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"content": "\u003cp>Black feminist writer Toni Cade Bambara once declared that the role of the artist is to “make the revolution irresistible.” That mantra has guided the organizers of \u003ca href=\"https://www.instagram.com/p/C0zUMCeR4XE/?img_index=1\">Artists Against Genocide\u003c/a>, a 14-hour event that invites the public to learn, grieve and organize around the human rights crises in \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Gaza\u003c/a>, the \u003ca href=\"https://www.nytimes.com/2023/12/17/world/africa/democratic-republic-of-congo-elections.html\">Democratic Republic of Congo\u003c/a>, \u003ca href=\"https://www.aljazeera.com/features/2024/1/9/sudans-army-is-retaliating-against-activists-amid-the-war-for-their-role-in-bringing-down-their-former-boss-and-president-omar-al-bashir-in-april-2019\">Sudan\u003c/a> and \u003ca href=\"https://www.un.org/en/information-center-washington/haiti%E2%80%99s-harrowing-humanitarian-crisis-remains-top-united-nations%E2%80%99\">Haiti\u003c/a> on Jan. 14 at San Francisco art space \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>.\u003c/p>\n\u003cp>“We’re making it something that is exciting and also communal,” says Chibueze Crouch, who put together the event with fellow theater, dance and performing artists Styles Alexander, Clarissa Dyas, Kim Ip and Ainsley Tharp.\u003c/p>\n\u003cfigure id=\"attachment_13940290\" class=\"wp-caption alignright\" style=\"max-width: 1074px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png\" alt=\"A Zoom screenshot of five smiling artists and organizers. \" width=\"1074\" height=\"1606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1027x1536.png 1027w\" sizes=\"(max-width: 1074px) 100vw, 1074px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Styles Alexander, Ainsley Tharp, Kim Ip, Chibueze Crouch and Clarissa Dyas. \u003ccite>(Courtesy of Chibueze Crouch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day event offers panels and teach-ins, with speakers that include \u003ca href=\"https://www.palestineinamerica.com/blog/A%20Palestinian%20you%20should%20know:%20Sharif%20Zakout\">Sharif Zakout\u003c/a> of \u003ca href=\"https://www.araborganizing.org/\">Arab Resource and Organizing Center\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/cat-brooks\">Cat Brooks\u003c/a> of \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a>, with support from local record label \u003ca href=\"https://7000coils.com/\">7000COILS\u003c/a>. Dancer, choreographer and Yoruba priest \u003ca href=\"https://www.kqed.org/news/11953660/the-kitchen-sisters-present-house-full-of-black-women\">Amara Tabor-Smith\u003c/a> will lead a movement workshop aimed at helping attendees process and release emotions. And a protest poster-making station and phone booths for calling legislators will offer space for participants to channel their sorrow, rage and solidarity into action.\u003c/p>\n\u003cp>“We’re also having a potluck,” says Alexander. “That’s so crucial in these moments — just breaking bread together.”\u003c/p>\n\u003cp>Alexander, who is a member of the queer performance collective Rupture, one of the first arts groups in the Bay Area to put out a \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=1\">formal statement of solidarity with Gaza\u003c/a>, began dreaming up Artists Against Genocide in October. They and their co-organizers anticipated that, by January, there could be some fatigue among the public after months of protesting and calling Congress to demand a ceasefire.\u003c/p>\n\u003cp>“It’s the day before Martin Luther King Day, so it all feels very potent for rejuvenation of a moment that — we don’t know how long until it’s over,” Alexander says.\u003c/p>\n\u003cp>Fellow organizer Ip hopes the event will help creatives realize their power for mobilizing change. “We do have an amazing toolkit, as artists and producers and creators, where we are able to see on a big-picture scale and think critically about society,” she says.\u003c/p>\n\u003cp>[aside postid='news_11972100']But the organizers are careful to underscore that although they’re drawing from the Bay Area’s rich legacy of performance protest, one doesn’t need to be a professional artist to attend or participate. “There is an artist in everyone,” Alexander says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/counterpulse/\">Artists Against Genocide\u003c/a> is free to attend and begins at 12 p.m. on Jan. 14 at CounterPulse in San Francisco. Panels start at 3 p.m., and performances begin at 5 p.m. and go until 2 a.m. ASL interpretation will be available, and the teach-in will be recorded and shared after the event.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Black feminist writer Toni Cade Bambara once declared that the role of the artist is to “make the revolution irresistible.” That mantra has guided the organizers of \u003ca href=\"https://www.instagram.com/p/C0zUMCeR4XE/?img_index=1\">Artists Against Genocide\u003c/a>, a 14-hour event that invites the public to learn, grieve and organize around the human rights crises in \u003ca href=\"https://www.kqed.org/news/tag/gaza\">Gaza\u003c/a>, the \u003ca href=\"https://www.nytimes.com/2023/12/17/world/africa/democratic-republic-of-congo-elections.html\">Democratic Republic of Congo\u003c/a>, \u003ca href=\"https://www.aljazeera.com/features/2024/1/9/sudans-army-is-retaliating-against-activists-amid-the-war-for-their-role-in-bringing-down-their-former-boss-and-president-omar-al-bashir-in-april-2019\">Sudan\u003c/a> and \u003ca href=\"https://www.un.org/en/information-center-washington/haiti%E2%80%99s-harrowing-humanitarian-crisis-remains-top-united-nations%E2%80%99\">Haiti\u003c/a> on Jan. 14 at San Francisco art space \u003ca href=\"https://counterpulse.org/\">CounterPulse\u003c/a>.\u003c/p>\n\u003cp>“We’re making it something that is exciting and also communal,” says Chibueze Crouch, who put together the event with fellow theater, dance and performing artists Styles Alexander, Clarissa Dyas, Kim Ip and Ainsley Tharp.\u003c/p>\n\u003cfigure id=\"attachment_13940290\" class=\"wp-caption alignright\" style=\"max-width: 1074px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940290\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png\" alt=\"A Zoom screenshot of five smiling artists and organizers. \" width=\"1074\" height=\"1606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers.png 1074w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1020x1525.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-768x1148.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/artists-against-genocide-organizers-1027x1536.png 1027w\" sizes=\"(max-width: 1074px) 100vw, 1074px\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Styles Alexander, Ainsley Tharp, Kim Ip, Chibueze Crouch and Clarissa Dyas. \u003ccite>(Courtesy of Chibueze Crouch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The all-day event offers panels and teach-ins, with speakers that include \u003ca href=\"https://www.palestineinamerica.com/blog/A%20Palestinian%20you%20should%20know:%20Sharif%20Zakout\">Sharif Zakout\u003c/a> of \u003ca href=\"https://www.araborganizing.org/\">Arab Resource and Organizing Center\u003c/a> and \u003ca href=\"https://www.kqed.org/news/tag/cat-brooks\">Cat Brooks\u003c/a> of \u003ca href=\"https://www.antipoliceterrorproject.org/\">Anti Police-Terror Project\u003c/a>, with support from local record label \u003ca href=\"https://7000coils.com/\">7000COILS\u003c/a>. Dancer, choreographer and Yoruba priest \u003ca href=\"https://www.kqed.org/news/11953660/the-kitchen-sisters-present-house-full-of-black-women\">Amara Tabor-Smith\u003c/a> will lead a movement workshop aimed at helping attendees process and release emotions. And a protest poster-making station and phone booths for calling legislators will offer space for participants to channel their sorrow, rage and solidarity into action.\u003c/p>\n\u003cp>“We’re also having a potluck,” says Alexander. “That’s so crucial in these moments — just breaking bread together.”\u003c/p>\n\u003cp>Alexander, who is a member of the queer performance collective Rupture, one of the first arts groups in the Bay Area to put out a \u003ca href=\"https://www.instagram.com/p/Cz2sl4NLwh3/?img_index=1\">formal statement of solidarity with Gaza\u003c/a>, began dreaming up Artists Against Genocide in October. They and their co-organizers anticipated that, by January, there could be some fatigue among the public after months of protesting and calling Congress to demand a ceasefire.\u003c/p>\n\u003cp>“It’s the day before Martin Luther King Day, so it all feels very potent for rejuvenation of a moment that — we don’t know how long until it’s over,” Alexander says.\u003c/p>\n\u003cp>Fellow organizer Ip hopes the event will help creatives realize their power for mobilizing change. “We do have an amazing toolkit, as artists and producers and creators, where we are able to see on a big-picture scale and think critically about society,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the organizers are careful to underscore that although they’re drawing from the Bay Area’s rich legacy of performance protest, one doesn’t need to be a professional artist to attend or participate. “There is an artist in everyone,” Alexander says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/counterpulse/\">Artists Against Genocide\u003c/a> is free to attend and begins at 12 p.m. on Jan. 14 at CounterPulse in San Francisco. Panels start at 3 p.m., and performances begin at 5 p.m. and go until 2 a.m. ASL interpretation will be available, and the teach-in will be recorded and shared after the event.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13938979\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447.jpg\" alt=\"\" width=\"1758\" height=\"1321\" class=\"size-full wp-image-13938979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-1536x1154.jpg 1536w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Ahmad and Neamah Hussein in ‘Closure’ at Golden Thread’s 2023 ReOrient Festival. \u003ccite>(David Allen Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area theater in 2023 often went in woeful directions. Audiences still haven’t returned to bustling pre-pandemic levels, and too many theaters closed, unable to balance their high levels of artistry with financial solvency.\u003c/p>\n\u003cp>Still, there are encouraging signs for live storytelling as the calendar marches toward 2024. Some critical Bay Area festivals returned, carrying national repercussions, and many bold theatermakers chose this year to reveal transcendent passion projects — with no shortage of local world premieres. \u003c/p>\n\u003cp>Here, Bay Area theater critics and regular KQED Arts contributors Nicole Gluckstern and David John Chávez reflect on the region’s significant theater news, events and premieres of 2023. \u003c/p>\n\u003cfigure id=\"attachment_13938999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TNL.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-full wp-image-13938999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TNL.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TNL-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TNL-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka, AeJay Marquis Mitchell, Aidaa Peerzada and Donald Lacy, Jr. in ‘The Ni¿¿er Lovers’ at Magic Theatre. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not Sorry to Bother You\u003c/h2>\n\u003cp>\u003cstrong>‘The Ni¿¿er Lovers’ was a breakthrough hit\u003c/strong>\u003c/p>\n\u003cp>To say that Marc Anthony Thompson’s debut play \u003cem>The Ni¿¿er Lovers\u003c/em> at Magic Theatre pulled no punches would be to massively understate its gleeful fearlessness. Its focus, the story of Ellen and William Craft, who escaped from slavery in 1848 by dressing Ellen up as a white man traveling North, with William posing as her servant. But rather than taking a somber bio-pic approach to their heroic flight the play went for satirical gusto, casting its daring protagonists as unrepentant kinksters (impeccably performed by Aidaa Peerzada and Rotimi Agbabiaka), and presenting their story in a series of vignettes punctuated by music, monologues, comic sketches, and sharply-honed, go-for-the-jugular irreverence that felt decades in the perfecting.