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"content": "\u003cp>During one of the most critical scenes in the play \u003cem>Hamnet\u003c/em>, a grieving mother, Agnes, watches in awe at the theater world of her husband, William Shakespeare. A world of costumes and nightly death, it also inspires reverence, and she comes to understand that her late son was the quintessence of glory. \u003c/p>\n\u003cp>To see Agnes absorb \u003cem>Hamlet\u003c/em>’s every word despite not understanding most of them is to witness simultaneous grief and healing. For eternity, she realizes, one of the world’s greatest plays will be connected to one of the universe’s most perfect 11-year-old boys.\u003c/p>\n\u003cp>Running through May 24 at San Francisco’s American Conservatory Theater, \u003cem>Hamnet\u003c/em> gives agency to Shakespeare’s mysterious and enigmatic wife, known as Anne or Agnes. This is not a historical account of a woman who simply sat by as a dutiful spouse, raising three children in Stratford-upon-Avon as Shakespeare gallivanted through London’s seedy and bustling Elizabethan theater district. Nor is it \u003cem>Shakespeare in Love\u003c/em>, the 1998 film which portrays Anne as a loveless hindrance to Shakespeare’s quill and immortality. \u003c/p>\n\u003cfigure id=\"attachment_13988826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg\" alt=\"A man in blue and a woman with a flower crown nuzzle up against one another\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hamnet\u003c/em> is more on par with the jukebox musical \u003cem>& Juliet\u003c/em>, in which Anne directly questions the misogyny of Shakespeare’s storytelling. (A young teenage girl throwing her life away for a dithering and pathetic boy who changes his passions like he changes his underwear? What kind of hot garbage is that, Will?) \u003c/p>\n\u003cp>Onstage at ACT, the battles between Agnes (Kemi-Bo Jacobs) and William (Rory Alexander) are filled with pain, as Shakespeare knows he has no choice but to make the four-day trek to London and continue writing plays that may someday change the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lolita Chakrabarti’s adaptation from Maggie O’Farrell’s sweeping tale is a highly metaphoric jaunt through the thrill of new love — the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.\u003c/p>\n\u003cfigure id=\"attachment_13988825\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"1320\" height=\"2000\" class=\"size-full wp-image-13988825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-1014x1536.jpg 1014w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Erica Whyman’s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker’s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play’s mystery. \u003c/p>\n\u003cp>Chakrabarti’s reimagined script veers somewhat from O’Farrell’s flashback-heavy 2020 novel. Yet it’s respectful to the novel’s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). \u003c/p>\n\u003cp>While much about ACT’s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story’s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. \u003c/p>\n\u003cfigure id=\"attachment_13988824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company’s‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some fantastic setups preface the second act’s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet’s demise is near; a gentle, well-paced staging doesn’t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of \u003cem>Hamnet\u003c/em>, Jacobs’ cries as Agnes are guttural, produced from a place that only exists for those who’ve bore and lost a child. \u003c/p>\n\u003cp>While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. \u003c/p>\n\u003cp>Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John’s temper in O’Farrell’s novel, he’s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. \u003c/p>\n\u003cp>Art will always have the power to heal weary souls, contextualizing some of existence’s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ runs through Sunday, May 24 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/hamnet\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During one of the most critical scenes in the play \u003cem>Hamnet\u003c/em>, a grieving mother, Agnes, watches in awe at the theater world of her husband, William Shakespeare. A world of costumes and nightly death, it also inspires reverence, and she comes to understand that her late son was the quintessence of glory. \u003c/p>\n\u003cp>To see Agnes absorb \u003cem>Hamlet\u003c/em>’s every word despite not understanding most of them is to witness simultaneous grief and healing. For eternity, she realizes, one of the world’s greatest plays will be connected to one of the universe’s most perfect 11-year-old boys.\u003c/p>\n\u003cp>Running through May 24 at San Francisco’s American Conservatory Theater, \u003cem>Hamnet\u003c/em> gives agency to Shakespeare’s mysterious and enigmatic wife, known as Anne or Agnes. This is not a historical account of a woman who simply sat by as a dutiful spouse, raising three children in Stratford-upon-Avon as Shakespeare gallivanted through London’s seedy and bustling Elizabethan theater district. Nor is it \u003cem>Shakespeare in Love\u003c/em>, the 1998 film which portrays Anne as a loveless hindrance to Shakespeare’s quill and immortality. \u003c/p>\n\u003cfigure id=\"attachment_13988826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg\" alt=\"A man in blue and a woman with a flower crown nuzzle up against one another\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/1_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rory Alexander and Kemi-Bo Jacobs as William and Agnes Shakespeare in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hamnet\u003c/em> is more on par with the jukebox musical \u003cem>& Juliet\u003c/em>, in which Anne directly questions the misogyny of Shakespeare’s storytelling. (A young teenage girl throwing her life away for a dithering and pathetic boy who changes his passions like he changes his underwear? What kind of hot garbage is that, Will?) \u003c/p>\n\u003cp>Onstage at ACT, the battles between Agnes (Kemi-Bo Jacobs) and William (Rory Alexander) are filled with pain, as Shakespeare knows he has no choice but to make the four-day trek to London and continue writing plays that may someday change the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lolita Chakrabarti’s adaptation from Maggie O’Farrell’s sweeping tale is a highly metaphoric jaunt through the thrill of new love — the mystery of this strange falcon girl who may have deep connections to witchcraft, and a base Latin tutor helping his father (Nigel Barrett) climb out of crippling debt.\u003c/p>\n\u003cfigure id=\"attachment_13988825\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"1320\" height=\"2000\" class=\"size-full wp-image-13988825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-768x1164.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/5_HAMNET_KyleFlubacker-1014x1536.jpg 1014w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Kemi-Bo Jacobs as Agnes (center), with Ajani Cabey as Hamnet and Saffron Dey as Judith in the Royal Shakespeare Company’s ‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Erica Whyman’s astute direction, long swatches of material become babies and pregnancies. This theatrical approach complements a grand and rustic scenic design by Tom Piper, who also designed the costumes. Simon Baker’s soundscape leans heavily into deep bass to augment whispers and wisdom that form much of the play’s mystery. \u003c/p>\n\u003cp>Chakrabarti’s reimagined script veers somewhat from O’Farrell’s flashback-heavy 2020 novel. Yet it’s respectful to the novel’s great intentions (the stunning clarity in the book to describe a first tryst among the apples is staged beautifully here). \u003c/p>\n\u003cp>While much about ACT’s production works, it is not perfect. The initial sounds of child whispers are hard, if not impossible, to understand. While plenty of the show meets the story’s emotional demands, other moments fall toward a thinner, more unsatisfying end. Hard honesty moves through space with too much rapidity for an audience yearning for authenticity. \u003c/p>\n\u003cfigure id=\"attachment_13988824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13988824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/6_HAMNET_KyleFlubacker-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saffron Dey as Judith and Ajani Cabey as Hamnet in the Royal Shakespeare Company’s‘Hamnet’ at ACT in San Francisco. \u003ccite>(Kyle Flubacker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some fantastic setups preface the second act’s more damaging moments. Anyone with the slightest knowledge of Shakespeare knows that Hamnet’s demise is near; a gentle, well-paced staging doesn’t make that any easier to digest. But take note of how Jacobs conveys the hurt. As in the Ocscar-winning 2025 film of \u003cem>Hamnet\u003c/em>, Jacobs’ cries as Agnes are guttural, produced from a place that only exists for those who’ve bore and lost a child. \u003c/p>\n\u003cp>While William channels his agony into his opus, unbeknownst to those mourning back home, the stoic Agnes is the face of devastation, conveyed by Jacobs using every ounce of her emotions. \u003c/p>\n\u003cp>Both John and Mary (Penny Layden) represent the issues that encompass Will as he navigates a scandalous pregnancy out of wedlock. While Barrett conveys the horror of John’s temper in O’Farrell’s novel, he’s equally delightful as the bumbling comic actor Will Kempe. And Troy Alexander as Barthlolomew is a gargantuan presence, taking charge when he sees fit. \u003c/p>\n\u003cp>Art will always have the power to heal weary souls, contextualizing some of existence’s most distressing moments. Hamnet needs a greater commitment to manifest its own quintessence, but the pathway is there for the taking. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hamnet’ runs through Sunday, May 24 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/hamnet\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rainin Foundation Awards $100,000 Grants to Four Bay Area Artists",
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"content": "\u003cp>The \u003ca href=\"https://krfoundation.org/grants/funding-opportunities/the-rainin-arts-fellowship/?gad_source=1&gad_campaignid=20976605437&gbraid=0AAAAADNOC-tHwO9_1baNHE7j1nBXhWSWy&gclid=CjwKCAjw46HPBhAMEiwASZpLRHOMcN9V_IeHDopUtDMuIhFGO1DhzgwnIsUpq3hBYnh4l7t6LAK1gxoCHh4QAvD_BwE\">Rainin Foundation\u003c/a> has given four Bay Area creatives an unrestricted grant of $100,000 each through its Rainin Arts Fellowship, the organization announced this morning.\u003c/p>\n\u003cp>Public Space Fellow \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a> is a visual artist who has worked as the galleries manager for the \u003ca href=\"http://www.sfartscommission.org/gallery/\">San Francisco Arts Commission\u003c/a> and the public art advisor for the \u003ca href=\"http://www2.oaklandnet.com/Government/o/CityAdministration/d/EconomicDevelopment/s/PublicArt/index.htm\">City of Oakland\u003c/a>. Earlier this year, Carpio exhibited her work at SOMArts during her solo exhibition \u003ca href=\"https://www.kqed.org/arts/13986135/cece-carpio-somarts-exhibition\">\u003ci>Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here.\u003c/i>\u003c/a> And her work with the \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle Collective\u003c/a> has been spotted on walls all around the Bay Area, and throughout the world.\u003c/p>\n\u003cfigure id=\"attachment_13986216\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio. ‘Brass and Copper,’ 2017. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dance Fellow \u003ca href=\"https://dancemissiontheater.org/2025/07/28/aug-2025-sarah-crowell-is-announced-as-dance-missions-new-artistic-director/\">Sarah Crowell,\u003c/a> the artistic director at San Francisco’s Dance Mission Theater, is a decorated professional dancer. Crowell is the co-founder of the long-running Destiny Arts Center in Oakland, where she held numerous positions during her tenure. A 2016 inductee into the \u003ca href=\"https://www.acgov.org/whof/inductees/2016/crowell.htm\">Alameda County Women’s Hall of Fame\u003c/a> and a four-time finalist for a Tony Award for Excellence in Theater Education, Crowell is also the Belonging and Community Builder with Berkeley’s \u003ca href=\"https://belonging.berkeley.edu/sarah-crowell\">Othering & Belonging Institute\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/vqfPUBO49Uo?si=kf5Npie-LaW7YTkS\u003c/p>\n\u003cp>Theater Fellow \u003ca href=\"https://www.sfartsed.org/artists/\">Danny Duncan\u003c/a> is widely regarded as a master artist and a living legend. He’s spent decades writing, producing, acting and educating people on the power of theater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Duncan’s career began in the late ’60s on off-Broadway stages in New York. He has since served as artistic director for the Mayor’s Summer Youth Program in Bayview-Hunters Point, and has also worked with the arts education program United Projects and Oakland School for the Arts. At the turn of the millennium he began directing with the youth theater program \u003ca href=\"https://www.sfartsed.org/programs/sfartsed-players/\">SFArtsED Players\u003c/a>. His work continues this fall with\u003ca href=\"https://www.instagram.com/sfbatco/\"> San Francisco Bay Area Theatre Company (SFBATCO)\u003c/a>, which will stage his musical \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=yBESNmodYuo\">Every Saturday Night\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988743\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653.jpg\" alt=\"A woman in a red hat sits in front of her art.\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13988743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visual artist Cece Carpio is one of four 2026 Rainin Foundation arts fellows. \u003ccite>(Courtesy Cece Carpio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Film Fellow \u003ca href=\"https://www.instagram.com/cheryldunye/\">Cheryl Dunye\u003c/a> is a renowned filmmaker and director. Known for her landmark 1996 film \u003ca href=\"https://www.imdb.com/title/tt0118125/\">\u003cem>The Watermelon Woman\u003c/em>\u003c/a>, the first feature by a Black lesbian director, Dunye has also helmed numerous episodes of popular TV series, including \u003cem>Lovecraft\u003c/em> \u003cem>Country\u003c/em>, \u003cem>Queen Sugar \u003c/em>and \u003cem>The Hunting Wives\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13894145/rightnowish-reel-talk-cheryl-dunye\">In a 2022 interview with KQED\u003c/a>, Dunye, who was born in Liberia and raised in Philadelphia, discussed finding her home in the East Bay.\u003c/p>\n\u003cp>“Oakland is historically, one of the most powerful Black places and woman spaces and queer spaces in the world,” said Dunye, who founded Jingletown Films. “Oakland is where I want to be. I feel complete. I feel agency.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an announcement about this class of fellows, the sixth cohort of its kind, the Rainin Foundation said the grant seeks to alleviate financial instability facing the Bay Area’s arts ecosystem. This fellowship, the foundation’s publicist Rachel Roberts told KQED in an email, is a “signal that Bay Area artists are still being seen, supported and given the runway to lead future generations.”\u003c/p>\n\n",
