed. It’s sad to think about, but there were several factors that turned me away from musical theater. I honestly saw theater as my career path, my calling, and my lot in life. But then the musical theater director left our high school, and I discovered smoking pot and punk rock. I continued to act in plays and even went to NYU theater school for my freshman year of college, but at some point I decided that theater was clearly for the uncool, self-absorbed actorly types, and I just wanted to play in rock bands. My attitude won the fight, and that was that — I switched majors, started a band and never looked back.\u003c/p>\n\u003cp>But during those lovely years when I was all-singing-all-dancing-all-the-time, I had the good fortune of seeing some original musicals on Broadway during their initial runs. \u003cb>Godspell\u003c/b>, \u003cb>Annie\u003c/b>, \u003cb>The Wiz\u003c/b>, and best of all — \u003cb>A Chorus Line\u003c/b>. I had never experienced anything like it. Even at ten years old, \u003cb>A Chorus Line\u003c/b> spoke to my soul. I probably didn’t understand most of the dirty jokes, and some of the more sophisticated ideas may have floated right over my head, but I sure got what that play was about. It was about loving everything about performing, and never being able to let go of it.\u003c/p>\n\u003cp>The current production of \u003cb>A Chorus Line\u003c/b> playing here in San Francisco is about to open on Broadway, and it brings back all the passion and beauty and pathos of the original, without modernizing a single word. For those uninitiated, \u003cb>A Chorus Line\u003c/b> takes place at the audition for a Broadway show. The actors stand in a line and answer questions about themselves asked by a director who sits in front of the stage. Their personal revelations turn into universal truths, and ultimately fantastic songs. Sure, the cultural references are outdated, and the musical arrangement is ’70s cheeseball Broadway (written by Marvin Hamlisch, for chrissakes!), but somehow the show has remained an absolute marvel, a true masterpiece of its kind. And oh, those songs. The second Sheila started singing “At the Ballet,” I had to nudge my mom (my date for the evening) for a tissue so I could bawl my eyes out. My favorite song, sung by the character I always wanted to play but never got the chance, Diana Morales, is called “Nothing.” For anyone who has ever been to acting school, this song hits the nail right on the self-indulgent head. Diana describes her first week at the High School for the Performing Arts, where her acting teacher is trying to get the students to work with sense memory. Diana cannot connect, and feels frustrated and unworthy:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Okay… we’re going to do improvisations.\u003cbr>Now, you’re on a bobsled. It’s snowing out.\u003cbr>And it’s cold…Okay…GO!”\u003c/p>\n\u003cp>Ev’ry day for a week we would try to\u003cbr>Feel the motion, feel the motion\u003cbr>Down the hill.\u003c/p>\n\u003cp>Ev’ry day for a week we would try to\u003cbr>Hear the wind rush, hear the wind rush,\u003cbr>Feel the chill.\u003c/p>\n\u003cp>And I dug right down to the bottom of my soul\u003cbr>To see what I had inside.\u003cbr>Yes, I dug right down to the bottom of my soul\u003cbr>And I tried, I tried.\u003c/p>\n\u003cp>And everybody’s goin’ “Whooooosh, whooooosh …\u003cbr>I feel the snow… I feel the cold… I feel the air.”\u003cbr>And Mr. Karp turns to me and he says,\u003cbr>“Okay, Morales. What did you feel?”\u003c/p>\n\u003cp>And I said…”Nothing,\u003cbr>I’m feeling nothing,”\u003cbr>And he says “Nothing could get a girl transferred.”\u003c/p>\n\u003cp>They all felt something,\u003cbr>But I felt nothing\u003cbr>Except the feeling\u003cbr>That this bullshit was absurd!\u003c/p>\n\u003cp>Well, this cast is worthy, and they handle the material with great flair and exuberance. The current choreographer played the part of Connie in the original Broadway cast, which brings a nice continuity to the affair.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There are those who think of San Francisco’s four week, eight program \u003cb>West Wave Dance Festival\u003c/b> as a marathon, but I prefer to consider it an investment in the future. It’s true that with works by 48 different choreographers — and not all of it good — it can seem like a bit of a slog. And I must confess that amongst the 24 that I saw at the Project Artaud Theatre, the dances ranged from seriously absorbing, to “Are you kidding me?” Still, West Wave’s summer festival represents a bargain of a chance to sample a broad variety. If you tried to see all these dance-makers in their individual shows during the year you’d have — well, you’d have a fulltime job as a dance critic.