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938972\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Once’ at Tabard Theatre. \u003ccite>(Edmond Kwong Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tabard Sings ‘Once’ More\u003c/h2>\n\u003cp>\u003cstrong>Goodbye to a popular South Bay company\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Tabard Theater production of \u003cem>Once\u003c/em> in March was a warm delight, but will mostly be remembered as the last production of the venerable 22-year-old downtown San José company. Tabard’s longtime home, formerly known as the Theatre on San Pedro Square, is one of the most quaint, charming spaces in the entire South Bay, with flickering candles atop cabaret tables and a plentiful bar with a rustic feel. The area is also a happening spot, with lots of trendy restaurants and plentiful parking surrounding the second story theater. Adding to the melancholia more recently, the company lost their lease on the building, leaving both the company (which moved away from theater productions and focused on live events) and the space itself up in the air. Despite all that, the company remains resolute and optimistic to find new places to program their engaging, community-centered events.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938981\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ForgettingTree.JesDeville-copy.jpg\" alt=\"\" width=\"800\" height=\"504\" class=\"size-full wp-image-13938981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ForgettingTree.JesDeville-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ForgettingTree.JesDeville-copy-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ForgettingTree.JesDeville-copy-768x484.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jes Deville, director and co-producer of ‘Forgetting Tree.’ \u003ccite>(Courtesy Queer Cat Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hello/Goodbye\u003c/h2>\n\u003cp>\u003cstrong>‘Forgetting Tree’ gave grace to Queer Cat Productions’ final bow\u003c/strong>\u003c/p>\n\u003cp>Modeling important values in and out of the theatre such as consent, access, and emphatically queer joyfulness, Queer Cat’s performance offerings throughout these pandemic times have been thoughtfully crafted and boldly imaginative. Thankfully they left us one last production to remember them by—the gorgeously-rendered \u003cem>Forgetting Tree\u003c/em>, co-produced and directed by Jes DeVille of Openhaus Athletics. Combining the creative gifts of cellists, clowns, acrobats, dancers, permaculture designers, and the fierce love of a Living Altar (Rawiya Tariq), \u003cem>Forgetting Tree\u003c/em> offered remembrance, ritual, and catharsis to those of us fortunate enough to experience it—both in the room and virtually.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13938976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christine Mirzayan (Goli) in ‘English’ at Berkeley Repertory Theatre. \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘English’ Speaks All Languages\u003c/h2>\n\u003cp>\u003cstrong>‘My accent is a war crime’\u003c/strong>\u003c/p>\n\u003cp>In the first week of May, Berkeley Repertory Theatre’s wonderful, poignant West Coast premiere production of \u003cem>English\u003c/em> closed. The day after the final curtain, playwright Sanaz Toossi’s script, about a group of four Iranian adults preparing for a daunting English language exam near Tehran in order to come to other parts of the world, won the 2023 Pulitzer Prize for Drama. The production was significant for its stewarding by local director Mina Morita, the longtime artistic director of San Francisco’s Crowded Fire Theater Company. Morita is moving away from the company this month to focus more on her directing career, and will be in Australia late next year directing \u003cem>Yoga Play\u003c/em> by Dipika Guha at the National Theater of Parramatta.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938978\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1424\" class=\"size-full wp-image-13938978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-1920x1068.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">L.M. Bogad as Dr. Masc in the ‘immersive experience’ from Say Nothing and Leave, ‘Change Your Mind.’ \u003ccite>(Courtesy Say Nothing and Leave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>You Gotta Believe\u003c/h2>\n\u003cp>\u003cstrong>Change Your Mind (or don’t) with ‘Say Nothing and Leave’\u003c/strong>\u003c/p>\n\u003cp>I may have entered the bustling Say Nothing and Leave-designed \u003cem>Change Your Mind\u003c/em> clinic a Guarded Contrarian, but I left it…a Guarded Contrarian. Ok, so some personality types are more resistant to change than others, but in this tone-perfect immersive experience, the promise of personality editing is presented with such matter-of-fact aplomb you will almost certainly find yourself wondering if it could \u003cem>really\u003c/em> be done. Whether you actually choose to change or not, the experience playfully and thoroughly raises the question of what could be gained through said deletion—and what could be irretrievably lost.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938973\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater.jpg\" alt=\"\" width=\"864\" height=\"576\" class=\"size-full wp-image-13938973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater.jpg 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater-768x512.jpg 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Maria Don as Clara and Monique Crawford as Annie in ‘Edit Annie’ at Crowded Fire Theater. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Collaboration is Key\u003c/h2>\n\u003cp>\u003cstrong>Crowded Fire restructures, premieres ‘Edit Annie’\u003c/strong>\u003c/p>\n\u003cp>Crowded Fire has always been a highly unified company, with a commitment to tell stories and present opportunities for all marginalized groups. While many companies follow a structure with an artistic director at the top of the pyramid, Crowded Fire instead turned one leader into seven, cross-pollinating everyone’s institutional knowledge into all aspects of the company. The first production of this new regime was the highly regarded west coast premiere of \u003cem>Edit Annie\u003c/em> by Mary Glen Fredrick, which kicked off in October.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938977\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13938977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">SeQuoiia (center) in ‘De Mangangá’ at the 2023 New Roots Theatre Festival. \u003ccite>(Courtesy SFBATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>New Roots Meets Old School\u003c/h2>\n\u003cp>\u003cstrong>SFBATCO’s annual festival gave center stage to exciting collaboration\u003c/strong>\u003c/p>\n\u003cp>Making space for experimentation, innovation, and camaraderie, this year’s New Roots festival lineup included the breathtaking, capoeira-inspired \u003cem>De Mangangá\u003c/em> written by mother-son team Tania Santiago and SeQuoiia, \u003cem>Shidaiqu\u003c/em>, an intriguing new musical by Jord Liu, revealing the intersections of Jazz and Communism in 1920s Shanghai, and a stunning revival of Zaccho Dance Theatre’s \u003cem>Dying While Black and Brown\u003c/em>, choreographed by Johanna Haigood with music by Marcus Shelby. By focusing attention on BIPOC-centered creation at every stage of development, these New Roots festivals are nurturing some of the most exciting theatrical collaborations in the Bay Area, including SFBATCO’s own \u003cem>Sign My Name to Freedom, The Unheard Songs of Betty Reid Soskin\u003c/em>, which will receive its full world premiere in 2024.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938975\" class=\"wp-caption aligncenter\" style=\"max-width: 1655px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios.jpg\" alt=\"\" width=\"1655\" height=\"1205\" class=\"size-full wp-image-13938975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios.jpg 1655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-1536x1118.jpg 1536w\" sizes=\"(max-width: 1655px) 100vw, 1655px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Ahmad and Neamah Hussein in ‘Closure’ at Golden Thread’s 2023 ReOrient Festival. \u003ccite>(David Allen Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ReOrient-ing at Golden Thread\u003c/h2>\n\u003cp>\u003cstrong>Festival of Middle Eastern works has run since 1996\u003c/strong>\u003c/p>\n\u003cp>When Sahar Assaf took over in 2021 from Golden Thread Productions’ artistic director and founder Torange Yeghiazarian, she knew there were massive shoes to fill. She also learned quickly that the company’s ReOrient Festival is beloved as one of the longest running theater festivals of new work in the Bay Area. With incubators disappearing nationally, such as the Lark and the Humana Play Festival, new playwrights have fewer places to develop their work. More than 100 scripts were submitted for consideration this year. Six were selected. The company has also worked to expand Middle Eastern narratives, and how those stories impact Middle Easterners who make the Bay Area and beyond their home. For the first time in the festival’s history, all of this year’s plays were set in the United States. \u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938974\" class=\"wp-caption aligncenter\" style=\"max-width: 1082px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376.jpg\" alt=\"\" width=\"1082\" height=\"720\" class=\"size-full wp-image-13938974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376-768x511.jpg 768w\" sizes=\"(max-width: 1082px) 100vw, 1082px\">\u003cfigcaption class=\"wp-caption-text\">Arielle Powell as Miriam in ‘Exodus to Eden’ at Oakland Theater Project. \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Big Things in the East Bay\u003c/h2>\n\u003cp>\u003cstrong>Oakland Theater Project’s world premiere of ‘Exodus to Eden’\u003c/strong>\u003c/p>\n\u003cp>Setting foot inside the Flax Art & Design building for an Oakland Theater Project show means knowing you’re in for some highly charged theater that’s not to be missed. The company has a great sense of how to present a classic text (their 2018 \u003cem>A Streetcar Named Desire\u003c/em> and the more recent \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, featuring associate artistic director Lisa Ramirez and co-artistic director William Hodgson, were both phenomenal), but have also dove headfirst into world premieres. This year, co-artistic director Michael Socrates Moran made his playwriting debut with \u003cem>Exodus to Eden\u003c/em>, which he also directed. The intimate Flax space provided the production some spatial limits, yet the show still featured a sizable cast of 17 performers. Whether it’s a world premiere or a tried-and-true play, Oakland Theater Project has strategically found a formula that melds the potential of people with a sky-high commitment to artistry.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933234\" class=\"wp-caption aligncenter\" style=\"max-width: 1679px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1.jpg\" alt=\"a red and black and green painted building\" width=\"1679\" height=\"1208\" class=\"size-full wp-image-13933234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1.jpg 1679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1536x1105.jpg 1536w\" sizes=\"(max-width: 1679px) 100vw, 1679px\">\u003cfigcaption class=\"wp-caption-text\">The newly painted exterior of BAM House at 1540 Broadway in downtown Oakland. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>New Spaces for Fresh Faces\u003c/h2>\n\u003cp>It’s been an incredibly tumultuous time for small performance venues in the Bay Area, and the list of spaces we’ve lost feels like it just keeps growing. But incredibly and inspiringly, a new crop of venues and multi-use spaces have blossomed in their wake. This is just a small sampling of the marvelous specificity and neighborhoods being served by some of our newest artistic homes.