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"excerpt": "Painter Cece Carpio, filmmaker Cheryl Dunye, dancer Sarah Crowell and theater director Danny Duncan are the new Rainin fellows.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://krfoundation.org/grants/funding-opportunities/the-rainin-arts-fellowship/?gad_source=1&gad_campaignid=20976605437&gbraid=0AAAAADNOC-tHwO9_1baNHE7j1nBXhWSWy&gclid=CjwKCAjw46HPBhAMEiwASZpLRHOMcN9V_IeHDopUtDMuIhFGO1DhzgwnIsUpq3hBYnh4l7t6LAK1gxoCHh4QAvD_BwE\">Rainin Foundation\u003c/a> has given four Bay Area creatives an unrestricted grant of $100,000 each through its Rainin Arts Fellowship, the organization announced this morning.\u003c/p>\n\u003cp>Public Space Fellow \u003ca href=\"https://www.cececarpio.com/\">Cece Carpio\u003c/a> is a visual artist who has worked as the galleries manager for the \u003ca href=\"http://www.sfartscommission.org/gallery/\">San Francisco Arts Commission\u003c/a> and the public art advisor for the \u003ca href=\"http://www2.oaklandnet.com/Government/o/CityAdministration/d/EconomicDevelopment/s/PublicArt/index.htm\">City of Oakland\u003c/a>. Earlier this year, Carpio exhibited her work at SOMArts during her solo exhibition \u003ca href=\"https://www.kqed.org/arts/13986135/cece-carpio-somarts-exhibition\">\u003ci>Tabi Tabi Po: Come Out with the Spirits! You Are Welcome Here.\u003c/i>\u003c/a> And her work with the \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle Collective\u003c/a> has been spotted on walls all around the Bay Area, and throughout the world.\u003c/p>\n\u003cfigure id=\"attachment_13986216\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986216\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_.jpg\" alt=\"A painting of two women wearing masks, facing each other, mounted on a green background in an art gallery.\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/Carpio.Crop_-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cece Carpio. ‘Brass and Copper,’ 2017. \u003ccite>(Brandon Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dance Fellow \u003ca href=\"https://dancemissiontheater.org/2025/07/28/aug-2025-sarah-crowell-is-announced-as-dance-missions-new-artistic-director/\">Sarah Crowell,\u003c/a> the artistic director at San Francisco’s Dance Mission Theater, is a decorated professional dancer. Crowell is the co-founder of the long-running Destiny Arts Center in Oakland, where she held numerous positions during her tenure. A 2016 inductee into the \u003ca href=\"https://www.acgov.org/whof/inductees/2016/crowell.htm\">Alameda County Women’s Hall of Fame\u003c/a> and a four-time finalist for a Tony Award for Excellence in Theater Education, Crowell is also the Belonging and Community Builder with Berkeley’s \u003ca href=\"https://belonging.berkeley.edu/sarah-crowell\">Othering & Belonging Institute\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vqfPUBO49Uo'\n title='//www.youtube.com/embed/vqfPUBO49Uo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Theater Fellow \u003ca href=\"https://www.sfartsed.org/artists/\">Danny Duncan\u003c/a> is widely regarded as a master artist and a living legend. He’s spent decades writing, producing, acting and educating people on the power of theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Duncan’s career began in the late ’60s on off-Broadway stages in New York. He has since served as artistic director for the Mayor’s Summer Youth Program in Bayview-Hunters Point, and has also worked with the arts education program United Projects and Oakland School for the Arts. At the turn of the millennium he began directing with the youth theater program \u003ca href=\"https://www.sfartsed.org/programs/sfartsed-players/\">SFArtsED Players\u003c/a>. His work continues this fall with\u003ca href=\"https://www.instagram.com/sfbatco/\"> San Francisco Bay Area Theatre Company (SFBATCO)\u003c/a>, which will stage his musical \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=yBESNmodYuo\">Every Saturday Night\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988743\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653.jpg\" alt=\"A woman in a red hat sits in front of her art.\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13988743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/IMG_1653-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Visual artist Cece Carpio is one of four 2026 Rainin Foundation arts fellows. \u003ccite>(Courtesy Cece Carpio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Film Fellow \u003ca href=\"https://www.instagram.com/cheryldunye/\">Cheryl Dunye\u003c/a> is a renowned filmmaker and director. Known for her landmark 1996 film \u003ca href=\"https://www.imdb.com/title/tt0118125/\">\u003cem>The Watermelon Woman\u003c/em>\u003c/a>, the first feature by a Black lesbian director, Dunye has also helmed numerous episodes of popular TV series, including \u003cem>Lovecraft\u003c/em> \u003cem>Country\u003c/em>, \u003cem>Queen Sugar \u003c/em>and \u003cem>The Hunting Wives\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13894145/rightnowish-reel-talk-cheryl-dunye\">In a 2022 interview with KQED\u003c/a>, Dunye, who was born in Liberia and raised in Philadelphia, discussed finding her home in the East Bay.\u003c/p>\n\u003cp>“Oakland is historically, one of the most powerful Black places and woman spaces and queer spaces in the world,” said Dunye, who founded Jingletown Films. “Oakland is where I want to be. I feel complete. I feel agency.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an announcement about this class of fellows, the sixth cohort of its kind, the Rainin Foundation said the grant seeks to alleviate financial instability facing the Bay Area’s arts ecosystem. This fellowship, the foundation’s publicist Rachel Roberts told KQED in an email, is a “signal that Bay Area artists are still being seen, supported and given the runway to lead future generations.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/golden-thread-productions\">Golden Thread Productions\u003c/a> kicked off their \u003ca href=\"https://goldenthread.org/season/\">30th season\u003c/a> in early March, Alaa Shehada’s participation was guaranteed. The Palestinian performer and comedian was scheduled to fly in for his acclaimed solo show \u003cem>The Horse of Jenin\u003c/em> as part of \u003ca href=\"https://goldenthread.org/productions/a-festival-of-palestinian-art/\">A Festival of Palestinian Art\u003c/a> (April 9–19).\u003c/p>\n\u003cp>Then, on Feb. 28, the U.S. and Israel began attacking Iran. Suddenly, the entire Middle East was destabilized. Shehada found himself landing on U.S. soil only to be taken into custody by Immigration and Customs Enforcement.\u003c/p>\n\u003cp>“He was detained at the border … then sent back, even though he has a work visa,” says Golden Thread Artistic Director Nabra Nelson. A founding member of Seattle’s \u003ca href=\"https://www.dunyaproductions.org/\">Dunya Productions\u003c/a>, which also specializes in MENA (Middle Eastern and North African) theater work, Nelson had already been in contact with Shehada, whose festival performance was meant to kick off a nationwide U.S. tour.\u003c/p>\n\u003cp>Those plans came to an end after he was denied entry to the country.\u003c/p>\n\u003cp>“[Golden Thread] and many theaters across the nation had to shift our plans to present \u003cem>Horse of Jenin\u003c/em>, and were really devastated by the situation, which was incredibly illegal and inhumane,” says Nelson. “We know that this is because he’s Palestinian.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shehada wasn’t the only person connected to Golden Thread to have his life disrupted. Even before the current conflict began, the Trump administration made international travel \u003ca href=\"https://www.kqed.org/arts/13976000/international-musicians-visas-us-tours-immigration\">a logistical nightmare\u003c/a>, severely limiting the number of Middle Eastern collaborators able to work onsite in San Francisco. The regional chaos caused since February has only exacerbated matters.\u003c/p>\n\u003cfigure id=\"attachment_13988653\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000.jpg\" alt=\"seated older woman faces interviewer, holds mic\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Golden Thread co-founder Torange Yeghiazarian at the 2026 program of What Do The Women Say? \u003ccite>(Jared Randolph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the Iranian-born director \u003ca href=\"https://www.kqed.org/forum/2010101859653/first-person-torange-yeghiazarian-of-golden-thread-productions\">Torange Yeghiazarian\u003c/a> co-founded Golden Thread in 1996, the company has prided itself on highlighting stories by and about MENA artists, many of whom travel to San Francisco to share their stories personally. Getting performers here has often involved maneuvering through the red tape of shifting travel restrictions, a task that only grew more difficult after 9/11.\u003c/p>\n\u003cp>In the nearly two months since Feb. 28, Golden Thread artists, along with their friends and family, have felt the effects of the attacks on Iran and Lebanon, as well as Israel’s continued presence in Gaza. By Nelson’s telling, Yeghiazarian has been out of contact with her family since the beginning of the attacks on Iran.\u003c/p>\n\u003cp>Notably, Nelson’s direct predecessor as artistic director, Lebanese theater artist Sahar Assaf, had been planning to return to San Francisco for the company’s annual \u003ca href=\"https://goldenthread.org/productions/what-do-the-women-say-2026/\">What Do the Women Say?\u003c/a> performance on March 8. The show would have been both a kickoff of the 30th anniversary season and a goodbye from Assaf to the company she led 2021–2025.\u003c/p>\n\u003cp>“[Sahar] had a ticket to come here from Lebanon when the airspace was completely closed,” says Nelson. “So, she was stuck there for a while as the war started, then decided ‘I can’t go to America even when-and-if the airspaces reopen.’ Given the situation, she may not be able to return. That was devastating, and just so indicative of how this affects all of our lives.”\u003c/p>\n\u003cp>Ultimately, Assaf’s participation was limited to a livestreamed message the night of the event. Similarly, in lieu of a proper \u003cem>Horse of Jenin\u003c/em> performance, Golden Thread presented two screenings of a filmed performance of the show.\u003c/p>\n\u003cfigure id=\"attachment_13988652\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000.jpg\" alt=\"woman in colorful dress stands outside large black sculpture\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Golden Thread Artistic Director Nabra Nelson. \u003ccite>(Hana Mattar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nelson insists that the company will move ahead with the rest of its season — which includes a full production of Denmo Ibrahim’s \u003cem>\u003ca href=\"https://goldenthread.org/productions/arab-spring/\">Arab Spring\u003c/a>\u003c/em> and the annual \u003ca href=\"https://goldenthread.org/productions/reorient-festival-2026/\">ReOrient Festival of Short Plays\u003c/a> — but is staying in touch with performers and patrons in case world events continue to affect the schedule.\u003c/p>\n\u003cp>Although it’s turned her first year at the helm into trial by fire, Nelson is grateful Golden Thread is able to amplify MENA voices when other arts organizations remain silent about the Middle East — a silence she attributes to fear of backlash.\u003c/p>\n\u003cp>“It’s really despicable for people in arts organizations to be afraid to speak out when you compare that fear to what people are actually facing,” she says. “I don’t think there’s a specific thing an arts organization must do when there’s a war or genocide, but to not have that in the forefront of your mind, and make steps to listen to your community, doesn’t make sense to me.”\u003c/p>\n\u003cp>Despite the uncertainty, Nelson’s role of coordinating with international artists and providing a safe space for the community is one that has 30 years of precedent. She draws inspiration from both her artistic collaborators and community members who have circumvented Iran’s own \u003ca href=\"https://www.theguardian.com/technology/2026/apr/06/iran-internet-blackout-is-longest-national-shutdown-since-arab-spring\">internet blackout\u003c/a>.\u003c/p>\n\u003cp>“Golden Thread has been doing it right, and there’s so much that proves that,” she says. “I consider my role to be a community service role; my mandate is to respond to what our community needs. I’m really cognizant about our responsibility as MENA artists and an arts institution to continue these conversations beyond the mainstream news cycle.