\u003c/p>\n\u003cp>In this year’s lineup, many of the choreographers were new-ish to the San Francisco scene — many of them look fresh out of college, and so do their dances. (I hope they still teach form and structure of choreography in school — it wasn’t always apparent.) But the festival also intersperses works — often in progress — from more experienced hands, and hopefully the opportunity to cross-pollinate and watch other work will be an education in and of itself.\u003c/p>\n\u003cp>On one of the hottest days in recent memory, Program 6 opened with one of the stronger pieces of the festival, Brittany Brown Ceres’s intriguing \u003cb>Simultaneous Solos\u003c/b>. Although the title implied abstraction, the dance for five women performing movement phrases seen from different angles — called to mind a forward motion, like mechanized cogs in the machine or train wheels on the start of a journey. The carefully considered arrangements were highly organic, and just unbalanced enough to give the piece a drive that kept me on the edge of my seat.\u003c/p>\n\u003cp>The rest of the program was, unfortunately, hit and miss. Alma Esperanza Cunningham’s absurd \u003cb>Parade\u003c/b> found a be-tutued Ashley Taylor swanning about to the music of John Philip Sousa. There was obviously some humor meant to be implied, but it missed the mark. Striking funny poses on the count isn’t in itself inherently funny. And in Cunningham’s \u003cb>More\u003c/b>, which followed, the pair of dancers moving vaguely about on a non-specific wide-eyed quest, reminded me of nothing so much as the two aliens in the recent dairy TV ad looking for a magic wonder tonic.\u003c/p>\n\u003cp>Kerry Mehling, whose hilarious \u003cb>Just a Little One\u003c/b> was one of the more impressive entries early in the festival, made a strong soloist in Deborah Slater’s \u003cb>Without Time, Without Place\u003c/b>. Mehling, who danced with Ririe-Woodbury Dance Company, has a beautiful way of elongating her movement, and her dancing lent an exacting tension to a prop-heavy exercise. Unfortunately \u003cb>Without Time, Without Place\u003c/b>, like many of the festival entries, was a little overlong, only emphasizing that it took a lot of time, in a very hot place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SHIFT>>>Physical Theater’s Manuelito Biag and Michelle Price performed an excerpt from \u003cb>The Shape of Poison\u003c/b>. SHIFT usually delivers brainy theater with their dance, and this piece, I presume still in its formative stage, has some promise. Nevertheless, Jess Rowland’s raucous sawing on a mandolin was thoroughly distracting. Rowland took forever to set up in the corner of the stage, and get her mandolin hooked up to a little black stomp box, designed to distort and echo the sounds made by her instrument. Stomp boxes, or effects pedals as they are sometimes called, are a fascinating thing. They have names like “Fuzzbox,” “Big Muff,” “Tube Screamer,” and “Truly Beautiful Disaster,” which, coincidentally, sums up my reaction to \u003cb>Poison\u003c/b>.\u003c/p>\n\u003cp>So it was with narrowed eyes that I watched trumpet player and composer Darren Johnston drag out that danged stomp box again for Amy Seiwert’s \u003cb>Tonic\u003c/b>. Ordinarily I’m a big fan of Smuin Ballet’s Seiwert. Her specialty is soundly constructed dances that include complex composition of steps and partnering work in the vein of the contemporary European choreographers. But this time around, I found her \u003cb>Tonic\u003c/b> somewhat disappointing. The structure was there, for the three couples — made up of Seiwert, Phaedra Jarrett, Tricia Sundbeck, with Joseph Copley, Carlos Ventura and Ben Wardell in attractively peek-a-boo black mesh unitards — but this time, I found the twisting contortions, the reaching in and out of balance points more like just a movement investigation, rather than a fully formed piece. It’s time, I think, for Seiwert’s next stage of growth as a choreographer to begin.