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.churchofclown.org/\">Church of Clown\u003c/a>, 2400 Bayshore Blvd., San Francisco\u003cbr>\n\u003ca href=\"https://www.eclecticboxsf.com\">Eclectic Box\u003c/a>, 446 Valencia St., San Francisco\u003cbr>\n\u003ca href=\"http://www.lowerbottomplayaz.com/\">BAM House\u003c/a>, 1540 Broadway, Oakland\u003cbr>\n\u003ca href=\"https://www.therhino.org\">Theatre Rhinoceros\u003c/a>, 4229 18th St., San Francisco\u003cbr>\n\u003ca href=\"https://www.447minna.com/\">447 Minna\u003c/a>, 447 Minna St., San Francisco\u003cbr>\n\u003ca href=\"https://www.performingartsworkshop.org/\">Geneva Powerhouse\u003c/a>, 2301 San Jose Ave., San Francisco\u003cbr>\n\u003ca href=\"https://sealevelsf.com\">Sealevel\u003c/a>, 4331 Irving St., San Francisco \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938979\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447.jpg\" alt=\"\" width=\"1758\" height=\"1321\" class=\"size-full wp-image-13938979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/DAP_4447-1536x1154.jpg 1536w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Ahmad and Neamah Hussein in ‘Closure’ at Golden Thread’s 2023 ReOrient Festival. \u003ccite>(David Allen Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area theater in 2023 often went in woeful directions. Audiences still haven’t returned to bustling pre-pandemic levels, and too many theaters closed, unable to balance their high levels of artistry with financial solvency.\u003c/p>\n\u003cp>Still, there are encouraging signs for live storytelling as the calendar marches toward 2024. Some critical Bay Area festivals returned, carrying national repercussions, and many bold theatermakers chose this year to reveal transcendent passion projects — with no shortage of local world premieres. \u003c/p>\n\u003cp>Here, Bay Area theater critics and regular KQED Arts contributors Nicole Gluckstern and David John Chávez reflect on the region’s significant theater news, events and premieres of 2023. \u003c/p>\n\u003cfigure id=\"attachment_13938999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TNL.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-full wp-image-13938999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TNL.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TNL-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/TNL-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka, AeJay Marquis Mitchell, Aidaa Peerzada and Donald Lacy, Jr. in ‘The Ni¿¿er Lovers’ at Magic Theatre. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Not Sorry to Bother You\u003c/h2>\n\u003cp>\u003cstrong>‘The Ni¿¿er Lovers’ was a breakthrough hit\u003c/strong>\u003c/p>\n\u003cp>To say that Marc Anthony Thompson’s debut play \u003cem>The Ni¿¿er Lovers\u003c/em> at Magic Theatre pulled no punches would be to massively understate its gleeful fearlessness. Its focus, the story of Ellen and William Craft, who escaped from slavery in 1848 by dressing Ellen up as a white man traveling North, with William posing as her servant. But rather than taking a somber bio-pic approach to their heroic flight the play went for satirical gusto, casting its daring protagonists as unrepentant kinksters (impeccably performed by Aidaa Peerzada and Rotimi Agbabiaka), and presenting their story in a series of vignettes punctuated by music, monologues, comic sketches, and sharply-honed, go-for-the-jugular irreverence that felt decades in the perfecting.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938972\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/6_Once_TabardTheatre_EdmondKwongPhotography-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Once’ at Tabard Theatre. \u003ccite>(Edmond Kwong Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tabard Sings ‘Once’ More\u003c/h2>\n\u003cp>\u003cstrong>Goodbye to a popular South Bay company\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Tabard Theater production of \u003cem>Once\u003c/em> in March was a warm delight, but will mostly be remembered as the last production of the venerable 22-year-old downtown San José company. Tabard’s longtime home, formerly known as the Theatre on San Pedro Square, is one of the most quaint, charming spaces in the entire South Bay, with flickering candles atop cabaret tables and a plentiful bar with a rustic feel. The area is also a happening spot, with lots of trendy restaurants and plentiful parking surrounding the second story theater. Adding to the melancholia more recently, the company lost their lease on the building, leaving both the company (which moved away from theater productions and focused on live events) and the space itself up in the air. Despite all that, the company remains resolute and optimistic to find new places to program their engaging, community-centered events.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938981\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ForgettingTree.JesDeville-copy.jpg\" alt=\"\" width=\"800\" height=\"504\" class=\"size-full wp-image-13938981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ForgettingTree.JesDeville-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ForgettingTree.JesDeville-copy-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ForgettingTree.JesDeville-copy-768x484.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jes Deville, director and co-producer of ‘Forgetting Tree.’ \u003ccite>(Courtesy Queer Cat Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hello/Goodbye\u003c/h2>\n\u003cp>\u003cstrong>‘Forgetting Tree’ gave grace to Queer Cat Productions’ final bow\u003c/strong>\u003c/p>\n\u003cp>Modeling important values in and out of the theatre such as consent, access, and emphatically queer joyfulness, Queer Cat’s performance offerings throughout these pandemic times have been thoughtfully crafted and boldly imaginative. Thankfully they left us one last production to remember them by—the gorgeously-rendered \u003cem>Forgetting Tree\u003c/em>, co-produced and directed by Jes DeVille of Openhaus Athletics. Combining the creative gifts of cellists, clowns, acrobats, dancers, permaculture designers, and the fierce love of a Living Altar (Rawiya Tariq), \u003cem>Forgetting Tree\u003c/em> offered remembrance, ritual, and catharsis to those of us fortunate enough to experience it—both in the room and virtually.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13938976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/012_English-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christine Mirzayan (Goli) in ‘English’ at Berkeley Repertory Theatre. \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘English’ Speaks All Languages\u003c/h2>\n\u003cp>\u003cstrong>‘My accent is a war crime’\u003c/strong>\u003c/p>\n\u003cp>In the first week of May, Berkeley Repertory Theatre’s wonderful, poignant West Coast premiere production of \u003cem>English\u003c/em> closed. The day after the final curtain, playwright Sanaz Toossi’s script, about a group of four Iranian adults preparing for a daunting English language exam near Tehran in order to come to other parts of the world, won the 2023 Pulitzer Prize for Drama. The production was significant for its stewarding by local director Mina Morita, the longtime artistic director of San Francisco’s Crowded Fire Theater Company. Morita is moving away from the company this month to focus more on her directing career, and will be in Australia late next year directing \u003cem>Yoga Play\u003c/em> by Dipika Guha at the National Theater of Parramatta.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938978\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1424\" class=\"size-full wp-image-13938978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/CYM-1920x1068.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">L.M. Bogad as Dr. Masc in the ‘immersive experience’ from Say Nothing and Leave, ‘Change Your Mind.’ \u003ccite>(Courtesy Say Nothing and Leave)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>You Gotta Believe\u003c/h2>\n\u003cp>\u003cstrong>Change Your Mind (or don’t) with ‘Say Nothing and Leave’\u003c/strong>\u003c/p>\n\u003cp>I may have entered the bustling Say Nothing and Leave-designed \u003cem>Change Your Mind\u003c/em> clinic a Guarded Contrarian, but I left it…a Guarded Contrarian. Ok, so some personality types are more resistant to change than others, but in this tone-perfect immersive experience, the promise of personality editing is presented with such matter-of-fact aplomb you will almost certainly find yourself wondering if it could \u003cem>really\u003c/em> be done. Whether you actually choose to change or not, the experience playfully and thoroughly raises the question of what could be gained through said deletion—and what could be irretrievably lost.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938973\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater.jpg\" alt=\"\" width=\"864\" height=\"576\" class=\"size-full wp-image-13938973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater.jpg 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Jordan-Maria-Don-as-Clara-and-Monique-Crawford-as-Annie-in-EDIT-ANNIE-photo-by-Cheshire-Isaacs-for-Crowded-Fire-Theater-768x512.jpg 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Maria Don as Clara and Monique Crawford as Annie in ‘Edit Annie’ at Crowded Fire Theater. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Collaboration is Key\u003c/h2>\n\u003cp>\u003cstrong>Crowded Fire restructures, premieres ‘Edit Annie’\u003c/strong>\u003c/p>\n\u003cp>Crowded Fire has always been a highly unified company, with a commitment to tell stories and present opportunities for all marginalized groups. While many companies follow a structure with an artistic director at the top of the pyramid, Crowded Fire instead turned one leader into seven, cross-pollinating everyone’s institutional knowledge into all aspects of the company. The first production of this new regime was the highly regarded west coast premiere of \u003cem>Edit Annie\u003c/em> by Mary Glen Fredrick, which kicked off in October.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938977\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13938977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Sequoiaa.AfroMusical-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">SeQuoiia (center) in ‘De Mangangá’ at the 2023 New Roots Theatre Festival. \u003ccite>(Courtesy SFBATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>New Roots Meets Old School\u003c/h2>\n\u003cp>\u003cstrong>SFBATCO’s annual festival gave center stage to exciting collaboration\u003c/strong>\u003c/p>\n\u003cp>Making space for experimentation, innovation, and camaraderie, this year’s New Roots festival lineup included the breathtaking, capoeira-inspired \u003cem>De Mangangá\u003c/em> written by mother-son team Tania Santiago and SeQuoiia, \u003cem>Shidaiqu\u003c/em>, an intriguing new musical by Jord Liu, revealing the intersections of Jazz and Communism in 1920s Shanghai, and a stunning revival of Zaccho Dance Theatre’s \u003cem>Dying While Black and Brown\u003c/em>, choreographed by Johanna Haigood with music by Marcus Shelby. By focusing attention on BIPOC-centered creation at every stage of development, these New Roots festivals are nurturing some of the most exciting theatrical collaborations in the Bay Area, including SFBATCO’s own \u003cem>Sign My Name to Freedom, The Unheard Songs of Betty Reid Soskin\u003c/em>, which will receive its full world premiere in 2024.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938975\" class=\"wp-caption aligncenter\" style=\"max-width: 1655px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios.jpg\" alt=\"\" width=\"1655\" height=\"1205\" class=\"size-full wp-image-13938975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios.jpg 1655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GoldenThread.Reorient.DavidAllenStudios-1536x1118.jpg 1536w\" sizes=\"(max-width: 1655px) 100vw, 1655px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Ahmad and Neamah Hussein in ‘Closure’ at Golden Thread’s 2023 ReOrient Festival. \u003ccite>(David Allen Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>ReOrient-ing at Golden Thread\u003c/h2>\n\u003cp>\u003cstrong>Festival of Middle Eastern works has run since 1996\u003c/strong>\u003c/p>\n\u003cp>When Sahar Assaf took over in 2021 from Golden Thread Productions’ artistic director and founder Torange Yeghiazarian, she knew there were massive shoes to fill. She also learned quickly that the company’s ReOrient Festival is beloved as one of the longest running theater festivals of new work in the Bay Area. With incubators disappearing nationally, such as the Lark and the Humana Play Festival, new playwrights have fewer places to develop their work. More than 100 scripts were submitted for consideration this year. Six were selected. The company has also worked to expand Middle Eastern narratives, and how those stories impact Middle Easterners who make the Bay Area and beyond their home. For the first time in the festival’s history, all of this year’s plays were set in the United States. \u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938974\" class=\"wp-caption aligncenter\" style=\"max-width: 1082px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376.jpg\" alt=\"\" width=\"1082\" height=\"720\" class=\"size-full wp-image-13938974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Exodus_To_Eden_2023_376-768x511.jpg 768w\" sizes=\"(max-width: 1082px) 100vw, 1082px\">\u003cfigcaption class=\"wp-caption-text\">Arielle Powell as Miriam in ‘Exodus to Eden’ at Oakland Theater Project. \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Big Things in the East Bay\u003c/h2>\n\u003cp>\u003cstrong>Oakland Theater Project’s world premiere of ‘Exodus to Eden’\u003c/strong>\u003c/p>\n\u003cp>Setting foot inside the Flax Art & Design building for an Oakland Theater Project show means knowing you’re in for some highly charged theater that’s not to be missed. The company has a great sense of how to present a classic text (their 2018 \u003cem>A Streetcar Named Desire\u003c/em> and the more recent \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, featuring associate artistic director Lisa Ramirez and co-artistic director William Hodgson, were both phenomenal), but have also dove headfirst into world premieres. This year, co-artistic director Michael Socrates Moran made his playwriting debut with \u003cem>Exodus to Eden\u003c/em>, which he also directed. The intimate Flax space provided the production some spatial limits, yet the show still featured a sizable cast of 17 performers. Whether it’s a world premiere or a tried-and-true play, Oakland Theater Project has strategically found a formula that melds the potential of people with a sky-high commitment to artistry.