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Golden Thread’s \u003ca href=\"https://goldenthread.org/productions/a-festival-of-palestinian-art/\">Festival of Palestinian Art\u003c/a> runs through Sunday, April 19 with ‘Amreeka: The Comedy Show’ at Potrero Stage (1695 18th St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/golden-thread-productions\">Golden Thread Productions\u003c/a> kicked off their \u003ca href=\"https://goldenthread.org/season/\">30th season\u003c/a> in early March, Alaa Shehada’s participation was guaranteed. The Palestinian performer and comedian was scheduled to fly in for his acclaimed solo show \u003cem>The Horse of Jenin\u003c/em> as part of \u003ca href=\"https://goldenthread.org/productions/a-festival-of-palestinian-art/\">A Festival of Palestinian Art\u003c/a> (April 9–19).\u003c/p>\n\u003cp>Then, on Feb. 28, the U.S. and Israel began attacking Iran. Suddenly, the entire Middle East was destabilized. Shehada found himself landing on U.S. soil only to be taken into custody by Immigration and Customs Enforcement.\u003c/p>\n\u003cp>“He was detained at the border … then sent back, even though he has a work visa,” says Golden Thread Artistic Director Nabra Nelson. A founding member of Seattle’s \u003ca href=\"https://www.dunyaproductions.org/\">Dunya Productions\u003c/a>, which also specializes in MENA (Middle Eastern and North African) theater work, Nelson had already been in contact with Shehada, whose festival performance was meant to kick off a nationwide U.S. tour.\u003c/p>\n\u003cp>Those plans came to an end after he was denied entry to the country.\u003c/p>\n\u003cp>“[Golden Thread] and many theaters across the nation had to shift our plans to present \u003cem>Horse of Jenin\u003c/em>, and were really devastated by the situation, which was incredibly illegal and inhumane,” says Nelson. “We know that this is because he’s Palestinian.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shehada wasn’t the only person connected to Golden Thread to have his life disrupted. Even before the current conflict began, the Trump administration made international travel \u003ca href=\"https://www.kqed.org/arts/13976000/international-musicians-visas-us-tours-immigration\">a logistical nightmare\u003c/a>, severely limiting the number of Middle Eastern collaborators able to work onsite in San Francisco. The regional chaos caused since February has only exacerbated matters.\u003c/p>\n\u003cfigure id=\"attachment_13988653\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000.jpg\" alt=\"seated older woman faces interviewer, holds mic\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Torange-Yeghiazarian-at-Women_s-Day-2026-Photo-by-Jared-Randolph_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Golden Thread co-founder Torange Yeghiazarian at the 2026 program of What Do The Women Say? \u003ccite>(Jared Randolph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the Iranian-born director \u003ca href=\"https://www.kqed.org/forum/2010101859653/first-person-torange-yeghiazarian-of-golden-thread-productions\">Torange Yeghiazarian\u003c/a> co-founded Golden Thread in 1996, the company has prided itself on highlighting stories by and about MENA artists, many of whom travel to San Francisco to share their stories personally. Getting performers here has often involved maneuvering through the red tape of shifting travel restrictions, a task that only grew more difficult after 9/11.\u003c/p>\n\u003cp>In the nearly two months since Feb. 28, Golden Thread artists, along with their friends and family, have felt the effects of the attacks on Iran and Lebanon, as well as Israel’s continued presence in Gaza. By Nelson’s telling, Yeghiazarian has been out of contact with her family since the beginning of the attacks on Iran.\u003c/p>\n\u003cp>Notably, Nelson’s direct predecessor as artistic director, Lebanese theater artist Sahar Assaf, had been planning to return to San Francisco for the company’s annual \u003ca href=\"https://goldenthread.org/productions/what-do-the-women-say-2026/\">What Do the Women Say?\u003c/a> performance on March 8. The show would have been both a kickoff of the 30th anniversary season and a goodbye from Assaf to the company she led 2021–2025.\u003c/p>\n\u003cp>“[Sahar] had a ticket to come here from Lebanon when the airspace was completely closed,” says Nelson. “So, she was stuck there for a while as the war started, then decided ‘I can’t go to America even when-and-if the airspaces reopen.’ Given the situation, she may not be able to return. That was devastating, and just so indicative of how this affects all of our lives.”\u003c/p>\n\u003cp>Ultimately, Assaf’s participation was limited to a livestreamed message the night of the event. Similarly, in lieu of a proper \u003cem>Horse of Jenin\u003c/em> performance, Golden Thread presented two screenings of a filmed performance of the show.\u003c/p>\n\u003cfigure id=\"attachment_13988652\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988652\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000.jpg\" alt=\"woman in colorful dress stands outside large black sculpture\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/Nabra-Nelson-Headshot-03-Photo-by-Hana-Mattar_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Golden Thread Artistic Director Nabra Nelson. \u003ccite>(Hana Mattar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nelson insists that the company will move ahead with the rest of its season — which includes a full production of Denmo Ibrahim’s \u003cem>\u003ca href=\"https://goldenthread.org/productions/arab-spring/\">Arab Spring\u003c/a>\u003c/em> and the annual \u003ca href=\"https://goldenthread.org/productions/reorient-festival-2026/\">ReOrient Festival of Short Plays\u003c/a> — but is staying in touch with performers and patrons in case world events continue to affect the schedule.\u003c/p>\n\u003cp>Although it’s turned her first year at the helm into trial by fire, Nelson is grateful Golden Thread is able to amplify MENA voices when other arts organizations remain silent about the Middle East — a silence she attributes to fear of backlash.\u003c/p>\n\u003cp>“It’s really despicable for people in arts organizations to be afraid to speak out when you compare that fear to what people are actually facing,” she says. “I don’t think there’s a specific thing an arts organization must do when there’s a war or genocide, but to not have that in the forefront of your mind, and make steps to listen to your community, doesn’t make sense to me.”\u003c/p>\n\u003cp>Despite the uncertainty, Nelson’s role of coordinating with international artists and providing a safe space for the community is one that has 30 years of precedent. She draws inspiration from both her artistic collaborators and community members who have circumvented Iran’s own \u003ca href=\"https://www.theguardian.com/technology/2026/apr/06/iran-internet-blackout-is-longest-national-shutdown-since-arab-spring\">internet blackout\u003c/a>.\u003c/p>\n\u003cp>“Golden Thread has been doing it right, and there’s so much that proves that,” she says. “I consider my role to be a community service role; my mandate is to respond to what our community needs. I’m really cognizant about our responsibility as MENA artists and an arts institution to continue these conversations beyond the mainstream news cycle.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Golden Thread’s \u003ca href=\"https://goldenthread.org/productions/a-festival-of-palestinian-art/\">Festival of Palestinian Art\u003c/a> runs through Sunday, April 19 with ‘Amreeka: The Comedy Show’ at Potrero Stage (1695 18th St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13988134\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13988134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Giammona as Martin and Kevin Singer as Ross in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How does one explain the ability of a fellow human to wake up each day with a burning desire to make sweet, sweet love to a goat?\u003c/p>\n\u003cp>This is just one of the many questions in absurdian master Edward Albee’s highly decorated play \u003cem>\u003ca href=\"https://shotgunplayers.org/show/goat/\">The Goat, or Who is Sylvia?\u003c/a>\u003c/em>, running through May 3 in a stunning production at Berkeley’s Shotgun Players.\u003c/p>\n\u003cp>\u003cem>The Goat\u003c/em> boasts a finalist designation for the 2003 Pulitzer Prize in Drama along with a 2002 Tony Award for best play, and this production is a marvel under Kevin Clarke’s astute and pensive direction. The subject matter, equal parts disturbing, crude and utterly brilliant, will leave audiences chewing on the play’s themes the way a starved goat consumes weeds.\u003c/p>\n\u003cfigure id=\"attachment_13988133\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13988133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Erin Mei-Ling Stuart as Stevie and William Giammona as Martin in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin (William Giammona) is a rock star of an architect, the latest winner of the most prestigious commendation of his field, the Pritzker Prize for architecture. With this new and shiny crown comes a stamp of approval on the perfect life he occupies, starting with his house, a chilly stone-walled space that resembles a mausoleum more than a loving household (the brilliant scenic design is by Liliana Duque Piñeiro). \u003c/p>\n\u003cp>Sharing the house are his daintily perfect wife Stevie (Erin Mei-Ling Stuart) and his 17-year-old gay son Billy (Joel Ochoa). In the opening scene, Martin is interviewed in his living room — dotted with perfectly sumptuous vases and a dazzling piano — by his close childhood friend Ross (Kevin Singer) for a television show titled \u003cem>People Who Matter\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That this perfection comes crashing down, in some very literal ways, is not entirely surprising. Yet for all the pinnacles of success Martin has reached, and his living room surrounded by opulence, having sex with an actual goat is his perceived nirvana of pure bliss.\u003c/p>\n\u003cfigure id=\"attachment_13988136\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282.jpg\" alt=\"A man ad a woman both dressed in white and cream colors face each other in profile, dramatically, against a black and gray background\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13988136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Giammona as Martin and Erin Mei-Ling Stuart as Stevie in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin knows what’s at stake here. His love for Stevie teeters on the brink of extinction. And his promise to stop the affair doesn’t help: “Stopping has nothing to do with how it started!,” Stevie thunders. \u003c/p>\n\u003cp>The performances here take “visceral” to another level. Giammona’s Martin is a charming oaf whose gait isn’t completely confident. He also seems to not know exactly why his passions have led him toward an animal.\u003c/p>\n\u003cp>Mei-Ling Stuart operates on a level that screams command performance. It’s not just her emotional reckoning with a shattered home life; physically, she is a marvel, and brilliant in her most angered and peeved moments, such as her pristine destruction of vases (paired with a fantastic soundscape by designer Matt Stines).\u003c/p>\n\u003cfigure id=\"attachment_13988137\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186.jpg\" alt=\"\" width=\"2000\" height=\"1361\" class=\"size-full wp-image-13988137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186-1536x1045.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Erin Mei-Ling Stuart as Stevie in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Stuart also displays phenomenal Meisnerian sensibilities as a listener, pushing her reactions to the most organic of places. Take note of her horror at learning about support groups for those in lust with animals, and her disgust at discovering the man she shares a bed with is a participant. \u003c/p>\n\u003cp>What just might be the play’s biggest achievement is how funny it is. Albee’s humor is on par with humorists such as Coward, Stoppard and Simon. Hilarious moments underscoring the follies of humanity appear throughout the production, buoyed by the comic timing of the cast, and especially slimeball Ross, who prances all over the stage. Singer delights in these moments of joviality, ultimately imbuing his Ross with a dark side as he sets the plot in motion that ends up ruining Martin and his family. \u003c/p>\n\u003cp>[aside postID='arts_13988031']That collateral damage does not spare son Billy in any way. He is 17, but constantly reminded to go to his room or play outside as if he were a small child. Ochoa is a charmer, and his arc leads to a heartbreaking moment that feels straight out of the Greeks, where much of Albee’s script is rooted. \u003c/p>\n\u003cp>The play’s greatest surprise is saved for the final denouement, which will not be spoiled here. It is a moment jaw-dropping in its scope, thrusting the set into the narrative as its own character. Combined with the play’s brutality in the final horrid tableau, it ends the play with a collection of imagery that sears into the brain.\u003c/p>\n\u003cfigure id=\"attachment_13988135\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13988135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joel Ochoa as Billy in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the surface, this is a play about bestiality, and a human finding carnal connection with an animal that, while displaying human characteristics, has no capacity for greater yearning. But that’s not all the play is trying to convey. Ultimately, \u003cem>The Goat\u003c/em> is about societal taboos, many of them centered on human sexuality — but who determines those, where is the line, and who has the right to draw that line? \u003c/p>\n\u003cp>Albee asked profound questions in his work, and was thrilled by the absurdity of life, and the mental destruction of human beings toward each other. What exactly is “normal,” anyway? Do affairs occupy different tiers, based on who the affair is with? Is there such thing as perfection in a family?\u003c/p>\n\u003cp>The legacy of Albee’s masterful text is that there are no easy answers. As \u003cem>The Goat\u003c/em> questions every aspect of human sexuality, it also pierces the heart, and forces profound questions that just might destroy one’s sense of what normal really is. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Goat, or Who is Sylvia?’ runs through May 3 at Shotgun Players at the Ashby Stage (1901 Ashby Ave., Berkeley). \u003ca href=\"https://shotgunplayers.org/show/goat/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988134\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13988134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1116-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Giammona as Martin and Kevin Singer as Ross in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How does one explain the ability of a fellow human to wake up each day with a burning desire to make sweet, sweet love to a goat?\u003c/p>\n\u003cp>This is just one of the many questions in absurdian master Edward Albee’s highly decorated play \u003cem>\u003ca href=\"https://shotgunplayers.org/show/goat/\">The Goat, or Who is Sylvia?\u003c/a>\u003c/em>, running through May 3 in a stunning production at Berkeley’s Shotgun Players.\u003c/p>\n\u003cp>\u003cem>The Goat\u003c/em> boasts a finalist designation for the 2003 Pulitzer Prize in Drama along with a 2002 Tony Award for best play, and this production is a marvel under Kevin Clarke’s astute and pensive direction. The subject matter, equal parts disturbing, crude and utterly brilliant, will leave audiences chewing on the play’s themes the way a starved goat consumes weeds.\u003c/p>\n\u003cfigure id=\"attachment_13988133\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13988133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1289-2-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Erin Mei-Ling Stuart as Stevie and William Giammona as Martin in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin (William Giammona) is a rock star of an architect, the latest winner of the most prestigious commendation of his field, the Pritzker Prize for architecture. With this new and shiny crown comes a stamp of approval on the perfect life he occupies, starting with his house, a chilly stone-walled space that resembles a mausoleum more than a loving household (the brilliant scenic design is by Liliana Duque Piñeiro). \u003c/p>\n\u003cp>Sharing the house are his daintily perfect wife Stevie (Erin Mei-Ling Stuart) and his 17-year-old gay son Billy (Joel Ochoa). In the opening scene, Martin is interviewed in his living room — dotted with perfectly sumptuous vases and a dazzling piano — by his close childhood friend Ross (Kevin Singer) for a television show titled \u003cem>People Who Matter\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That this perfection comes crashing down, in some very literal ways, is not entirely surprising. Yet for all the pinnacles of success Martin has reached, and his living room surrounded by opulence, having sex with an actual goat is his perceived nirvana of pure bliss.\u003c/p>\n\u003cfigure id=\"attachment_13988136\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282.jpg\" alt=\"A man ad a woman both dressed in white and cream colors face each other in profile, dramatically, against a black and gray background\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13988136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1282-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Giammona as Martin and Erin Mei-Ling Stuart as Stevie in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin knows what’s at stake here. His love for Stevie teeters on the brink of extinction. And his promise to stop the affair doesn’t help: “Stopping has nothing to do with how it started!,” Stevie thunders. \u003c/p>\n\u003cp>The performances here take “visceral” to another level. Giammona’s Martin is a charming oaf whose gait isn’t completely confident. He also seems to not know exactly why his passions have led him toward an animal.\u003c/p>\n\u003cp>Mei-Ling Stuart operates on a level that screams command performance. It’s not just her emotional reckoning with a shattered home life; physically, she is a marvel, and brilliant in her most angered and peeved moments, such as her pristine destruction of vases (paired with a fantastic soundscape by designer Matt Stines).\u003c/p>\n\u003cfigure id=\"attachment_13988137\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186.jpg\" alt=\"\" width=\"2000\" height=\"1361\" class=\"size-full wp-image-13988137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1186-1536x1045.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Erin Mei-Ling Stuart as Stevie in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Stuart also displays phenomenal Meisnerian sensibilities as a listener, pushing her reactions to the most organic of places. Take note of her horror at learning about support groups for those in lust with animals, and her disgust at discovering the man she shares a bed with is a participant. \u003c/p>\n\u003cp>What just might be the play’s biggest achievement is how funny it is. Albee’s humor is on par with humorists such as Coward, Stoppard and Simon. Hilarious moments underscoring the follies of humanity appear throughout the production, buoyed by the comic timing of the cast, and especially slimeball Ross, who prances all over the stage. Singer delights in these moments of joviality, ultimately imbuing his Ross with a dark side as he sets the plot in motion that ends up ruining Martin and his family. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That collateral damage does not spare son Billy in any way. He is 17, but constantly reminded to go to his room or play outside as if he were a small child. Ochoa is a charmer, and his arc leads to a heartbreaking moment that feels straight out of the Greeks, where much of Albee’s script is rooted. \u003c/p>\n\u003cp>The play’s greatest surprise is saved for the final denouement, which will not be spoiled here. It is a moment jaw-dropping in its scope, thrusting the set into the narrative as its own character. Combined with the play’s brutality in the final horrid tableau, it ends the play with a collection of imagery that sears into the brain.\u003c/p>\n\u003cfigure id=\"attachment_13988135\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13988135\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/The_Goat_2026_1346-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joel Ochoa as Billy in Shotgun Players’ production of ‘The Goat, or Who Is Sylvia?’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the surface, this is a play about bestiality, and a human finding carnal connection with an animal that, while displaying human characteristics, has no capacity for greater yearning. But that’s not all the play is trying to convey. Ultimately, \u003cem>The Goat\u003c/em> is about societal taboos, many of them centered on human sexuality — but who determines those, where is the line, and who has the right to draw that line? \u003c/p>\n\u003cp>Albee asked profound questions in his work, and was thrilled by the absurdity of life, and the mental destruction of human beings toward each other. What exactly is “normal,” anyway? Do affairs occupy different tiers, based on who the affair is with? Is there such thing as perfection in a family?\u003c/p>\n\u003cp>The legacy of Albee’s masterful text is that there are no easy answers. As \u003cem>The Goat\u003c/em> questions every aspect of human sexuality, it also pierces the heart, and forces profound questions that just might destroy one’s sense of what normal really is. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Goat, or Who is Sylvia?’ runs through May 3 at Shotgun Players at the Ashby Stage (1901 Ashby Ave., Berkeley). \u003ca href=\"https://shotgunplayers.org/show/goat/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Exiled Russian Actress Takes Center Stage in San Francisco",
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"headTitle": "An Exiled Russian Actress Takes Center Stage in San Francisco | KQED",
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"content": "\u003cp>The play \u003cem>Our Class\u003c/em> unearths real events from a Polish village at the start of the Holocaust in 1941, but it gets at something universal: How prejudice, amplified and exploited by those in power, can drive ordinary people to despicable acts of violence.\u003c/p>\n\u003cp>Written by Tadeusz Słobodzianek in 2008, \u003ca href=\"https://www.zspace.org/ourclass\">\u003cem>Our Class\u003c/em>\u003c/a> runs at San Francisco’s Z Space March 27–April 5. It follows a class of five Catholic and five Jewish students, tracing their lives before and after a massacre in which the Catholic residents of the Nazi-occupied town of Jedwabne forced their Jewish neighbors into a barn and set it on fire.\u003c/p>\n\u003cp>More than 80 years later, governments peddling hatred have once again sewn divisions all over the globe. It’s something Chulpan Khamatova, who stars as Rachelka, knows well.\u003c/p>\n\u003cp>The Russian actress backed Russian President Vladimir Putin in the 2012 election (to protect her charity for children with cancer, she said). But in 2022, she went against the head of state by publicly opposing his invasion of Ukraine; protesting the war is a crime punishable by prison time in Russia.\u003c/p>\n\u003cp>While on break between performances of \u003cem>The Master and Margarita\u003c/em>, Khamatova and her children fled to Riga, Latvia, where she had to start over in exile. The decorated film and stage actress, who \u003cem>Our Class\u003c/em> director Igor Golyak called the “\u003ca href=\"https://igorgolyak.substack.com/p/the-laboratory-of-exile-notes-from\">Meryl Streep of Russia\u003c/a>,” joined a collective effort to support Ukrainian refugees while rebuilding her career in a new language.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in San Francisco, Khamatova takes on her first English-language theatrical role in a timely production of \u003cem>Our Class\u003c/em>, which has her thinking about the importance of art amid devastating global events.\u003c/p>\n\u003cp>\u003cem>This interview was translated from Russian and edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988043\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ’Our Class’ at a performance in Boston. \u003ccite>(Olga Maturana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nastia Voynovskaya:\u003c/strong> What drew you to the story in \u003cem>Our Class\u003c/em>?\u003c/p>\n\u003cp>\u003cstrong>Chulpan Khamatova:\u003c/strong> I saw the show in New York, and I really liked the theme of how quickly people who are in some kind of community, because of outside forces, lose their humanity. This is a true story that happened in this town, when you have your own neighbors [turn on you]. It seems like it was a long time ago, and it will never happen again. But, now, look. We’ve somehow ended up in this trap again.\u003c/p>\n\u003cp>\u003cstrong>Does it remind you of the political climate in Russia?\u003c/strong>\u003c/p>\n\u003cp>Not only in Russia. I think there is a danger to any society. How should we behave to prevent it? I have no answers. It seems to me that culture and education — nobody has tried it yet, not a single country has made its main focus on education and culture. So, it is impossible to prove my theory.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Our Class\u003c/em> points to how even ordinary people are capable of violence. What does that tell you about human nature?\u003c/strong>\u003c/p>\n\u003cp>That we all have darkness and light, and it’s up to each one of us to balance them. It’s complicated, especially when you choose the light and you’re left completely alone for some time.\u003c/p>\n\u003cp>I really love my character in \u003cem>Our Class\u003c/em>, Rachelka. I feel sorry for her. Not only because she is Jewish or lost her family, but also because she has lost her soul. I don’t judge her in any way. I can’t imagine myself going through such trials.\u003c/p>\n\u003cp>The situation broke her. She did not burn in the shed, but she died on the inside. She died as a person who had hope and faith that good and justice will somehow prevail. She swam with the current and betrayed the people she loved. I appreciate how the play shows that no one is absolutely bad or absolutely good.\u003c/p>\n\u003cp>It was interesting for me to act in an English-language play. I wanted to immerse myself in a new world, a new mentality, and it turned out to be very close to home, which made me very happy. I was a little afraid that with my Russian training, I may seem too arrogant, too persistent. It turned out not to be the case.\u003c/p>\n\u003cfigure id=\"attachment_13988044\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Ochsner in ‘Our Class.’ \u003ccite>(Pavel Antonov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The theater company presenting \u003cem>Our Class\u003c/em>, Arlekin, is made up of people from the former Soviet Union. Director Igor Golyak has roots in Ukraine. What kinds of conversations are you having with the other ensemble members when you’re not on stage?\u003c/strong>\u003c/p>\n\u003cp>I share a dressing room with two wonderful American actresses, Deborah Martin and Gigi Watson. We discuss everything — the situation in America, the situation in Russia, the war there and the war here. Unfortunately there are many unhappy topics to discuss — the rising levels of antisemitism.\u003c/p>\n\u003cp>I do not believe in dividing people by nationalities at all. I look at the individual person. In all nationalities there are amazing people, and also everywhere there are scum. I think this construction was unnecessary when civilization was formed. Of course, I respect and believe in certain cultural traditions, but I don’t think it’s possible to divide people by nationalities. I’m absolutely against it. That’s how the Holocaust started.\u003c/p>\n\u003cp>\u003cstrong>You’re Tatar and you grew up in the city of Kazan. Is there anything you bring from your life experience that helps you understand the story of \u003cem>Our Class\u003c/em> on a deeper level?\u003c/strong>\u003c/p>\n\u003cp>Yes, of course. The dominant ethnicity and language in the Soviet Union was Russian. Up until a certain age, I could not say my name — I was too shy. It was easier for me to introduce myself as Olya, Masha, Anya or some sort of typical Russian name. These experiences shape your personality, and they become like layers of bad skin that you have to shed as you get older.