\u003c/p>\n\u003cp>The next week’s programs boasted works from AXIS Dance Company, Heidi Schweiker, LEVYDance, Alex Ketley, Kate Weare and Janice Garrett, as well as pleasing pieces from Viktor Kabaniaev and Lisa Townsend. But I think what I’ll remember most is the adverse reaction I had to the music, or lack thereof. Really, I blame John Cage for all of this. Not for the plinks and plonks of contemporary sound design, but for making me hyper-sensitive to my surroundings in the theater—creaky chairs, the guy cracking his knuckles behind me, the people leaving, and not quietly.\u003c/p>\n\u003cp>There’s a category of dance that in my mind is called “heavy-deep-and-real” and if it’s not accompanied by Joni Mitchell, it’s sure to have a score composed largely of annoying sounds. Choreographers, I beg of you, think about the musical choices. Sure that score sounded cool when you first heard it, very edgy, very experimental, creepy, moody, screaming avant-garde, literally. But take note when you plan your piece, please, please, think of how irritated an audience member might be after two hours of edgy experimental creepy moody screaming music.\u003c/p>\n\u003cp>Benjamin Levy’s \u003cb>Violent Momentum\u003c/b> — a theatrical slog danced by the fearless quartet of Brooke Gessay, Christopher Hojin Lee, Scott Marlowe and Lauren Slater, all fine dancers — was very heavy, deep and real. The dancers push and shove like they mean it, but I’m again distracted by the gallery of annoying sounds that framed this quite serious piece. A rasping door hinge, dog whistles, a prolonged belch, a loose bow being drawn over ill-tuned violin strings a la Jack Benny? But wait, something is happening onstage — is she spanking him?\u003c/p>\n\u003cp>By the time Janice Garrett’s polished \u003cb>Archimedes Revenge\u003c/b> took the stage, even the repetitive minimalism of Michael Thomas’s score came as an utter relief. Garrett has gathered an exuberant group of dancers and their buoyant bacchanal was like a balm to my overtaxed forebrain.\u003c/p>\n\u003cp>Ah, music. Thank you, Janice Garrett.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>West Wave Dance Festival\u003c/b> ran July 11 – July 24, 2006.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are those who think of San Francisco’s four week, eight program \u003cb>West Wave Dance Festival\u003c/b> as a marathon, but I prefer to consider it an investment in the future. It’s true that with works by 48 different choreographers — and not all of it good — it can seem like a bit of a slog. And I must confess that amongst the 24 that I saw at the Project Artaud Theatre, the dances ranged from seriously absorbing, to “Are you kidding me?” Still, West Wave’s summer festival represents a bargain of a chance to sample a broad variety. If you tried to see all these dance-makers in their individual shows during the year you’d have — well, you’d have a fulltime job as a dance critic.\u003c/p>\n\u003cp>In this year’s lineup, many of the choreographers were new-ish to the San Francisco scene — many of them look fresh out of college, and so do their dances. (I hope they still teach form and structure of choreography in school — it wasn’t always apparent.) But the festival also intersperses works — often in progress — from more experienced hands, and hopefully the opportunity to cross-pollinate and watch other work will be an education in and of itself.\u003c/p>\n\u003cp>On one of the hottest days in recent memory, Program 6 opened with one of the stronger pieces of the festival, Brittany Brown Ceres’s intriguing \u003cb>Simultaneous Solos\u003c/b>. Although the title implied abstraction, the dance for five women performing movement phrases seen from different angles — called to mind a forward motion, like mechanized cogs in the machine or train wheels on the start of a journey. The carefully considered arrangements were highly organic, and just unbalanced enough to give the piece a drive that kept me on the edge of my seat.\u003c/p>\n\u003cp>The rest of the program was, unfortunately, hit and miss. Alma Esperanza Cunningham’s absurd \u003cb>Parade\u003c/b> found a be-tutued Ashley Taylor swanning about to the music of John Philip Sousa. There was obviously some humor meant to be implied, but it missed the mark. Striking funny poses on the count isn’t in itself inherently funny. And in Cunningham’s \u003cb>More\u003c/b>, which followed, the pair of dancers moving vaguely about on a non-specific wide-eyed quest, reminded me of nothing so much as the two aliens in the recent dairy TV ad looking for a magic wonder tonic.