\u003cem>—David John Chávez\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933234\" class=\"wp-caption aligncenter\" style=\"max-width: 1679px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1.jpg\" alt=\"a red and black and green painted building\" width=\"1679\" height=\"1208\" class=\"size-full wp-image-13933234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1.jpg 1679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1536x1105.jpg 1536w\" sizes=\"(max-width: 1679px) 100vw, 1679px\">\u003cfigcaption class=\"wp-caption-text\">The newly painted exterior of BAM House at 1540 Broadway in downtown Oakland. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>New Spaces for Fresh Faces\u003c/h2>\n\u003cp>It’s been an incredibly tumultuous time for small performance venues in the Bay Area, and the list of spaces we’ve lost feels like it just keeps growing. But incredibly and inspiringly, a new crop of venues and multi-use spaces have blossomed in their wake. This is just a small sampling of the marvelous specificity and neighborhoods being served by some of our newest artistic homes.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.churchofclown.org/\">Church of Clown\u003c/a>, 2400 Bayshore Blvd., San Francisco\u003cbr>\n\u003ca href=\"https://www.eclecticboxsf.com\">Eclectic Box\u003c/a>, 446 Valencia St., San Francisco\u003cbr>\n\u003ca href=\"http://www.lowerbottomplayaz.com/\">BAM House\u003c/a>, 1540 Broadway, Oakland\u003cbr>\n\u003ca href=\"https://www.therhino.org\">Theatre Rhinoceros\u003c/a>, 4229 18th St., San Francisco\u003cbr>\n\u003ca href=\"https://www.447minna.com/\">447 Minna\u003c/a>, 447 Minna St., San Francisco\u003cbr>\n\u003ca href=\"https://www.performingartsworkshop.org/\">Geneva Powerhouse\u003c/a>, 2301 San Jose Ave., San Francisco\u003cbr>\n\u003ca href=\"https://sealevelsf.com\">Sealevel\u003c/a>, 4331 Irving St., San Francisco \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "powerful-dragon-lady-weaves-tales-of-trauma-karaoke-and-a-very-memorable-matriarch",
"title": "Powerful ‘Dragon Lady’ Weaves Tales of Trauma, Karaoke — and a Very Memorable Matriarch",
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"headTitle": "Powerful ‘Dragon Lady’ Weaves Tales of Trauma, Karaoke — and a Very Memorable Matriarch | KQED",
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"content": "\u003cp>In Sara Porkalob’s hands, the haunting, succulent Filipino standard “Dahil Sa’yo” is sheer perfection, a beautiful aria that leaves zero amount of passion to the imagination.\u003c/p>\n\u003cp>As she delves into her maternal family history for 100 minutes onstage, she distills the story succinctly in her singing of Mike Velarde, Jr.’s 1938 ballad:\u003c/p>\n\u003cp>\u003cem>Dahil sa’yo ako’y matapang / Because of you I’m brave\u003c/em>\u003cbr>\n\u003cem>Dahil sa’yo ako’y lalaban / Because of you I will fight\u003c/em>\u003cbr>\n\u003cem>Para sa’yo pagmamahal na walang katapusan / For you a love with no end\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13936220']Porkalob’s one-woman opus \u003cem>Dragon Lady\u003c/em>, running through Dec. 17 at Marin Theatre Company, is part of a trilogy of plays about the women in her family. It’s also the culmination of a gift she was given by her boss of a grandmother, Maria Sr.\u003c/p>\n\u003cp>In \u003cem>Dragon Lady\u003c/em>, Maria Sr. is less than thrilled about the prospects of a 60th birthday party. But, with this milestone date, she decides she’d better tell her past family stories to someone before it’s too late. Fortunately, those stories land with Porkalob, a Seattle-based performer who has gone on to a celebrated storytelling career, including her Broadway debut in 2022. (That New York performance, starring as Edward Rutledge in \u003cem>1776\u003c/em>, introduced Porkalob to the masses in more ways than one; \u003ca href=\"https://www.vulture.com/2022/10/1776-star-sara-porkalob-interview-molasses-to-rum.html\">an interview in Vulture\u003c/a> where she shared her frank thoughts on the production made her a national conversation piece.)\u003c/p>\n\u003cfigure id=\"attachment_13938722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_177-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938722\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_177-800x1203.jpg\" alt=\"a Filipina woman in black stands on a stage with her hands over her heart in front of a large projected image of her grandmother\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-scaled.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob stands in front of an image of Maria Senora Porkalob, the matriarch of the family, in ‘Dragon Lady.’ \u003ccite>(Kevin Berne/Marin Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the framing of a birthday party has a slightly contrived feel, it ultimately serves as a scintillating showcase for the whirling-dervish talents of Porkalob. She plays a multitude of characters, most of them effective, within a sharply metaphoric scene design (from Randy Wong-Westbrooke) and beautiful lighting design (by the always-solid Spense Matubang). The musical backing of three-piece combo Hot Damn Scandal provides terrific texture, pulled together sweetly by director Andrew Russell.\u003c/p>\n\u003cp>As Grandma sets foot on stage to start the proceedings, injecting morsels of Tagalog in her delivery, she provides a taste of her past talents as she shows off her new karaoke machine. Some dulcet, velvety-smooth trills emanate from Porkalob’s golden pipes, immediately accompanied by hip-hop beats, thanks to the machine’s remixing capabilities. Grandma’s giddiness over her toy is tempered, though, with anxiety over the birthday festivities.\u003c/p>\n\u003cfigure id=\"attachment_13938723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_152-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_152-800x1203.jpg\" alt=\"three men in a jazz ensemble dressed in red suits and black bowler hats stand on a staircase on a stage\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-scaled.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jazz ensemble members of Hot Damn Scandal in Sara Porkalob’s ‘Dragon Lady’ at Marin Theatre Company. \u003ccite>(Kevin Berne/Marin Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Porkalob’s approach to her grandmother is reverent without skirting past the complexities that made living with a complicated matriarch such a chore: Grandma would disappear for weeks on end, we learn through Sara’s mother Maria, working multiple jobs to support the family.\u003c/p>\n\u003cp>But is that \u003cem>really\u003c/em> what she was doing? For as much as Grandma worked, there was very little to show for it. A microwave rendered useless due to electricity being shut off in their Washington trailer park structure is another indignity suffered. Warming up a bottle for the newest baby in the house challenges 13-year-old Maria, a young girl spending more time caring for her baby sister in her mother’s absence than going to school. It’s soul-crushing to hear Maria express her crippling fear as she grapples with a pitch-black house full of petrified littles.\u003c/p>\n\u003cp>What’s clear: the women in Porkalob’s tale are fighters. Grandma’s brand was built in a tawdry Manila nightclub, where seductive gangsters fawned over Maria Sr. and her heavenly vocal talents. The thrilling yet seedy world of sketchy figures, murderous propositions and a never-ending debt to the lordess of the club provides the backdrop for Grandma’s harrowing escape.\u003c/p>\n\u003cp>And while the exit from the underbelly of gangsters has its benefits, domestic life — with too many famished kids — offers very little respite. Porkalob’s narrative moves expediently from the devastation of hunger to the sweet humor of complicated family life.\u003c/p>\n\u003cfigure id=\"attachment_13938730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_049-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_049-800x532.jpg\" alt=\"a woman in all black stands on a stage lit in a red and purple\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-2048x1362.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob performs in ‘Dragon Lady,’ with scene design by Randy Wong-Westbrooke and lighting design by Spense Matubang, at Marin Theatre Company. \u003ccite>(Kevin Berne/Marin Theatre Company / )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One particularly poignant moment involves two of Grandma’s empathic boys, Junior and Charlie, who devise a scheme to snag donated groceries thanks to some borrowed Boy Scout uniforms. Earnestly, they stand in front of each house, gently inquiring for something to eat. “We can’t just ask for food, we have to ask for ‘food donations,’” instructs Junior with crushing clarity.\u003c/p>\n\u003cp>The payoff of the young tykes and their trudging door-to-door is an emotional punch to the gut, as young Maria discovers what they’ve just done. “We can all have spam fried rice for dinner tonight,” declares an emotional Maria in a particularly tear-inducing delivery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The complicated history of the strong women of Sara’s family, the charms of Grandma and the unsympathetic lens through which daughter Maria recalls that generational trauma — they all lend the story its power. Porkalob pulls not one punch in the way she translates past damages, devastating the audience through hilarity. It’s a testament to Grandma’s foresight that she deemed these stories, with all their warts, to be a necessary gift to her eldest granddaughter, the one who shared the treasure with a grateful audience.\u003c/p>\n\u003cp>While the title \u003cem>Dragon Lady\u003c/em> nods to the grandmother who fought for everything, the story actually has three Filipina heroines. Thanks to the immense talents of Sara Porkalob, the audience sees that all the beautiful brown women showcased in her piece are brave fighters, with a transcendent love that has no end.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Dragon Lady’ plays at Marin Theatre Company (397 Miller Ave., Mill Valley) through Dec. 17, 2023. \u003ca href=\"https://www.marintheatre.org/productions/dragon-lady\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Sara Porkalob’s hands, the haunting, succulent Filipino standard “Dahil Sa’yo” is sheer perfection, a beautiful aria that leaves zero amount of passion to the imagination.\u003c/p>\n\u003cp>As she delves into her maternal family history for 100 minutes onstage, she distills the story succinctly in her singing of Mike Velarde, Jr.’s 1938 ballad:\u003c/p>\n\u003cp>\u003cem>Dahil sa’yo ako’y matapang / Because of you I’m brave\u003c/em>\u003cbr>\n\u003cem>Dahil sa’yo ako’y lalaban / Because of you I will fight\u003c/em>\u003cbr>\n\u003cem>Para sa’yo pagmamahal na walang katapusan / For you a love with no end\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Porkalob’s one-woman opus \u003cem>Dragon Lady\u003c/em>, running through Dec. 17 at Marin Theatre Company, is part of a trilogy of plays about the women in her family. It’s also the culmination of a gift she was given by her boss of a grandmother, Maria Sr.