\u003c/p>\n\u003cp>I very much hope that the audience thinks about how the themes in the play relate to their own lives, not just the lives of some long-gone historical characters. There are just so many nuances and so many different interesting stories, both in our protagonists’ youth and old age.\u003c/p>\n\u003cp>I hope everyone in the audience imagines themselves facing these kinds of choices — a brave choice or a cowardly choice, to stay with yourself or to lose yourself. To go with the majority or to go against the current.\u003c/p>\n\u003cfigure id=\"attachment_13988045\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chulpan Khamatova in ‘Our Class.’ \u003ccite>(Irina Danilova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell me about your life in Latvia. How has it been for you having to start your career practically from the beginning?\u003c/strong>\u003c/p>\n\u003cp>It was not easy, but we survived. I moved with three children. I had no idea what to do next, how to live and how to feed them. I can’t say that the European world supported me in this decision, because all the laws and all the rules were aimed at making life outside Russia as difficult as possible for people who were against the war and left. I still have no answer why it is so, why it was necessary to turn off our credit cards, why it was necessary to create a situation where I couldn’t access my savings [because of sanctions]. There were a lot of such restrictions.\u003c/p>\n\u003cp>In my life, I have wealth in the form of friends who helped me survive from the very beginning. I started to work, to learn Latvian, and to play in the theater in Riga. I also try to perform in Russian, because I see how much people need it who are scattered all over the world, who left like me. [aside postid='arts_13987816']\u003c/p>\n\u003cp>\u003cstrong>Throughout your career you’ve been involved in philanthropy. Can you share more about that?\u003c/strong>\u003c/p>\n\u003cp>In Russia we have a foundation that’s still around even though I’ve left, that helps children with cancer.\u003c/p>\n\u003cp>At the beginning of the war, helping Ukrainian refugees helped me. If you feel bad, start helping others. That was my therapy. In Latvia this organization emerged, it was founded by two wonderful women who are now my best friends. It somehow made it easier for my soul to be useful to people who lost everything because of my motherland. For the first two years we did a lot of fundraisers. I think it can’t be any other way.\u003c/p>\n\u003cp>My friend, the Russian dramaturg Ivan Vyrypaev, organized a special space in Poland, Teal House. Ukrainian artists who became refugees, and Russians and Belarusians who left because they opposed the war, lived in his house, in his apartment. It’s perhaps the only place in Europe that’s like that.\u003c/p>\n\u003cfigure id=\"attachment_13988046\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kirill Rubtsov, Ryan Czerwonko, Ilia Volok and Jeremy Beazlie in ‘Our Class.’ \u003ccite>(Irina Danilova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Many great Russian artists and musicians also fled since the beginning of the war. How does this fear of political persecution affect creativity and culture in Russia?\u003c/strong>\u003c/p>\n\u003cp>It influences it 100%. Artists cannot be not free.\u003c/p>\n\u003cp>It’s clear that there is not a single super free society, and in America there are also a huge number of restrictions on what you can’t do and so on. But in Russia it’s completely criminalized. That turns not only into censorship, but also self-censorship.\u003c/p>\n\u003cp>But not everyone can leave. Not everyone speaks other languages, and some have sick parents, some just have fear.\u003c/p>\n\u003cp>\u003cstrong>In these difficult times, how do you see the role of an artist? Do you believe that theater and creativity can be a force for good?\u003c/strong>\u003c/p>\n\u003cp>Yes I believe it, even though everyone says that no amount of culture or beauty will save the world. But going back to the beginning, I don’t think anyone has ever tried it. There has never been a single state on this earth that has placed its biggest bet on humanism, culture, education and empathy.\u003c/p>\n\u003cp>Seeing people’s strength in navigating difficult situations — be it in books, performances, films, music, it doesn’t matter — slowly forms you as a person.\u003c/p>\n\u003cp>Since everything went down the toilet, and took a completely different turn, it’s strange to talk about it. But I believe. Theater, music, cinema, books have made a huge impression on me. I can make better decisions after watching a performance, for example. I can change my life dramatically. I can realize, OK, I’m living wrong, I need to change something. So I think it’s still possible for others.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Our Class’ runs March 27–April 5 at Z Space (450 Florida St., San Francisco). \u003ca href=\"https://www.zspace.org/ourclass\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The play \u003cem>Our Class\u003c/em> unearths real events from a Polish village at the start of the Holocaust in 1941, but it gets at something universal: How prejudice, amplified and exploited by those in power, can drive ordinary people to despicable acts of violence.\u003c/p>\n\u003cp>Written by Tadeusz Słobodzianek in 2008, \u003ca href=\"https://www.zspace.org/ourclass\">\u003cem>Our Class\u003c/em>\u003c/a> runs at San Francisco’s Z Space March 27–April 5. It follows a class of five Catholic and five Jewish students, tracing their lives before and after a massacre in which the Catholic residents of the Nazi-occupied town of Jedwabne forced their Jewish neighbors into a barn and set it on fire.\u003c/p>\n\u003cp>More than 80 years later, governments peddling hatred have once again sewn divisions all over the globe. It’s something Chulpan Khamatova, who stars as Rachelka, knows well.\u003c/p>\n\u003cp>The Russian actress backed Russian President Vladimir Putin in the 2012 election (to protect her charity for children with cancer, she said). But in 2022, she went against the head of state by publicly opposing his invasion of Ukraine; protesting the war is a crime punishable by prison time in Russia.\u003c/p>\n\u003cp>While on break between performances of \u003cem>The Master and Margarita\u003c/em>, Khamatova and her children fled to Riga, Latvia, where she had to start over in exile. The decorated film and stage actress, who \u003cem>Our Class\u003c/em> director Igor Golyak called the “\u003ca href=\"https://igorgolyak.substack.com/p/the-laboratory-of-exile-notes-from\">Meryl Streep of Russia\u003c/a>,” joined a collective effort to support Ukrainian refugees while rebuilding her career in a new language.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now in San Francisco, Khamatova takes on her first English-language theatrical role in a timely production of \u003cem>Our Class\u003c/em>, which has her thinking about the importance of art amid devastating global events.\u003c/p>\n\u003cp>\u003cem>This interview was translated from Russian and edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988043\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/WladekWeddingDay_CastofOurClassBoston_Credit_OlgaMaturana-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ’Our Class’ at a performance in Boston. \u003ccite>(Olga Maturana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nastia Voynovskaya:\u003c/strong> What drew you to the story in \u003cem>Our Class\u003c/em>?\u003c/p>\n\u003cp>\u003cstrong>Chulpan Khamatova:\u003c/strong> I saw the show in New York, and I really liked the theme of how quickly people who are in some kind of community, because of outside forces, lose their humanity. This is a true story that happened in this town, when you have your own neighbors [turn on you]. It seems like it was a long time ago, and it will never happen again. But, now, look. We’ve somehow ended up in this trap again.\u003c/p>\n\u003cp>\u003cstrong>Does it remind you of the political climate in Russia?\u003c/strong>\u003c/p>\n\u003cp>Not only in Russia. I think there is a danger to any society. How should we behave to prevent it? I have no answers. It seems to me that culture and education — nobody has tried it yet, not a single country has made its main focus on education and culture. So, it is impossible to prove my theory.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Our Class\u003c/em> points to how even ordinary people are capable of violence. What does that tell you about human nature?\u003c/strong>\u003c/p>\n\u003cp>That we all have darkness and light, and it’s up to each one of us to balance them. It’s complicated, especially when you choose the light and you’re left completely alone for some time.\u003c/p>\n\u003cp>I really love my character in \u003cem>Our Class\u003c/em>, Rachelka. I feel sorry for her. Not only because she is Jewish or lost her family, but also because she has lost her soul. I don’t judge her in any way. I can’t imagine myself going through such trials.\u003c/p>\n\u003cp>The situation broke her. She did not burn in the shed, but she died on the inside. She died as a person who had hope and faith that good and justice will somehow prevail. She swam with the current and betrayed the people she loved. I appreciate how the play shows that no one is absolutely bad or absolutely good.\u003c/p>\n\u003cp>It was interesting for me to act in an English-language play. I wanted to immerse myself in a new world, a new mentality, and it turned out to be very close to home, which made me very happy. I was a little afraid that with my Russian training, I may seem too arrogant, too persistent. It turned out not to be the case.\u003c/p>\n\u003cfigure id=\"attachment_13988044\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988044\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Stephen-Ochsner.-Photo_-Credit_Pavel-Antonov-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Ochsner in ‘Our Class.’ \u003ccite>(Pavel Antonov)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The theater company presenting \u003cem>Our Class\u003c/em>, Arlekin, is made up of people from the former Soviet Union. Director Igor Golyak has roots in Ukraine. What kinds of conversations are you having with the other ensemble members when you’re not on stage?\u003c/strong>\u003c/p>\n\u003cp>I share a dressing room with two wonderful American actresses, Deborah Martin and Gigi Watson. We discuss everything — the situation in America, the situation in Russia, the war there and the war here. Unfortunately there are many unhappy topics to discuss — the rising levels of antisemitism.\u003c/p>\n\u003cp>I do not believe in dividing people by nationalities at all. I look at the individual person. In all nationalities there are amazing people, and also everywhere there are scum. I think this construction was unnecessary when civilization was formed. Of course, I respect and believe in certain cultural traditions, but I don’t think it’s possible to divide people by nationalities. I’m absolutely against it. That’s how the Holocaust started.\u003c/p>\n\u003cp>\u003cstrong>You’re Tatar and you grew up in the city of Kazan. Is there anything you bring from your life experience that helps you understand the story of \u003cem>Our Class\u003c/em> on a deeper level?\u003c/strong>\u003c/p>\n\u003cp>Yes, of course. The dominant ethnicity and language in the Soviet Union was Russian. Up until a certain age, I could not say my name — I was too shy. It was easier for me to introduce myself as Olya, Masha, Anya or some sort of typical Russian name. These experiences shape your personality, and they become like layers of bad skin that you have to shed as you get older.\u003c/p>\n\u003cp>I very much hope that the audience thinks about how the themes in the play relate to their own lives, not just the lives of some long-gone historical characters. There are just so many nuances and so many different interesting stories, both in our protagonists’ youth and old age.\u003c/p>\n\u003cp>I hope everyone in the audience imagines themselves facing these kinds of choices — a brave choice or a cowardly choice, to stay with yourself or to lose yourself. To go with the majority or to go against the current.\u003c/p>\n\u003cfigure id=\"attachment_13988045\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988045\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova.jpg\" alt=\"\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/ChulpanKhamatova_as-Rachelka_Marianna_Credit_Irina-Danilova-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chulpan Khamatova in ‘Our Class.’ \u003ccite>(Irina Danilova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tell me about your life in Latvia. How has it been for you having to start your career practically from the beginning?\u003c/strong>\u003c/p>\n\u003cp>It was not easy, but we survived. I moved with three children. I had no idea what to do next, how to live and how to feed them. I can’t say that the European world supported me in this decision, because all the laws and all the rules were aimed at making life outside Russia as difficult as possible for people who were against the war and left. I still have no answer why it is so, why it was necessary to turn off our credit cards, why it was necessary to create a situation where I couldn’t access my savings [because of sanctions]. There were a lot of such restrictions.\u003c/p>\n\u003cp>In my life, I have wealth in the form of friends who helped me survive from the very beginning. I started to work, to learn Latvian, and to play in the theater in Riga. I also try to perform in Russian, because I see how much people need it who are scattered all over the world, who left like me. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Throughout your career you’ve been involved in philanthropy. Can you share more about that?\u003c/strong>\u003c/p>\n\u003cp>In Russia we have a foundation that’s still around even though I’ve left, that helps children with cancer.\u003c/p>\n\u003cp>At the beginning of the war, helping Ukrainian refugees helped me. If you feel bad, start helping others. That was my therapy. In Latvia this organization emerged, it was founded by two wonderful women who are now my best friends. It somehow made it easier for my soul to be useful to people who lost everything because of my motherland. For the first two years we did a lot of fundraisers. I think it can’t be any other way.