\u003c/p>\n\u003cp>Kerry Mehling, whose hilarious \u003cb>Just a Little One\u003c/b> was one of the more impressive entries early in the festival, made a strong soloist in Deborah Slater’s \u003cb>Without Time, Without Place\u003c/b>. Mehling, who danced with Ririe-Woodbury Dance Company, has a beautiful way of elongating her movement, and her dancing lent an exacting tension to a prop-heavy exercise. Unfortunately \u003cb>Without Time, Without Place\u003c/b>, like many of the festival entries, was a little overlong, only emphasizing that it took a lot of time, in a very hot place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SHIFT>>>Physical Theater’s Manuelito Biag and Michelle Price performed an excerpt from \u003cb>The Shape of Poison\u003c/b>. SHIFT usually delivers brainy theater with their dance, and this piece, I presume still in its formative stage, has some promise. Nevertheless, Jess Rowland’s raucous sawing on a mandolin was thoroughly distracting. Rowland took forever to set up in the corner of the stage, and get her mandolin hooked up to a little black stomp box, designed to distort and echo the sounds made by her instrument. Stomp boxes, or effects pedals as they are sometimes called, are a fascinating thing. They have names like “Fuzzbox,” “Big Muff,” “Tube Screamer,” and “Truly Beautiful Disaster,” which, coincidentally, sums up my reaction to \u003cb>Poison\u003c/b>.\u003c/p>\n\u003cp>So it was with narrowed eyes that I watched trumpet player and composer Darren Johnston drag out that danged stomp box again for Amy Seiwert’s \u003cb>Tonic\u003c/b>. Ordinarily I’m a big fan of Smuin Ballet’s Seiwert. Her specialty is soundly constructed dances that include complex composition of steps and partnering work in the vein of the contemporary European choreographers. But this time around, I found her \u003cb>Tonic\u003c/b> somewhat disappointing. The structure was there, for the three couples — made up of Seiwert, Phaedra Jarrett, Tricia Sundbeck, with Joseph Copley, Carlos Ventura and Ben Wardell in attractively peek-a-boo black mesh unitards — but this time, I found the twisting contortions, the reaching in and out of balance points more like just a movement investigation, rather than a fully formed piece. It’s time, I think, for Seiwert’s next stage of growth as a choreographer to begin.\u003c/p>\n\u003cp>The next week’s programs boasted works from AXIS Dance Company, Heidi Schweiker, LEVYDance, Alex Ketley, Kate Weare and Janice Garrett, as well as pleasing pieces from Viktor Kabaniaev and Lisa Townsend. But I think what I’ll remember most is the adverse reaction I had to the music, or lack thereof. Really, I blame John Cage for all of this. Not for the plinks and plonks of contemporary sound design, but for making me hyper-sensitive to my surroundings in the theater—creaky chairs, the guy cracking his knuckles behind me, the people leaving, and not quietly.\u003c/p>\n\u003cp>There’s a category of dance that in my mind is called “heavy-deep-and-real” and if it’s not accompanied by Joni Mitchell, it’s sure to have a score composed largely of annoying sounds. Choreographers, I beg of you, think about the musical choices. Sure that score sounded cool when you first heard it, very edgy, very experimental, creepy, moody, screaming avant-garde, literally. But take note when you plan your piece, please, please, think of how irritated an audience member might be after two hours of edgy experimental creepy moody screaming music.\u003c/p>\n\u003cp>Benjamin Levy’s \u003cb>Violent Momentum\u003c/b> — a theatrical slog danced by the fearless quartet of Brooke Gessay, Christopher Hojin Lee, Scott Marlowe and Lauren Slater, all fine dancers — was very heavy, deep and real. The dancers push and shove like they mean it, but I’m again distracted by the gallery of annoying sounds that framed this quite serious piece. A rasping door hinge, dog whistles, a prolonged belch, a loose bow being drawn over ill-tuned violin strings a la Jack Benny? But wait, something is happening onstage — is she spanking him?\u003c/p>\n\u003cp>By the time Janice Garrett’s polished \u003cb>Archimedes Revenge\u003c/b> took the stage, even the repetitive minimalism of Michael Thomas’s score came as an utter relief. Garrett has gathered an exuberant group of dancers and their buoyant bacchanal was like a balm to my overtaxed forebrain.\u003c/p>\n\u003cp>Ah, music. Thank you, Janice Garrett.