\u003c/p>\n\u003cp>In \u003cem>Dragon Lady\u003c/em>, Maria Sr. is less than thrilled about the prospects of a 60th birthday party. But, with this milestone date, she decides she’d better tell her past family stories to someone before it’s too late. Fortunately, those stories land with Porkalob, a Seattle-based performer who has gone on to a celebrated storytelling career, including her Broadway debut in 2022. (That New York performance, starring as Edward Rutledge in \u003cem>1776\u003c/em>, introduced Porkalob to the masses in more ways than one; \u003ca href=\"https://www.vulture.com/2022/10/1776-star-sara-porkalob-interview-molasses-to-rum.html\">an interview in Vulture\u003c/a> where she shared her frank thoughts on the production made her a national conversation piece.)\u003c/p>\n\u003cfigure id=\"attachment_13938722\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_177-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938722\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_177-800x1203.jpg\" alt=\"a Filipina woman in black stands on a stage with her hands over her heart in front of a large projected image of her grandmother\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_177-scaled.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob stands in front of an image of Maria Senora Porkalob, the matriarch of the family, in ‘Dragon Lady.’ \u003ccite>(Kevin Berne/Marin Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the framing of a birthday party has a slightly contrived feel, it ultimately serves as a scintillating showcase for the whirling-dervish talents of Porkalob. She plays a multitude of characters, most of them effective, within a sharply metaphoric scene design (from Randy Wong-Westbrooke) and beautiful lighting design (by the always-solid Spense Matubang). The musical backing of three-piece combo Hot Damn Scandal provides terrific texture, pulled together sweetly by director Andrew Russell.\u003c/p>\n\u003cp>As Grandma sets foot on stage to start the proceedings, injecting morsels of Tagalog in her delivery, she provides a taste of her past talents as she shows off her new karaoke machine. Some dulcet, velvety-smooth trills emanate from Porkalob’s golden pipes, immediately accompanied by hip-hop beats, thanks to the machine’s remixing capabilities. Grandma’s giddiness over her toy is tempered, though, with anxiety over the birthday festivities.\u003c/p>\n\u003cfigure id=\"attachment_13938723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_152-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938723\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_152-800x1203.jpg\" alt=\"three men in a jazz ensemble dressed in red suits and black bowler hats stand on a staircase on a stage\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_152-scaled.jpg 1703w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jazz ensemble members of Hot Damn Scandal in Sara Porkalob’s ‘Dragon Lady’ at Marin Theatre Company. \u003ccite>(Kevin Berne/Marin Theatre Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Porkalob’s approach to her grandmother is reverent without skirting past the complexities that made living with a complicated matriarch such a chore: Grandma would disappear for weeks on end, we learn through Sara’s mother Maria, working multiple jobs to support the family.\u003c/p>\n\u003cp>But is that \u003cem>really\u003c/em> what she was doing? For as much as Grandma worked, there was very little to show for it. A microwave rendered useless due to electricity being shut off in their Washington trailer park structure is another indignity suffered. Warming up a bottle for the newest baby in the house challenges 13-year-old Maria, a young girl spending more time caring for her baby sister in her mother’s absence than going to school. It’s soul-crushing to hear Maria express her crippling fear as she grapples with a pitch-black house full of petrified littles.\u003c/p>\n\u003cp>What’s clear: the women in Porkalob’s tale are fighters. Grandma’s brand was built in a tawdry Manila nightclub, where seductive gangsters fawned over Maria Sr. and her heavenly vocal talents. The thrilling yet seedy world of sketchy figures, murderous propositions and a never-ending debt to the lordess of the club provides the backdrop for Grandma’s harrowing escape.\u003c/p>\n\u003cp>And while the exit from the underbelly of gangsters has its benefits, domestic life — with too many famished kids — offers very little respite. Porkalob’s narrative moves expediently from the devastation of hunger to the sweet humor of complicated family life.\u003c/p>\n\u003cfigure id=\"attachment_13938730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_049-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/DLY_049-800x532.jpg\" alt=\"a woman in all black stands on a stage lit in a red and purple\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-2048x1362.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/DLY_049-1920x1277.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sara Porkalob performs in ‘Dragon Lady,’ with scene design by Randy Wong-Westbrooke and lighting design by Spense Matubang, at Marin Theatre Company. \u003ccite>(Kevin Berne/Marin Theatre Company / )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One particularly poignant moment involves two of Grandma’s empathic boys, Junior and Charlie, who devise a scheme to snag donated groceries thanks to some borrowed Boy Scout uniforms. Earnestly, they stand in front of each house, gently inquiring for something to eat. “We can’t just ask for food, we have to ask for ‘food donations,’” instructs Junior with crushing clarity.\u003c/p>\n\u003cp>The payoff of the young tykes and their trudging door-to-door is an emotional punch to the gut, as young Maria discovers what they’ve just done. “We can all have spam fried rice for dinner tonight,” declares an emotional Maria in a particularly tear-inducing delivery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The complicated history of the strong women of Sara’s family, the charms of Grandma and the unsympathetic lens through which daughter Maria recalls that generational trauma — they all lend the story its power. Porkalob pulls not one punch in the way she translates past damages, devastating the audience through hilarity. It’s a testament to Grandma’s foresight that she deemed these stories, with all their warts, to be a necessary gift to her eldest granddaughter, the one who shared the treasure with a grateful audience.\u003c/p>\n\u003cp>While the title \u003cem>Dragon Lady\u003c/em> nods to the grandmother who fought for everything, the story actually has three Filipina heroines. Thanks to the immense talents of Sara Porkalob, the audience sees that all the beautiful brown women showcased in her piece are brave fighters, with a transcendent love that has no end.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Dragon Lady’ plays at Marin Theatre Company (397 Miller Ave., Mill Valley) through Dec. 17, 2023. \u003ca href=\"https://www.marintheatre.org/productions/dragon-lady\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "At the New Roots Theatre Festival, BIPOC Voices Take Center Stage",
"headTitle": "At the New Roots Theatre Festival, BIPOC Voices Take Center Stage | KQED",
"content": "\u003cp>When the third \u003ca href=\"https://www.sfbatco.org/nrtf-2023#nrtf-2023-about\">\u003cspan style=\"font-weight: 400\">New Roots Theatre Festival\u003c/span>\u003c/a> kicks off on Nov. 10, it’ll be a family affair in more ways than one. The festival itself is a family reunion-style celebration of works coming out of local, BIPOC-led theater companies, which this year include Zaccho Dance Theatre, Campo Santo, Magic Theatre, AfroSolo and SF Recovery Theatre.\u003c/p>\n\u003cp>“We connect, we unite them, we put them in the same space, make them breathe the same air, and have to think about the perspectives of the characters and situations that everyone’s going through,” says \u003ca href=\"https://www.instagram.com/rodneyearljacksonjr/\">\u003cspan style=\"font-weight: 400\">Rodney Earl Jackson, Jr\u003c/span>\u003c/a>. Jackson is the festival’s founder, and also the co-founder and artistic director of the \u003ca href=\"https://www.sfbatco.org/\">\u003cspan style=\"font-weight: 400\">San Francisco Bay Area Theatre Company\u003c/span>\u003c/a>. He adds that the festival seeks “to unearth those unique queer, BIPOC, intergenerational voices all under one roof.”\u003c/p>\n\u003cfigure id=\"attachment_13937550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13937550 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-800x534.jpg\" alt=\"Two women dance facing a mirror in a dance studio while a man and a woman in the background look on. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Co-choreographers Tosh Harris Santiago, a.k.a. SeQuoiia, and Tania Santiago (both rear) watch as Nasha Harris Santiago (left) and another dancer rehearse ‘De Mangangá: An Afro-Brazilian Musical’ at the African American Art and Culture Complex in San Francisco. \u003ccite>(Bekah Lynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two of the intergenerational voices featured in this year’s festival are mother and son duo \u003ca href=\"https://www.instagram.com/afrobraziliansf/\">\u003cspan style=\"font-weight: 400\">Tania Santiago\u003c/span>\u003c/a> and \u003ca href=\"https://www.instagram.com/sequoiia_/\">\u003cspan style=\"font-weight: 400\">Tosh Harris Santiago\u003c/span>\u003c/a>, who co-direct and co-choreograph \u003cem>De Mangangá: An Afro-Brazilian Musical\u003c/em>. The cast includes Tosh’s siblings, Nasha and Orion. Fusing moves from the Afro-Brazilian martial art capoeira, contemporary Afro-Brazilian dance and hip-hop, they tell the story of Besouro Mangangá, an early 20th century capoeira master who fought against oppression in Santo Amaro, Brazil — where Tania, a dance instructor at ODC, was born and raised.\u003c/p>\n\u003cp>“Expect a lot of fun, and a lot of new aspects to folklore movements and dance,” says Tosh, a.k.a. SeQuoiia, who graduated from Oakland School for the Arts and most recently performed as part of \u003cem>Hippest Trip: The Soul Train Musical\u003c/em> at A.C.T. this summer.\u003c/p>\n\u003cfigure id=\"attachment_13937552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-800x534.jpg\" alt=\"Three people stand on stage, one woman looks at pages in a binder she's holding, one looks out in the distance and another hold his arms outstretched while reading from a binder he holds in his hand.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors Sarah Lee, Amanda Le Nguyen, and Faustino Cadiz III rehearse ‘Shidaiqu: A Partly-Historical Musical’ at the Brava Theater Center in San Francisco ahead of the show’s debut on Nov. 10 at the New Roots Theatre Festival. \u003ccite>(Bekah Lynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shidaiqu: A Partly-Historical Musical,\u003c/em> meanwhile, was inspired by Shanghai in the 1920s, when a huge wealth gap, a new Communist Party and American jazz defined much of the city’s culture. Written by San Francisco playwright \u003ca href=\"https://jminjie.com/portfolio/\">\u003cspan style=\"font-weight: 400\">Jord Liu\u003c/span>\u003c/a>, \u003cem>Shidaiqu\u003c/em> takes elements from that Shanghai history, as well as modern-day San Francisco to create a fictional world where characters explore themes of art and activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not every show at this year’s festival is a musical, mind you. But there is a common theme, says Jackson: “We’re tapping into perspectives of the universal conversation around who has access, who’s allowed to be a full human, and what does it mean to feel whole,” he says.\u003c/p>\n\u003cp>Also, joy. “I feel like often a lot of plays can be downers or [theatrical] experiences can be very, very introspective,” Jackson adds. “So the shows that we are producing … really have a full-rooted expression of joy that surrounds them… That’s why we want you to come out. To feel some joy with us.