\u003c/p>\n\u003cp>My friend, the Russian dramaturg Ivan Vyrypaev, organized a special space in Poland, Teal House. Ukrainian artists who became refugees, and Russians and Belarusians who left because they opposed the war, lived in his house, in his apartment. It’s perhaps the only place in Europe that’s like that.\u003c/p>\n\u003cfigure id=\"attachment_13988046\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/4Muskateers_KirillRubtsov_RyanCzerwonko_IliaVolok_JeremyBeazlie_Credit_IrinaDanilova-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kirill Rubtsov, Ryan Czerwonko, Ilia Volok and Jeremy Beazlie in ‘Our Class.’ \u003ccite>(Irina Danilova)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Many great Russian artists and musicians also fled since the beginning of the war. How does this fear of political persecution affect creativity and culture in Russia?\u003c/strong>\u003c/p>\n\u003cp>It influences it 100%. Artists cannot be not free.\u003c/p>\n\u003cp>It’s clear that there is not a single super free society, and in America there are also a huge number of restrictions on what you can’t do and so on. But in Russia it’s completely criminalized. That turns not only into censorship, but also self-censorship.\u003c/p>\n\u003cp>But not everyone can leave. Not everyone speaks other languages, and some have sick parents, some just have fear.\u003c/p>\n\u003cp>\u003cstrong>In these difficult times, how do you see the role of an artist? Do you believe that theater and creativity can be a force for good?\u003c/strong>\u003c/p>\n\u003cp>Yes I believe it, even though everyone says that no amount of culture or beauty will save the world. But going back to the beginning, I don’t think anyone has ever tried it. There has never been a single state on this earth that has placed its biggest bet on humanism, culture, education and empathy.\u003c/p>\n\u003cp>Seeing people’s strength in navigating difficult situations — be it in books, performances, films, music, it doesn’t matter — slowly forms you as a person.\u003c/p>\n\u003cp>Since everything went down the toilet, and took a completely different turn, it’s strange to talk about it. But I believe. Theater, music, cinema, books have made a huge impression on me. I can make better decisions after watching a performance, for example. I can change my life dramatically. I can realize, OK, I’m living wrong, I need to change something. So I think it’s still possible for others.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Our Class’ runs March 27–April 5 at Z Space (450 Florida St., San Francisco). \u003ca href=\"https://www.zspace.org/ourclass\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, the San Francisco Playhouse stage will be transformed into a \u003ca href=\"https://www.kqed.org/pop/tag/basketball\">basketball\u003c/a> court. And instead of acts, the drama will unfold in quarters for \u003ca href=\"https://sfplayhouse.org/2025-2026-season/flex/\">\u003cem>Flex\u003c/em>\u003c/a>, a new play about high school girls with hoop dreams. The action-packed production gets its West Coast premiere on March 26 and features a good amount of game play, but it’s really all about the aspirations and struggles that drive the girls to leave it all on the court.\u003c/p>\n\u003cp>Directed by Bay Area theater veteran \u003ca href=\"https://www.kqed.org/arts/tag/margo-hall\">Margo Hall\u003c/a>, \u003cem>Flex\u003c/em> takes place in Arkansas, the home state of playwright Candrice Jones. She began developing the play in the Berkeley Repertory Theatre’s Ground Floor program for experimental new works a decade ago.\u003c/p>\n\u003cp>Set in 1998, the action in \u003cem>Flex\u003c/em> unfolds just after the formation of the \u003ca href=\"https://www.kqed.org/news/tag/wnba\">WNBA\u003c/a>. “It’s about dreaming of being a champion,” \u003ca href=\"https://www.ktvu.com/video/1747379\">Hall told KTVU\u003c/a> in a recent interview. “It’s also an opportunity for these young girls to get out of Arkansas, to have a life beyond this rural life.”\u003c/p>\n\u003cfigure id=\"attachment_13987903\" class=\"wp-caption aligncenter\" style=\"max-width: 2450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10.jpg\" alt=\"\" width=\"2450\" height=\"1630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10.jpg 2450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-2000x1331.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 2450px) 100vw, 2450px\">\u003cfigcaption class=\"wp-caption-text\">Camille Collaço, Emma Gardner, Santeon Brown, Courtney Gabrielle Williams, and Paige Mayes are the Lady Train high school basketball team in San Francisco Playhouse’s ‘Flex,’ performing March 26–May 2.\u003c/figcaption>\u003c/figure>\n\u003cp>The play arrives in the Bay Area as all eyes are on women’s basketball. Last year, the WNBA had its most popular season to date, and the Bay’s own Golden State Valkyries exceeded expectations as the first expansion team to make it to the playoffs.\u003c/p>\n\u003cp>This week, the WNBA made history once again: After contentious negotiations, players signed a new \u003ca href=\"https://www.espn.com/wnba/story/_/id/48243808/wnba-cba-2026-collective-bargaining-agreement-news-line-salaries-schedule\">collective bargaining agreement\u003c/a>. It raises their minimum salary from $66,000 to $300,000, and gives players more opportunities to share in the wealth they’re generating for the league. Experts have called it a \u003ca href=\"https://www.cbssports.com/wnba/news/new-wnba-cba-massive-step-forward-womens-sports/\">massive step forward\u003c/a> for women athletes, who have spent decades fighting for access, recognition and fair compensation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The WNBA has come a long way from its beginnings in the late ’90s, when players were pressured to fit into a narrow definition of femininity, supposedly to make the league more marketable. \u003cem>Flex\u003c/em> also deals with the conflicting pressures of young womanhood, as the high school girls navigate teen pregnancy, queerness and tensions around religious upbringing. Throughout it all, it’s female friendship that comes in clutch at the final buzzer.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfplayhouse.org/2025-2026-season/flex/\">Flex\u003c/a>’ plays at the San Francisco Playhouse (450 Post St., San Francisco) March 26–May 2, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the San Francisco Playhouse stage will be transformed into a \u003ca href=\"https://www.kqed.org/pop/tag/basketball\">basketball\u003c/a> court. And instead of acts, the drama will unfold in quarters for \u003ca href=\"https://sfplayhouse.org/2025-2026-season/flex/\">\u003cem>Flex\u003c/em>\u003c/a>, a new play about high school girls with hoop dreams. The action-packed production gets its West Coast premiere on March 26 and features a good amount of game play, but it’s really all about the aspirations and struggles that drive the girls to leave it all on the court.\u003c/p>\n\u003cp>Directed by Bay Area theater veteran \u003ca href=\"https://www.kqed.org/arts/tag/margo-hall\">Margo Hall\u003c/a>, \u003cem>Flex\u003c/em> takes place in Arkansas, the home state of playwright Candrice Jones. She began developing the play in the Berkeley Repertory Theatre’s Ground Floor program for experimental new works a decade ago.\u003c/p>\n\u003cp>Set in 1998, the action in \u003cem>Flex\u003c/em> unfolds just after the formation of the \u003ca href=\"https://www.kqed.org/news/tag/wnba\">WNBA\u003c/a>. “It’s about dreaming of being a champion,” \u003ca href=\"https://www.ktvu.com/video/1747379\">Hall told KTVU\u003c/a> in a recent interview. “It’s also an opportunity for these young girls to get out of Arkansas, to have a life beyond this rural life.”\u003c/p>\n\u003cfigure id=\"attachment_13987903\" class=\"wp-caption aligncenter\" style=\"max-width: 2450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10.jpg\" alt=\"\" width=\"2450\" height=\"1630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10.jpg 2450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-2000x1331.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/SFP_Flex_JessicaPalopoli10-2048x1363.jpg 2048w\" sizes=\"auto, (max-width: 2450px) 100vw, 2450px\">\u003cfigcaption class=\"wp-caption-text\">Camille Collaço, Emma Gardner, Santeon Brown, Courtney Gabrielle Williams, and Paige Mayes are the Lady Train high school basketball team in San Francisco Playhouse’s ‘Flex,’ performing March 26–May 2.\u003c/figcaption>\u003c/figure>\n\u003cp>The play arrives in the Bay Area as all eyes are on women’s basketball. Last year, the WNBA had its most popular season to date, and the Bay’s own Golden State Valkyries exceeded expectations as the first expansion team to make it to the playoffs.\u003c/p>\n\u003cp>This week, the WNBA made history once again: After contentious negotiations, players signed a new \u003ca href=\"https://www.espn.com/wnba/story/_/id/48243808/wnba-cba-2026-collective-bargaining-agreement-news-line-salaries-schedule\">collective bargaining agreement\u003c/a>. It raises their minimum salary from $66,000 to $300,000, and gives players more opportunities to share in the wealth they’re generating for the league. Experts have called it a \u003ca href=\"https://www.cbssports.com/wnba/news/new-wnba-cba-massive-step-forward-womens-sports/\">massive step forward\u003c/a> for women athletes, who have spent decades fighting for access, recognition and fair compensation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The WNBA has come a long way from its beginnings in the late ’90s, when players were pressured to fit into a narrow definition of femininity, supposedly to make the league more marketable. \u003cem>Flex\u003c/em> also deals with the conflicting pressures of young womanhood, as the high school girls navigate teen pregnancy, queerness and tensions around religious upbringing. Throughout it all, it’s female friendship that comes in clutch at the final buzzer.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfplayhouse.org/2025-2026-season/flex/\">Flex\u003c/a>’ plays at the San Francisco Playhouse (450 Post St., San Francisco) March 26–May 2, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, I wrote an opinion piece for my college paper titled “Friends Aren’t Forever and That’s Okay.” Reflecting on the fleeting nature of high school friendships, I realized that even though those friendships didn’t last, they meant a great deal, and shaped me in ways I couldn’t fully understand at the time.\u003c/p>\n\u003cp>I’ve graduated college now, but couldn’t help but think of these friendships while watching \u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em>, a new play by Eisa Davis at \u003ca href=\"https://www.kqed.org/arts/tag/act\">ACT\u003c/a>’s Strand Theater in San Francisco. Davis, raised in the Bay Area and inspired by her time in UC Berkeley’s Young Musicians Program, clearly understands the bonds of girlhood. Directed by outgoing ACT Artistic Director Pam MacKinnon, the play captures the essence of being a teenage girl amongst other teenage girls: a combination of ego and uncertainty, with small moments feeling magnified and personal. \u003c/p>\n\u003cp>In \u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em>, we’re introduced to four high school girls at a prestigious summer music program in Berkeley who’ve been assigned to rehearse and perform together as a group. Aside from their love for music, they seem to have nothing in common.\u003c/p>\n\u003cfigure id=\"attachment_13987819\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hillary Fisher (Fax) and Naomi Latta (Margot) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fax (Hillary Fisher), the group’s vocalist, is anxious, hyper-prepared and constantly overthinking, a perfectionist prone to rambling. In contrast, Margot (Naomi Latta), the group’s drummer, is laid-back and carefree. She proclaims that “words are so not [her] vibe,” yet her playing reveals an intensity beneath the surface.\u003c/p>\n\u003cp>Riles (Yeena Sung), the pianist, is vibrant and unapologetically expressive, with multicolored hair, a wardrobe filled with fun prints and Labubus hanging from their backpack. Then there’s the more reticent Clementine (Gianna DiGregorio Rivera), often in the background, who effortlessly plays multiple instruments and offers comic relief. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Notably, there are no boys at the program, and throughout the summer, these girls create unexpected bonds despite their clashing personalities.\u003c/p>\n\u003cfigure id=\"attachment_13987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yeena Sung (Rile), Gianna DiGregorio Rivera (Clementine), and Naomi Latta (Margot) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of monologues, we get a glimpse into the minds of these girls and their home lives; the play touches on heavy themes like eating disorders, substance abuse, sexuality and homelessness. But as is often the case with teenage girls (I speak from experience), they’re so consumed by their own struggles that they fail to recognize how vastly different their lives are outside this shared space. \u003c/p>\n\u003cp>At one point in the first interactions between Fax and Margot, Fax turns to the audience and says “I don’t know this yet, but this person has begun to shape my life.” While the audience laughed at this break of the fourth wall, it resonated deeply with me. It’s often only in hindsight that we recognize how deeply people have impacted us – especially those we least expected. \u003c/p>\n\u003cp>Even Clementine, who doesn’t forge as deep a relationship with the other three, represents something important: the person you often take for granted. Someone who’s always there, and you don’t realize how much their presence really mattered until they aren’t anymore. \u003c/p>\n\u003cfigure id=\"attachment_13987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Latta (Margot) and Gianna DiGregorio Rivera (Clementine) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the play, we we learn that none of these girls really kept in touch. They’ve all grown in ways that are natural, and that their high school selves could have never imagined. \u003c/p>\n\u003cp>Part of me wanted to see the girls get past their differences and help each other grow through life. But that’s not typically how things play out. The abrupt ending to these friendships as summer ends is true to these fleeting-yet-formative friendships.