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After a series of escalating personal setbacks, ranging from the receipt of film festival and grant panel rejection letters to coordinating the appointment with an exterminator to rid my house of bedbugs, I was at the end of my rope. I needed an escape, a guided tour of someone else’s imaginary realm, one that would help me completely disconnect from the harsh reality of having to throw out half the furniture and practically burn our clothes in order to rid my household of the city’s newest and most diabolical pest.\u003c/p>\n\u003cp>When my friend Dennis called with free tickets to the Cirque Du Soleil, I could not pass up the opportunity to spend the afternoon in a dream world, rather than my own dreary reality. Even though it seems cliché at this point, I was always one of those kids who imagined running away with the circus and fell in love with the lure of carnivals, sideshows and films that depicted this sub-culture, like Tod Browning’s seminal film \u003cb>Freaks\u003c/b>. I had attended the Cirque Du Soleil a couple of times in the late nineties and always enjoyed the spectacle, daredevil feats of the performers, and creepy edge that characterized the shows themes and costumes.\u003c/p>\n\u003cp>As I made my way downtown, the dark clouds and long walk along the stormy bay seemed like an appropriate prologue to attending the Cirque Du Soleil. In the distance, the stunning yellow and blue striped tent clashed against the grey storm clouds that rolled across the sky and I felt a surge of excitement mingled with anticipation. Once inside the main performance tent, the cold and rainy day disappeared. The tent was warm and cozy, and gilt chandeliers imbued the space with a shimmering golden light. Staged in a round, the space was divided by a beautifully painted scrim draped across the middle of the set, which transformed the cavernous space into an intimate environment. Everything in the room sparkled in a fairytale sort of way. The combination of lighting, set design and props created a truly dreamlike environment and set the stage for the performance of \u003cb>Corteo\u003c/b>.\u003c/p>\n\u003cp>The show begins with a wild funeral procession as dreamt by a clown lost somewhere between death and dreaming. All the performers and characters are introduced and the enchanting fantasy world of the show is nicely established in this opening sequence. From there, a plethora of talented and engaging performers lit up the stage and delivered a show with non-stop action. From the four women performing aerial acrobatics hanging from giant chandeliers, to the tightrope artist walking on point shoes above our heads and the flying trapeze artists soaring through the air, the strength of \u003cb>Corteo\u003c/b> lies in the talent of the individual performers. But also in the ability of Cirque Du Soleil to cultivate the aesthetic of the show, combining the lineage of stock circus characters and the influence of performance art, with the high energy and daring feats of the street performers who started the Cirque Du Soleil over twenty five years ago.\u003c/p>\n\u003cp>Only after I walked out of the circus tent, did I have a moment to reflect on the numerous elements that resulted in the shows creation. Each act is devised, choreographed, costumes designed, props built, music written and timed, performers staged, sets built and rigged and then there are the safety concerns that need to be dealt with at all times. It is an amazing achievement to put together a show of this magnitude and still maintain the dream-like reverie of a fantasy world. The only weakness of \u003cb>Corteo\u003c/b> lies in its attempt at humor, which fails often and miserably. The comedy set pieces simply fall flat and are unnecessary in a two hour plus show. But this is a small misstep when considering all the other elements of the show that are pure magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Living in a modern city seems to disconnect us from the possibility of magic, since we are expected to be tuned into reality at all times. So more than a diversion, the circus provides a place of imagination and endless possibility that modern life has dissolved from our daily interactions and existence.\u003cb>Corteo\u003c/b> is a romantic creation, but sometimes a little magic and fantasy is necessary to make it through the day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Corteo\u003c/b>‘s San Francisco run ends January 8,2006.\u003cbr>\nVisit \u003ca href=\"http://www.cirquedusoleil.com\" target=\"offsite\" rel=\"noopener\">Cirque du Soleil\u003c/a> (at cirquedusoleil.com).\u003c/p>\n\n",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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