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The New Roots Theatre Festival runs Nov. 10–12 at the Brava Theater Center in San Francisco. \u003ca href=\"https://www.sfbatco.org/nrtf-2023#nrtf-2023-about\">Tickets and more info\u003c/a> \u003ca href=\"https://www.sfbatco.org/nrtf-2023#nrtf-2023-about\">\u003ci>\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/i>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the third \u003ca href=\"https://www.sfbatco.org/nrtf-2023#nrtf-2023-about\">\u003cspan style=\"font-weight: 400\">New Roots Theatre Festival\u003c/span>\u003c/a> kicks off on Nov. 10, it’ll be a family affair in more ways than one. The festival itself is a family reunion-style celebration of works coming out of local, BIPOC-led theater companies, which this year include Zaccho Dance Theatre, Campo Santo, Magic Theatre, AfroSolo and SF Recovery Theatre.\u003c/p>\n\u003cp>“We connect, we unite them, we put them in the same space, make them breathe the same air, and have to think about the perspectives of the characters and situations that everyone’s going through,” says \u003ca href=\"https://www.instagram.com/rodneyearljacksonjr/\">\u003cspan style=\"font-weight: 400\">Rodney Earl Jackson, Jr\u003c/span>\u003c/a>. Jackson is the festival’s founder, and also the co-founder and artistic director of the \u003ca href=\"https://www.sfbatco.org/\">\u003cspan style=\"font-weight: 400\">San Francisco Bay Area Theatre Company\u003c/span>\u003c/a>. He adds that the festival seeks “to unearth those unique queer, BIPOC, intergenerational voices all under one roof.”\u003c/p>\n\u003cfigure id=\"attachment_13937550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13937550 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-800x534.jpg\" alt=\"Two women dance facing a mirror in a dance studio while a man and a woman in the background look on. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-32.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Co-choreographers Tosh Harris Santiago, a.k.a. SeQuoiia, and Tania Santiago (both rear) watch as Nasha Harris Santiago (left) and another dancer rehearse ‘De Mangangá: An Afro-Brazilian Musical’ at the African American Art and Culture Complex in San Francisco. \u003ccite>(Bekah Lynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two of the intergenerational voices featured in this year’s festival are mother and son duo \u003ca href=\"https://www.instagram.com/afrobraziliansf/\">\u003cspan style=\"font-weight: 400\">Tania Santiago\u003c/span>\u003c/a> and \u003ca href=\"https://www.instagram.com/sequoiia_/\">\u003cspan style=\"font-weight: 400\">Tosh Harris Santiago\u003c/span>\u003c/a>, who co-direct and co-choreograph \u003cem>De Mangangá: An Afro-Brazilian Musical\u003c/em>. The cast includes Tosh’s siblings, Nasha and Orion. Fusing moves from the Afro-Brazilian martial art capoeira, contemporary Afro-Brazilian dance and hip-hop, they tell the story of Besouro Mangangá, an early 20th century capoeira master who fought against oppression in Santo Amaro, Brazil — where Tania, a dance instructor at ODC, was born and raised.\u003c/p>\n\u003cp>“Expect a lot of fun, and a lot of new aspects to folklore movements and dance,” says Tosh, a.k.a. SeQuoiia, who graduated from Oakland School for the Arts and most recently performed as part of \u003cem>Hippest Trip: The Soul Train Musical\u003c/em> at A.C.T. this summer.\u003c/p>\n\u003cfigure id=\"attachment_13937552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-800x534.jpg\" alt=\"Three people stand on stage, one woman looks at pages in a binder she's holding, one looks out in the distance and another hold his arms outstretched while reading from a binder he holds in his hand.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/BLPHOTO_SFBATCO-NRF_2023-74.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors Sarah Lee, Amanda Le Nguyen, and Faustino Cadiz III rehearse ‘Shidaiqu: A Partly-Historical Musical’ at the Brava Theater Center in San Francisco ahead of the show’s debut on Nov. 10 at the New Roots Theatre Festival. \u003ccite>(Bekah Lynn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shidaiqu: A Partly-Historical Musical,\u003c/em> meanwhile, was inspired by Shanghai in the 1920s, when a huge wealth gap, a new Communist Party and American jazz defined much of the city’s culture. Written by San Francisco playwright \u003ca href=\"https://jminjie.com/portfolio/\">\u003cspan style=\"font-weight: 400\">Jord Liu\u003c/span>\u003c/a>, \u003cem>Shidaiqu\u003c/em> takes elements from that Shanghai history, as well as modern-day San Francisco to create a fictional world where characters explore themes of art and activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not every show at this year’s festival is a musical, mind you. But there is a common theme, says Jackson: “We’re tapping into perspectives of the universal conversation around who has access, who’s allowed to be a full human, and what does it mean to feel whole,” he says.\u003c/p>\n\u003cp>Also, joy. “I feel like often a lot of plays can be downers or [theatrical] experiences can be very, very introspective,” Jackson adds. “So the shows that we are producing … really have a full-rooted expression of joy that surrounds them… That’s why we want you to come out. To feel some joy with us.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The New Roots Theatre Festival runs Nov. 10–12 at the Brava Theater Center in San Francisco. \u003ca href=\"https://www.sfbatco.org/nrtf-2023#nrtf-2023-about\">Tickets and more info\u003c/a> \u003ca href=\"https://www.sfbatco.org/nrtf-2023#nrtf-2023-about\">\u003ci>\u003cspan style=\"font-weight: 400\">here\u003c/span>\u003c/i>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lance Gardner Is Marin Theatre Company’s New Artistic Director",
"headTitle": "Lance Gardner Is Marin Theatre Company’s New Artistic Director | KQED",
"content": "\u003cfigure id=\"attachment_13936221\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gardner.SQ_.jpg\" alt=\"A man in black shirt and sport coat, with glasses and beard, looks into the camera, smiling, against a grey background\" width=\"966\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_.jpg 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-768x768.jpg 768w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner will step into the role of artistic director at Marin Theatre Company in November. \u003ccite>(Alain Mclaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marin Theatre Company (MTC) has chosen a new artistic director. Lance Gardner, the Bay Area actor and producer with more than 20 years of experience and acclaimed performances around the region, will step into the role in November.\u003c/p>\n\u003cp>“The Board is enthusiastic about Mr. Gardner’s vision for innovative programming and forging community partnerships,” read a statement by Matthew Purdon, Board President of MTC, which was founded in 1966. “We eagerly anticipate this exciting next chapter in Marin Theatre Company’s history.”\u003c/p>\n\u003cp>Gardner, 41, is no stranger to area stages, having acted in roles at Berkeley Repertory Theatre, California Shakespeare Theater, Magic Theatre, TheatreWorks and others. His history with MTC includes roles in \u003cem>A Short History of Nearly Everything\u003c/em>, \u003cem>Lovers & Executioners\u003c/em>, \u003cem>A Streetcar Named Desire\u003c/em>, \u003cem>Fuddy Meers\u003c/em>, \u003cem>Shakespeare in Love\u003c/em>, \u003cem>Equivocation\u003c/em> and \u003cem>Skeleton Crew\u003c/em>.\u003c/p>\n\u003cp>“In some ways it’s felt like an artistic home to me,” Gardner said of the company in a phone interview on Tuesday. “I’ve always appreciated the ambition of not only the choices of the plays, but the actors who work there.”\u003c/p>\n\u003cfigure id=\"attachment_13823623\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg\" alt=\"Reggie (Lance Gardner) can't quite figure out how he got to this moment in 'The Skeleton Crew' by Dominique Morrisseau at the Marin Theatre Company.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner as Reggie in ‘The Skeleton Crew’ by Dominique Morrisseau at Marin Theatre Company, in 2018. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of Gardner’s stated vision is to present work that belongs to the broader community, “rather than laying down the ‘Lance Gardner season,'” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What I want to do is collaborate with the staff, with Mill Valley and southern Marin, and the Bay Area artistic community, to curate something that feels like it’s \u003cem>ours\u003c/em>.”\u003c/p>\n\u003cp>In addition to his extensive theater credentials, Gardner brings real-world experience, including a two-year stint as a certified EMT providing care in ambulances — and, for the better part of the past four years, he’s worked as a producer of live events for this very media outlet.\u003c/p>\n\u003cp>Gardner came to KQED in 2019 as a founding producer for \u003ca href=\"https://www.kqed.org/events\">KQED Live\u003c/a>, which hosts events in The Commons, a 238-person capacity theater at KQED’s headquarters in San Francisco. At the time, his departure from theater was such news that it inspired \u003ca href=\"https://datebook.sfchronicle.com/theater/lance-gardner-achieved-the-bay-area-stage-actors-dream-and-it-wasnt-enough\">a \u003cem>San Francisco Chronicle\u003c/em> profile by theater critic Lily Janiak\u003c/a>, questioning why Bay Area theater couldn’t sustain such a talented and in-demand actor with a living wage.\u003c/p>\n\u003cfigure id=\"attachment_13936241\" class=\"wp-caption aligncenter\" style=\"max-width: 1452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936241\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg\" alt=\"A man in glasses and black shirt and jacket holds up his right hand to give direction to people on a stage, out of frame to the left.\" width=\"1452\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg 1452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-768x511.jpg 768w\" sizes=\"(max-width: 1452px) 100vw, 1452px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner directs a rehearsal for a screening of ‘The Big Payback’ by Erika Alexander & Whitney Dow, with a panel discussion moderated by Ariana Proehl. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing that Gardner learned in events production, he said, is how to “take into account the things that people like that you either don’t like, or don’t understand.” He himself is a fan of comedy, magical realism and poetry, he noted. But “there are people who are experts in their own tastes out there. And you need those people.”\u003c/p>\n\u003cp>As for a controversial 2017 MTC premiere of the play \u003cem>Thomas and Sally\u003c/em>, about the relationship between Thomas Jefferson and his slave Sally Hemings, Gardner said he saw the script beforehand and turned down an opportunity to be involved: “I didn’t want anything to do with it.”\u003c/p>\n\u003cp>Gardner, who is also currently board president at Aurora Theatre Company, succeeds previous MTC artistic director Jasson Minadakis, who left in March after 17 years in the role.\u003c/p>\n\u003cp>MTC’s managing director Meredith Suttles said in a statement that “I am thrilled to extend a warm welcome to Lance at Marin Theatre Company and look forward to collaborating with him as we together guide this much-loved institution into its next phase.”\u003c/p>\n\u003cp>Gardner’s first day at MTC is Nov. 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936221\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gardner.SQ_.jpg\" alt=\"A man in black shirt and sport coat, with glasses and beard, looks into the camera, smiling, against a grey background\" width=\"966\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_.jpg 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-768x768.jpg 768w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner will step into the role of artistic director at Marin Theatre Company in November. \u003ccite>(Alain Mclaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marin Theatre Company (MTC) has chosen a new artistic director. Lance Gardner, the Bay Area actor and producer with more than 20 years of experience and acclaimed performances around the region, will step into the role in November.\u003c/p>\n\u003cp>“The Board is enthusiastic about Mr. Gardner’s vision for innovative programming and forging community partnerships,” read a statement by Matthew Purdon, Board President of MTC, which was founded in 1966. “We eagerly anticipate this exciting next chapter in Marin Theatre Company’s history.”\u003c/p>\n\u003cp>Gardner, 41, is no stranger to area stages, having acted in roles at Berkeley Repertory Theatre, California Shakespeare Theater, Magic Theatre, TheatreWorks and others. His history with MTC includes roles in \u003cem>A Short History of Nearly Everything\u003c/em>, \u003cem>Lovers & Executioners\u003c/em>, \u003cem>A Streetcar Named Desire\u003c/em>, \u003cem>Fuddy Meers\u003c/em>, \u003cem>Shakespeare in Love\u003c/em>, \u003cem>Equivocation\u003c/em> and \u003cem>Skeleton Crew\u003c/em>.