\u003c/p>\n\u003cp>\u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em> doesn’t mourn that girlhood ends — it honors what grows from of it. As I wrote in that sophomore-year opinion piece, “These are the people who shape you into who you are and who you want to become, even if it’s only a brief amount of time that your paths cross.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘||: Girls :|| ||: Chance :|| ||: Music :||’ runs through April 19 at ACT’s Strand Theater (1127 Market St., San Francisco). \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/girls-chance-music/performances\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, I wrote an opinion piece for my college paper titled “Friends Aren’t Forever and That’s Okay.” Reflecting on the fleeting nature of high school friendships, I realized that even though those friendships didn’t last, they meant a great deal, and shaped me in ways I couldn’t fully understand at the time.\u003c/p>\n\u003cp>I’ve graduated college now, but couldn’t help but think of these friendships while watching \u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em>, a new play by Eisa Davis at \u003ca href=\"https://www.kqed.org/arts/tag/act\">ACT\u003c/a>’s Strand Theater in San Francisco. Davis, raised in the Bay Area and inspired by her time in UC Berkeley’s Young Musicians Program, clearly understands the bonds of girlhood. Directed by outgoing ACT Artistic Director Pam MacKinnon, the play captures the essence of being a teenage girl amongst other teenage girls: a combination of ego and uncertainty, with small moments feeling magnified and personal. \u003c/p>\n\u003cp>In \u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em>, we’re introduced to four high school girls at a prestigious summer music program in Berkeley who’ve been assigned to rehearse and perform together as a group. Aside from their love for music, they seem to have nothing in common.\u003c/p>\n\u003cfigure id=\"attachment_13987819\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/106_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hillary Fisher (Fax) and Naomi Latta (Margot) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fax (Hillary Fisher), the group’s vocalist, is anxious, hyper-prepared and constantly overthinking, a perfectionist prone to rambling. In contrast, Margot (Naomi Latta), the group’s drummer, is laid-back and carefree. She proclaims that “words are so not [her] vibe,” yet her playing reveals an intensity beneath the surface.\u003c/p>\n\u003cp>Riles (Yeena Sung), the pianist, is vibrant and unapologetically expressive, with multicolored hair, a wardrobe filled with fun prints and Labubus hanging from their backpack. Then there’s the more reticent Clementine (Gianna DiGregorio Rivera), often in the background, who effortlessly plays multiple instruments and offers comic relief. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Notably, there are no boys at the program, and throughout the summer, these girls create unexpected bonds despite their clashing personalities.\u003c/p>\n\u003cfigure id=\"attachment_13987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987821\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/155_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yeena Sung (Rile), Gianna DiGregorio Rivera (Clementine), and Naomi Latta (Margot) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of monologues, we get a glimpse into the minds of these girls and their home lives; the play touches on heavy themes like eating disorders, substance abuse, sexuality and homelessness. But as is often the case with teenage girls (I speak from experience), they’re so consumed by their own struggles that they fail to recognize how vastly different their lives are outside this shared space. \u003c/p>\n\u003cp>At one point in the first interactions between Fax and Margot, Fax turns to the audience and says “I don’t know this yet, but this person has begun to shape my life.” While the audience laughed at this break of the fourth wall, it resonated deeply with me. It’s often only in hindsight that we recognize how deeply people have impacted us – especially those we least expected. \u003c/p>\n\u003cp>Even Clementine, who doesn’t forge as deep a relationship with the other three, represents something important: the person you often take for granted. Someone who’s always there, and you don’t realize how much their presence really mattered until they aren’t anymore. \u003c/p>\n\u003cfigure id=\"attachment_13987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13987822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/147_GCM-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Latta (Margot) and Gianna DiGregorio Rivera (Clementine) in the world premiere of Eisa Davis’ ‘||: Girls :||: Chance :||: Music :||.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the play, we we learn that none of these girls really kept in touch. They’ve all grown in ways that are natural, and that their high school selves could have never imagined. \u003c/p>\n\u003cp>Part of me wanted to see the girls get past their differences and help each other grow through life. But that’s not typically how things play out. The abrupt ending to these friendships as summer ends is true to these fleeting-yet-formative friendships.\u003c/p>\n\u003cp>\u003cem>||: Girls :|| ||: Chance :|| ||: Music :||\u003c/em> doesn’t mourn that girlhood ends — it honors what grows from of it. As I wrote in that sophomore-year opinion piece, “These are the people who shape you into who you are and who you want to become, even if it’s only a brief amount of time that your paths cross.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘||: Girls :|| ||: Chance :|| ||: Music :||’ runs through April 19 at ACT’s Strand Theater (1127 Market St., San Francisco). \u003ca href=\"https://www.act-sf.org/whats-on/2025-26-season/girls-chance-music/performances\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, April 3:\u003c/strong> This event has been postponed. “Minnelli is unable to travel to San Francisco next week and is working with City Arts to confirm the new date,” organizers state. Tickets will be valid for the rescheduled event, or may be refunded. \u003ca href=\"https://www.cityarts.net/event/liza-minnelli/\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When Liza Minnelli announces a stop in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, you can bet on two things: the audience will be full of \u003ca href=\"https://i.pinimg.com/originals/0d/59/47/0d5947d07861837bd27348cd456efb93.gif\">divine decadence\u003c/a>, and tickets will sell out quickly.\u003c/p>\n\u003cp>The singer, actress and survivor of everything under the sun appears at the Sydney Goldstein Theater on Thursday, April 9, as part of City Arts & Lectures. Talking in conversation with the cabaret singer Michael Feinstein, Minnelli will discuss her career, her new book \u003cem>Kids, Wait Till You Hear This!\u003c/em> and — Minnelli being Minnelli — anything else that happens to pop into her head.\u003c/p>\n\u003cp>[aside postID='arts_13937730']\u003cem>Kids, Wait Till You Hear This!\u003c/em>, based in part on taped conversations with Feinstein, was released March 10. In the book, the daughter of director Vincente Minnelli and singer and actress Judy Garland, Minnelli, now 80, recounts her stage career, four marriages and struggles with addiction and alcoholism. \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> called it “a familiar reminder that growing up in showbiz can lead to awards and adulation, but also to heartache.”\u003c/p>\n\u003cp>Feinstein himself is no stranger to San Francisco. The interpreter of the Great American Songbook frequently appears at his namesake supper club, Feinstein’s, located inside Hotel Nikko in Union Square.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for Minnelli’s appearance, priced at $64–$84, go on sale to the public Thursday, March 19, at 11 a.m., and include a copy of the book. Members of City Arts & Lectures may buy tickets now, with memberships starting at $120 per year. \u003ca href=\"https://www.cityarts.net/event/liza-minnelli/\">Tickets and more information here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, April 3:\u003c/strong> This event has been postponed. “Minnelli is unable to travel to San Francisco next week and is working with City Arts to confirm the new date,” organizers state. Tickets will be valid for the rescheduled event, or may be refunded. \u003ca href=\"https://www.cityarts.net/event/liza-minnelli/\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When Liza Minnelli announces a stop in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, you can bet on two things: the audience will be full of \u003ca href=\"https://i.pinimg.com/originals/0d/59/47/0d5947d07861837bd27348cd456efb93.gif\">divine decadence\u003c/a>, and tickets will sell out quickly.\u003c/p>\n\u003cp>The singer, actress and survivor of everything under the sun appears at the Sydney Goldstein Theater on Thursday, April 9, as part of City Arts & Lectures. Talking in conversation with the cabaret singer Michael Feinstein, Minnelli will discuss her career, her new book \u003cem>Kids, Wait Till You Hear This!\u003c/em> and — Minnelli being Minnelli — anything else that happens to pop into her head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Kids, Wait Till You Hear This!\u003c/em>, based in part on taped conversations with Feinstein, was released March 10. In the book, the daughter of director Vincente Minnelli and singer and actress Judy Garland, Minnelli, now 80, recounts her stage career, four marriages and struggles with addiction and alcoholism. \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em> called it “a familiar reminder that growing up in showbiz can lead to awards and adulation, but also to heartache.”\u003c/p>\n\u003cp>Feinstein himself is no stranger to San Francisco. The interpreter of the Great American Songbook frequently appears at his namesake supper club, Feinstein’s, located inside Hotel Nikko in Union Square.\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>Tickets for Minnelli’s appearance, priced at $64–$84, go on sale to the public Thursday, March 19, at 11 a.m., and include a copy of the book. Members of City Arts & Lectures may buy tickets now, with memberships starting at $120 per year. \u003ca href=\"https://www.cityarts.net/event/liza-minnelli/\">Tickets and more information here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants",
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"headTitle": "While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants | KQED",
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"content": "\u003cp>\u003ci>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/i>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003ci>Click here to subscribe\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>When poet \u003ca href=\"https://www.kqed.org/arts/13904861/abuela-mexican-kitchen-undocumented-workers-san-jose\">Yosimar Reyes\u003c/a> started writing the play \u003ci>No Llegamos Aquí Solos\u003c/i> in early 2025, he could not have pictured the extent of the Trump administration’s violent crackdown on undocumented immigrants. But fear and injustice is all too familiar for Reyes, 37, who came to the United States from Mexico when he was three years old and lived for many years without authorization.\u003c/p>\n\u003cp>Decades of storytellers’ efforts to humanize undocumented people have evidently failed to convince people that immigrants are people too, Reyes tells KQED. So when Teatro Visión tapped Reyes to write a play, he focused on speaking directly to immigrants and celebrating them.\u003c/p>\n\u003cp>[aside postID='arts_13904861']\u003ci>No Llegamos Aquí Solos\u003c/i> (which translates as “we did not come here alone”) tells the stories of characters living in an East San José apartment building in the lead-up to a raid by immigration enforcement. “I wanted to showcase the different characters that I grew up with, and write about the people that inspired me to become a poet,” says Reyes, who is a DACA recipient and serves as Santa Clara County’s Poet Laureate.\u003c/p>\n\u003cp>\u003ci>No Llegamos Aquí Solos \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">runs through Feb. 22\u003c/a> at Mexican Heritage Plaza Theater in San José. KQED’s Blanca Torres talked with Reyes about his experience writing the play and seeing it come to the stage in this current moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg\" alt=\"\" width=\"2000\" height=\"1384\" class=\"size-full wp-image-13986728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘No Llegamos Aquí Solos.’ \u003ccite>(Ugho Badú)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Blanca Torres: Can you tell me about some characters in this play that you created based on your life? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Yosimar Reyes\u003c/b>: The script follows a series of neighbors. They’re undocumented, but they all have a different issue that’s impacting them. Oftentimes, plays or stories about undocumented people are meant to educate people. What’s more important is to hold a mirror to undocumented people. There’s a scene where a group of day laborers are all living in one apartment. There’s another character who sells food in the courtyard. It was important to also showcase the way in which characters contribute back to the community as well.\u003c/p>\n\u003cp>\u003cb>How do you feel about the stage production of the play coming at this particular moment? \u003c/b>\u003c/p>\n\u003cp>I’ve always been keenly aware of the way undocumented people have been represented. That has been the looming theme in a lot of my work. My grandmother, who I was a caregiver to, passed away in November 2024. I had advanced parole, which allows me to leave my country, so I was able to transport her remains back to Mexico. That was like an awakening. The story of so many undocumented immigrants that return home is either they are deported or in a coffin. I don’t necessarily want that to be my fate.\u003c/p>\n\u003cp>The character Ignacio, throughout the play, is bombarded with all these ICE raids that he’s seeing. And because he’s so focused on preparing, he forgets to enjoy the little moments or the small things that are happening. The play juxtaposes the madness of living under this constant threat of deportation with \u003ci>how do undocumented people actually live full lives\u003c/i>?\u003c/p>\n\u003cfigure id=\"attachment_13904928\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg\" alt=\"An elderly Latina woman and her grandson post for a portrait outdoors in their tree-lined backyard.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13904928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes (right) and his grandmother, pictured in East San José in 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So has your thinking about telling the stories of undocumented people changed?\u003c/b>\u003c/p>\n\u003cp>We spent so much time and energy telling undocumented narratives, and it was to no avail, because people are willing to believe that we’re all these negative things. I wanted to write a play that’s unapologetic and is catered to my community. The question that I’m asking undocumented people is: What are the sacred things you lose when you choose to remain here? And how do we start taking care of our mental and spiritual well-being? The reality is that the deportation machine is going to grow and we are going to have to leave. How do we hold on to things that are more sacred than papers?\u003c/p>\n\u003cp>\u003cb>Can you tell more about East San José? Is this a community that people know a lot about? \u003c/b>\u003c/p>\n\u003cp>What happens with San José is we are put under the umbrella of Silicon Valley, right? There’s so much tech. There’s so much innovation. When I was growing up, that was kind of frustrating because I was like, yes, that’s downtown. The East Side is different. There’s multiple families in an apartment. People are living in deplorable housing conditions because we have slumlords. My grandma used to recycle bottles and cans. She used to hustle to pay the rent. We have families that are just trying to stay in this very, very expensive city. I remember growing up constantly feeling like an outsider. Yes, we might not be acknowledged, but we’re contributing to this city. We’re living full lives in this corner of the city.\u003c/p>\n\u003cfigure id=\"attachment_13986729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg\" alt=\"\" width=\"560\" height=\"382\" class=\"size-full wp-image-13986729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_-160x109.jpg 160w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Yosimar Reyes’ ‘No Llegamos Aquí Solos.’ Says Reyes, ‘Over the play, there’s this looming presence of the ICE raid, but the characters are cracking jokes. They’re making fun of each other. They have dark humor. They’re pushing through it.’ \u003ccite>(Italia Bautista Barcenas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you see, longer-term, coming out of the current immigration enforcement? How would you want things to either change or for the community to change? \u003c/b>\u003c/p>\n\u003cp>This country has always had a turbulent relationship with immigrants and people of color. Look at the history of the Civil Rights movement. There are Americans losing their civil liberties because they want to believe this lie that I’m a criminal. At this moment, undocumented people need to protect their energy. We need to enjoy our families. We need to start saving and dreaming of a different future.\u003c/p>\n\u003cp>For so long we have been told this is the only place we could build, that our home is here, that this is the only place we can make it. And all this effort that I have been putting in for 30-something years to become legal and doing things the right way, and it’s not happening – we are not going to get legalized anytime soon. So can we take time to pause, assess, protect our energy and really start thinking: If I have to go, how do I not lose a sense of myself and know that I have the fortitude to build all of this again?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘No Llegamos Aquí Solos’ runs through Sunday, Feb. 22, at the Mexican Heritage Plaza Theater in San José. \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/i>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003ci>Click here to subscribe\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>When poet \u003ca href=\"https://www.kqed.org/arts/13904861/abuela-mexican-kitchen-undocumented-workers-san-jose\">Yosimar Reyes\u003c/a> started writing the play \u003ci>No Llegamos Aquí Solos\u003c/i> in early 2025, he could not have pictured the extent of the Trump administration’s violent crackdown on undocumented immigrants. But fear and injustice is all too familiar for Reyes, 37, who came to the United States from Mexico when he was three years old and lived for many years without authorization.\u003c/p>\n\u003cp>Decades of storytellers’ efforts to humanize undocumented people have evidently failed to convince people that immigrants are people too, Reyes tells KQED. So when Teatro Visión tapped Reyes to write a play, he focused on speaking directly to immigrants and celebrating them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>No Llegamos Aquí Solos\u003c/i> (which translates as “we did not come here alone”) tells the stories of characters living in an East San José apartment building in the lead-up to a raid by immigration enforcement. “I wanted to showcase the different characters that I grew up with, and write about the people that inspired me to become a poet,” says Reyes, who is a DACA recipient and serves as Santa Clara County’s Poet Laureate.\u003c/p>\n\u003cp>\u003ci>No Llegamos Aquí Solos \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">runs through Feb. 22\u003c/a> at Mexican Heritage Plaza Theater in San José. KQED’s Blanca Torres talked with Reyes about his experience writing the play and seeing it come to the stage in this current moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg\" alt=\"\" width=\"2000\" height=\"1384\" class=\"size-full wp-image-13986728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘No Llegamos Aquí Solos.’ \u003ccite>(Ugho Badú)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Blanca Torres: Can you tell me about some characters in this play that you created based on your life? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Yosimar Reyes\u003c/b>: The script follows a series of neighbors. They’re undocumented, but they all have a different issue that’s impacting them. Oftentimes, plays or stories about undocumented people are meant to educate people. What’s more important is to hold a mirror to undocumented people. There’s a scene where a group of day laborers are all living in one apartment. There’s another character who sells food in the courtyard. It was important to also showcase the way in which characters contribute back to the community as well.\u003c/p>\n\u003cp>\u003cb>How do you feel about the stage production of the play coming at this particular moment? \u003c/b>\u003c/p>\n\u003cp>I’ve always been keenly aware of the way undocumented people have been represented. That has been the looming theme in a lot of my work. My grandmother, who I was a caregiver to, passed away in November 2024. I had advanced parole, which allows me to leave my country, so I was able to transport her remains back to Mexico. That was like an awakening. The story of so many undocumented immigrants that return home is either they are deported or in a coffin. I don’t necessarily want that to be my fate.\u003c/p>\n\u003cp>The character Ignacio, throughout the play, is bombarded with all these ICE raids that he’s seeing. And because he’s so focused on preparing, he forgets to enjoy the little moments or the small things that are happening. The play juxtaposes the madness of living under this constant threat of deportation with \u003ci>how do undocumented people actually live full lives\u003c/i>?\u003c/p>\n\u003cfigure id=\"attachment_13904928\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg\" alt=\"An elderly Latina woman and her grandson post for a portrait outdoors in their tree-lined backyard.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13904928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes (right) and his grandmother, pictured in East San José in 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So has your thinking about telling the stories of undocumented people changed?\u003c/b>\u003c/p>\n\u003cp>We spent so much time and energy telling undocumented narratives, and it was to no avail, because people are willing to believe that we’re all these negative things. I wanted to write a play that’s unapologetic and is catered to my community. The question that I’m asking undocumented people is: What are the sacred things you lose when you choose to remain here? And how do we start taking care of our mental and spiritual well-being? The reality is that the deportation machine is going to grow and we are going to have to leave. How do we hold on to things that are more sacred than papers?\u003c/p>\n\u003cp>\u003cb>Can you tell more about East San José? Is this a community that people know a lot about? \u003c/b>\u003c/p>\n\u003cp>What happens with San José is we are put under the umbrella of Silicon Valley, right? There’s so much tech. There’s so much innovation. When I was growing up, that was kind of frustrating because I was like, yes, that’s downtown. The East Side is different. There’s multiple families in an apartment. People are living in deplorable housing conditions because we have slumlords. My grandma used to recycle bottles and cans. She used to hustle to pay the rent. We have families that are just trying to stay in this very, very expensive city. I remember growing up constantly feeling like an outsider. Yes, we might not be acknowledged, but we’re contributing to this city. We’re living full lives in this corner of the city.\u003c/p>\n\u003cfigure id=\"attachment_13986729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg\" alt=\"\" width=\"560\" height=\"382\" class=\"size-full wp-image-13986729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_-160x109.jpg 160w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Yosimar Reyes’ ‘No Llegamos Aquí Solos.’ Says Reyes, ‘Over the play, there’s this looming presence of the ICE raid, but the characters are cracking jokes. They’re making fun of each other. They have dark humor. They’re pushing through it.’ \u003ccite>(Italia Bautista Barcenas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you see, longer-term, coming out of the current immigration enforcement? How would you want things to either change or for the community to change? \u003c/b>\u003c/p>\n\u003cp>This country has always had a turbulent relationship with immigrants and people of color. Look at the history of the Civil Rights movement. There are Americans losing their civil liberties because they want to believe this lie that I’m a criminal. At this moment, undocumented people need to protect their energy. We need to enjoy our families. We need to start saving and dreaming of a different future.\u003c/p>\n\u003cp>For so long we have been told this is the only place we could build, that our home is here, that this is the only place we can make it. And all this effort that I have been putting in for 30-something years to become legal and doing things the right way, and it’s not happening – we are not going to get legalized anytime soon. So can we take time to pause, assess, protect our energy and really start thinking: If I have to go, how do I not lose a sense of myself and know that I have the fortitude to build all of this again?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘No Llegamos Aquí Solos’ runs through Sunday, Feb. 22, at the Mexican Heritage Plaza Theater in San José. \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
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"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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"id": "commonwealth-club",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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},
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"id": "fresh-air",
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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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"hidden-brain": {
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"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"
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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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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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. ",
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"order": 15
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},
"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",
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"order": 18
},
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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/",
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"link": "/radio/program/latino-usa",
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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"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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"
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"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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",
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"link": "/radio/program/morning-edition"
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"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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