\u003c/p>\n\u003cp>“In some ways it’s felt like an artistic home to me,” Gardner said of the company in a phone interview on Tuesday. “I’ve always appreciated the ambition of not only the choices of the plays, but the actors who work there.”\u003c/p>\n\u003cfigure id=\"attachment_13823623\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg\" alt=\"Reggie (Lance Gardner) can't quite figure out how he got to this moment in 'The Skeleton Crew' by Dominique Morrisseau at the Marin Theatre Company.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner as Reggie in ‘The Skeleton Crew’ by Dominique Morrisseau at Marin Theatre Company, in 2018. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of Gardner’s stated vision is to present work that belongs to the broader community, “rather than laying down the ‘Lance Gardner season,'” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I want to do is collaborate with the staff, with Mill Valley and southern Marin, and the Bay Area artistic community, to curate something that feels like it’s \u003cem>ours\u003c/em>.”\u003c/p>\n\u003cp>In addition to his extensive theater credentials, Gardner brings real-world experience, including a two-year stint as a certified EMT providing care in ambulances — and, for the better part of the past four years, he’s worked as a producer of live events for this very media outlet.\u003c/p>\n\u003cp>Gardner came to KQED in 2019 as a founding producer for \u003ca href=\"https://www.kqed.org/events\">KQED Live\u003c/a>, which hosts events in The Commons, a 238-person capacity theater at KQED’s headquarters in San Francisco. At the time, his departure from theater was such news that it inspired \u003ca href=\"https://datebook.sfchronicle.com/theater/lance-gardner-achieved-the-bay-area-stage-actors-dream-and-it-wasnt-enough\">a \u003cem>San Francisco Chronicle\u003c/em> profile by theater critic Lily Janiak\u003c/a>, questioning why Bay Area theater couldn’t sustain such a talented and in-demand actor with a living wage.\u003c/p>\n\u003cfigure id=\"attachment_13936241\" class=\"wp-caption aligncenter\" style=\"max-width: 1452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936241\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg\" alt=\"A man in glasses and black shirt and jacket holds up his right hand to give direction to people on a stage, out of frame to the left.\" width=\"1452\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg 1452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-768x511.jpg 768w\" sizes=\"(max-width: 1452px) 100vw, 1452px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner directs a rehearsal for a screening of ‘The Big Payback’ by Erika Alexander & Whitney Dow, with a panel discussion moderated by Ariana Proehl. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing that Gardner learned in events production, he said, is how to “take into account the things that people like that you either don’t like, or don’t understand.” He himself is a fan of comedy, magical realism and poetry, he noted. But “there are people who are experts in their own tastes out there. And you need those people.”\u003c/p>\n\u003cp>As for a controversial 2017 MTC premiere of the play \u003cem>Thomas and Sally\u003c/em>, about the relationship between Thomas Jefferson and his slave Sally Hemings, Gardner said he saw the script beforehand and turned down an opportunity to be involved: “I didn’t want anything to do with it.”\u003c/p>\n\u003cp>Gardner, who is also currently board president at Aurora Theatre Company, succeeds previous MTC artistic director Jasson Minadakis, who left in March after 17 years in the role.\u003c/p>\n\u003cp>MTC’s managing director Meredith Suttles said in a statement that “I am thrilled to extend a warm welcome to Lance at Marin Theatre Company and look forward to collaborating with him as we together guide this much-loved institution into its next phase.”\u003c/p>\n\u003cp>Gardner’s first day at MTC is Nov. 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In the Steve Jobs Opera, 'Genius' Remains Inscrutable",
"headTitle": "In the Steve Jobs Opera, ‘Genius’ Remains Inscrutable | KQED",
"content": "\u003cp>If you hear the words “\u003ca href=\"https://www.kqed.org/arts/tag/steve-jobs-opera\">Steve Jobs opera\u003c/a>” and think, “great, a patently desperate attempt to attract tech donors to the arts by presenting a commercial for Apple that fawns over its billionaire CEO,” I am happy to report that you are wrong. \u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, running at the War Memorial Opera House now through Oct. 7, is remarkably enjoyable, and not at all a rose-tinted portrait. It’s also a perfect introduction for people who’ve never been to the opera: It’s shorter than your average Hollywood blockbuster, it’s sung in English and it’s about a device which \u003ca href=\"https://deviceatlas.com/blog/mobile-os-popularity-by-us-state\">two-thirds of all California residents\u003c/a> carry in their pocket. Bring the kids — I did. \u003c/p>\n\u003cp>I also admit I approached \u003cem>The (R)evolution of Steve Jobs\u003c/em> with some skepticism. Its composer, Burlingame’s own \u003ca href=\"https://www.kqed.org/arts/11525582/meet-mason-bates-the-man-behind-steve-jobs-the-opera\">Mason Bates\u003c/a>, has enjoyed patronage from tech giants like Cisco and Google, and has written such silicon-themed works as \u003cem>The Rise of Exotic Computing\u003c/em> and \u003cem>Garages of the Valley\u003c/em>. Who better to attract the tech sector, which has historically declined to support arts organizations like the opera? And would that require glossing over Jobs’ abusive tendencies, and celebrating rather than criticizing the far-reaching and detrimental transformations brought by the iPhone?\u003c/p>\n\u003cfigure id=\"attachment_13935377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3018.jpg\" alt=\"A man in a black turtleneck and jeans looks forward and to the right while holding a phone, against a backdrop of app icons\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13935377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, announcing the iPhone in San Francisco at MacWorld in 2007, in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, \u003cem>The (R)evolution of Steve Jobs\u003c/em> — finally seeing its Bay Area premiere after runs in seven other cities – directly addresses Jobs’ denial of his first child and his cruelty to her mother. It shows Jobs yelling at staff, demanding impossible deadlines. It depicts a man who sought inner peace for himself while haranguing those around him, and connected with nature while creating an addictive device that would distance much of humanity from it. \u003c/p>\n\u003cp>[aside postID='news_11572666']This dark truth-telling is accompanied by Bates’ bright, modern-but-accessible music, with cosmopolitan chords, Steve Reichian pulses and Bernstein-esque jazz. At times, this blends pleasantly with subtle computer sounds (we are spared the cliché of the dial-up modem, thank goodness) as well as sub-bass rolling around the Opera House, played from a laptop by Bates himself in the orchestra pit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>(R)evolution\u003c/em> starts amidst towers luminescent in Apple white. After a prologue of young Jobs tinkering with gadgets in the family garage, the scene jumps to the announcement of the iPhone at MacWorld 2007. Jobs (John Moore, resolute and commanding) stands before app icons projected on a large touchscreen. The crowd leans in with anticipation as the music swells, and Jobs hoists in the air “one device / does it all / in one hand / all you need.”\u003c/p>\n\u003cfigure id=\"attachment_13935376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3265.jpg\" alt=\"A man in a black turtleneck and jeans plays on a rotary phone with a man in scruffy hair, beard and yellow shirt at a workbench\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bille Bruley as Steve Wozniak and John Moore as Steve Jobs, hacking into an international phone line in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Numerous reality checks eventually arrive. Some come from the people who love him most: Apple co-founder Steve Wozniak (played with humor and personality by Bille Bruley), Jobs’ spiritual mentor Kobōn Chino Otogawa (Wei Wu, with gut-rattling bass and dry wit) and Laurene Powell Jobs (the excellent Sasha Cooke, doing her best with the character as written). \u003c/p>\n\u003cp>A nonlinear biographical highlight reel presents the origins of Jobs’ defining device. (The libretto, by Mark Campbell, does not use the word “iPhone.”) We see him taking LSD with his girlfriend Chrisann Brennan and perceiving the brilliance of natural design. We watch as he and Wozniak hack Pacific Bell with their homemade phone technology. We hear his college calligraphy teacher talk of simplicity, simplicity, simplicity. \u003c/p>\n\u003cp>We also witness his cruelty. He fathers a child with Chrisann, demands an abortion, then denies it’s his. “Twenty-nine percent of the male population in this country could be the father,” he snarls at a reporter, publicly tarnishing Chrisann, who desperately asks for recognition or support.\u003c/p>\n\u003cfigure id=\"attachment_13935373\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3471.jpg\" alt=\"A man in a black turtleneck and jeans site barefoot with a woman in a white dress on a blanket, with trees projected in the background\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs and Olivia Smith as Chrisann Brennan, taking LSD in an orchard in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As directed by Kevin Newbury, these scenes come alive. And yet, even as Jobs is berated by Chrisann for refusing to acknowledge his daughter, abandoned by Woz for becoming what they once hated and fired by the board of his own company, it all falls into the service of the asshole-genius narrative. We know he’s going to win. \u003c/p>\n\u003cp>[aside postID='arts_13921616']Thus, the only real tension here is that Jobs can’t admit his own failures, missteps or declining health. Is that enough to drive an entire opera? Especially when it ends with Jobs becoming a vaunted historical figure, “the inventor of the iPhone,” a multi-billionaire? \u003c/p>\n\u003cp>Jobs did of course wrestle with himself. This is spelled out during a segment in which Jobs chases after a younger version of himself on stage (Atom Young Maguire); getting in his way are people marching like robots and staring into their glowing iPhones, the very object of his fame and fortune impeding his ability to connect with his childhood self. Getting “back to the garage” is a repeated goal.\u003c/p>\n\u003cfigure id=\"attachment_13935395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A4537.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, Wei Wu as Kōbun Chino Otogawa, and Sasha Cooke as Laurene Powell Jobs in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would have appreciated less of Jobs’ inner turmoil and more of the effect Jobs had on the world. Near the opera’s end, the savior figure of Laurene Powell Jobs blithely delivers a mini-lecture to the audience, instructing us all to look up from our iPhones and notice nature, the stars and each other. This feels off — a bit like the Sacklers telling Americans to just stop using opioids once in a while.\u003c/p>\n\u003cp>A more realistic conclusion might examine the iPhone’s fallout: more people addicted to their phones than ever, suicide-inducing work conditions at Apple factories in China, the deterioration of teenagers’ self-esteem. \u003c/p>\n\u003cp>But such thoughts only arrive because \u003cem>(R)evolution\u003c/em> is so good at drawing the audience in, forcing us to care about human invention, and the messy ways that society enters into large-scale behavioral shifts. For an hour and a half, you’ll reconsider your relationship to your phone, and how it came to dominate so much of your time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The (R)evolution of Steve Jobs’ runs through Oct. 7 at the War Memorial Opera House in San Francisco. Tickets start at $26. More details and information here. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you hear the words “\u003ca href=\"https://www.kqed.org/arts/tag/steve-jobs-opera\">Steve Jobs opera\u003c/a>” and think, “great, a patently desperate attempt to attract tech donors to the arts by presenting a commercial for Apple that fawns over its billionaire CEO,” I am happy to report that you are wrong. \u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, running at the War Memorial Opera House now through Oct. 7, is remarkably enjoyable, and not at all a rose-tinted portrait. It’s also a perfect introduction for people who’ve never been to the opera: It’s shorter than your average Hollywood blockbuster, it’s sung in English and it’s about a device which \u003ca href=\"https://deviceatlas.com/blog/mobile-os-popularity-by-us-state\">two-thirds of all California residents\u003c/a> carry in their pocket. Bring the kids — I did. \u003c/p>\n\u003cp>I also admit I approached \u003cem>The (R)evolution of Steve Jobs\u003c/em> with some skepticism. Its composer, Burlingame’s own \u003ca href=\"https://www.kqed.org/arts/11525582/meet-mason-bates-the-man-behind-steve-jobs-the-opera\">Mason Bates\u003c/a>, has enjoyed patronage from tech giants like Cisco and Google, and has written such silicon-themed works as \u003cem>The Rise of Exotic Computing\u003c/em> and \u003cem>Garages of the Valley\u003c/em>. Who better to attract the tech sector, which has historically declined to support arts organizations like the opera? And would that require glossing over Jobs’ abusive tendencies, and celebrating rather than criticizing the far-reaching and detrimental transformations brought by the iPhone?\u003c/p>\n\u003cfigure id=\"attachment_13935377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3018.jpg\" alt=\"A man in a black turtleneck and jeans looks forward and to the right while holding a phone, against a backdrop of app icons\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13935377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, announcing the iPhone in San Francisco at MacWorld in 2007, in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, \u003cem>The (R)evolution of Steve Jobs\u003c/em> — finally seeing its Bay Area premiere after runs in seven other cities – directly addresses Jobs’ denial of his first child and his cruelty to her mother. It shows Jobs yelling at staff, demanding impossible deadlines. It depicts a man who sought inner peace for himself while haranguing those around him, and connected with nature while creating an addictive device that would distance much of humanity from it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This dark truth-telling is accompanied by Bates’ bright, modern-but-accessible music, with cosmopolitan chords, Steve Reichian pulses and Bernstein-esque jazz. At times, this blends pleasantly with subtle computer sounds (we are spared the cliché of the dial-up modem, thank goodness) as well as sub-bass rolling around the Opera House, played from a laptop by Bates himself in the orchestra pit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>(R)evolution\u003c/em> starts amidst towers luminescent in Apple white. After a prologue of young Jobs tinkering with gadgets in the family garage, the scene jumps to the announcement of the iPhone at MacWorld 2007. Jobs (John Moore, resolute and commanding) stands before app icons projected on a large touchscreen. The crowd leans in with anticipation as the music swells, and Jobs hoists in the air “one device / does it all / in one hand / all you need.”\u003c/p>\n\u003cfigure id=\"attachment_13935376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3265.jpg\" alt=\"A man in a black turtleneck and jeans plays on a rotary phone with a man in scruffy hair, beard and yellow shirt at a workbench\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bille Bruley as Steve Wozniak and John Moore as Steve Jobs, hacking into an international phone line in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Numerous reality checks eventually arrive. Some come from the people who love him most: Apple co-founder Steve Wozniak (played with humor and personality by Bille Bruley), Jobs’ spiritual mentor Kobōn Chino Otogawa (Wei Wu, with gut-rattling bass and dry wit) and Laurene Powell Jobs (the excellent Sasha Cooke, doing her best with the character as written). \u003c/p>\n\u003cp>A nonlinear biographical highlight reel presents the origins of Jobs’ defining device. (The libretto, by Mark Campbell, does not use the word “iPhone.”) We see him taking LSD with his girlfriend Chrisann Brennan and perceiving the brilliance of natural design. We watch as he and Wozniak hack Pacific Bell with their homemade phone technology. We hear his college calligraphy teacher talk of simplicity, simplicity, simplicity. \u003c/p>\n\u003cp>We also witness his cruelty. He fathers a child with Chrisann, demands an abortion, then denies it’s his. “Twenty-nine percent of the male population in this country could be the father,” he snarls at a reporter, publicly tarnishing Chrisann, who desperately asks for recognition or support.\u003c/p>\n\u003cfigure id=\"attachment_13935373\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3471.jpg\" alt=\"A man in a black turtleneck and jeans site barefoot with a woman in a white dress on a blanket, with trees projected in the background\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs and Olivia Smith as Chrisann Brennan, taking LSD in an orchard in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As directed by Kevin Newbury, these scenes come alive. And yet, even as Jobs is berated by Chrisann for refusing to acknowledge his daughter, abandoned by Woz for becoming what they once hated and fired by the board of his own company, it all falls into the service of the asshole-genius narrative. We know he’s going to win. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thus, the only real tension here is that Jobs can’t admit his own failures, missteps or declining health. Is that enough to drive an entire opera? Especially when it ends with Jobs becoming a vaunted historical figure, “the inventor of the iPhone,” a multi-billionaire? \u003c/p>\n\u003cp>Jobs did of course wrestle with himself. This is spelled out during a segment in which Jobs chases after a younger version of himself on stage (Atom Young Maguire); getting in his way are people marching like robots and staring into their glowing iPhones, the very object of his fame and fortune impeding his ability to connect with his childhood self. Getting “back to the garage” is a repeated goal.\u003c/p>\n\u003cfigure id=\"attachment_13935395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A4537.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, Wei Wu as Kōbun Chino Otogawa, and Sasha Cooke as Laurene Powell Jobs in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would have appreciated less of Jobs’ inner turmoil and more of the effect Jobs had on the world. Near the opera’s end, the savior figure of Laurene Powell Jobs blithely delivers a mini-lecture to the audience, instructing us all to look up from our iPhones and notice nature, the stars and each other. This feels off — a bit like the Sacklers telling Americans to just stop using opioids once in a while.\u003c/p>\n\u003cp>A more realistic conclusion might examine the iPhone’s fallout: more people addicted to their phones than ever, suicide-inducing work conditions at Apple factories in China, the deterioration of teenagers’ self-esteem. \u003c/p>\n\u003cp>But such thoughts only arrive because \u003cem>(R)evolution\u003c/em> is so good at drawing the audience in, forcing us to care about human invention, and the messy ways that society enters into large-scale behavioral shifts. For an hour and a half, you’ll reconsider your relationship to your phone, and how it came to dominate so much of your time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The (R)evolution of Steve Jobs’ runs through Oct. 7 at the War Memorial Opera House in San Francisco. Tickets start at $26. More details and information here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "soul-train-musical-review-hippest-trip-san-francisco",
"title": "The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula",
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"headTitle": "The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula | KQED",
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"content": "\u003cp>In the early 1970s, Don Cornelius broke ground on national television with \u003cem>Soul Train\u003c/em>. Yet as days turned into years, that same broken ground was unable to stabilize beneath him, the beauty of his calling ultimately unfolding into tragedy borne of his ambition.\u003c/p>\n\u003cp>In the long-awaited, monumental world premiere of \u003cem>Hippest Trip: The Soul Train Musical\u003c/em> at American Conservatory Theater, the grandiloquent celebration of Black music and dance shoots fire through every nook and cranny of the theater. With its commitment to largesse, along with a mostly solid penning of Cornelius’ complicated legacy by Dominique Morisseau, the show’s future is laser-focused on Broadway, despite flaws that compromise the show’s organicity.\u003c/p>\n\u003cfigure id=\"attachment_13934446\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_119.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman (Pam Brown) and Quentin Earl Darrington (Don Cornelius) in ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chicago south sider and local television host Don Cornelius (Quentin Earl Darrington) is a golden-throated visionary, convincing his bosses at WCIU in Chicago to support a Black version of Dick Clark’s popular \u003cem>American Bandstand\u003c/em>, a show with minimal interactions with Black artists. While those bosses ultimately approve the move, with the first episode premiering in 1970, none feel it necessary to own a piece of the pie, making Cornelius the overnight owner of a franchise that would last for 35 years and become the nation’s epicenter for Black culture and entertainment. \u003c/p>\n\u003cp>[aside postID='arts_10795181']The ascendance of Cornelius ushers in problematic relationships with many in his orbit, including wife Delores (Angela Birchett), manager Pam Brown (Amber Iman) and son Tony (Sidney Dupont). As time goes on, wars are waged with the evolution of music itself as Cornelius rails against “fuckin’ disco” and “fuckin’ hip-hop,” turning the very name of the show, \u003cem>Soul Train\u003c/em>, into an anachronism. Those battles expand to a mind and body that begins to fail him, leading to a self-inflicted death by gunshot in 2012.\u003c/p>\n\u003cp>The music — drawing on dozens of hits from the ’70s, ’80s and ’90s — is, of course, great, shaped by Kenny Seymour’s terrific arrangements. Director Kamilah Forbes has oodles of talent to work with, and the collection of dancers shaped by Camille A. Brown’s choreography that cooks with butane are the heartbeat of the show. The ubiquity of the \u003cem>Soul Train\u003c/em> dance line and the evolution of popular movement that informed parties and dance halls around the world are given royal treatment here, assisted mightily by Dede Ayite’s multi-decade costume plot, Jason Sherwood’s gargantuan scenic design and the luminous lighting of Jen Schriever. \u003c/p>\n\u003cfigure id=\"attachment_13934450\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_003.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>Soul Train\u003c/em>‘s highs and lows are prominently displayed in the narrative. While the early 1970s brought the forces of \u003cem>Soul Train\u003c/em> and Motown into Los Angeles, where the hippest dancers and musicians splashed California sun all over their midwest artistic creations, booking talent was still difficult. Even Dick Clark recognized the evolving purchase power of Black viewers, starting his own ill-fated knockoff named \u003cem>Soul Unlimited\u003c/em>, which, thanks to a Cornelius ally named Jesse Jackson, proved to be very limited. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While dance is the star of the show, it’s the story of Cornelius itself that compels. As time marches forward, Cornelius finds his influence slipping away, his abilities to serve as kingmaker giving way to new genres like rap and New Jack Swing. Finding ways for an old soul man to interact with the uncompromising power of Public Enemy or the visceral smoldering of “My Prerogative” (a scalding number that garnered a standing ovation) pushes Cornelius deeper into a King Lear-like tragedy. \u003c/p>\n\u003cfigure id=\"attachment_13934452\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_294.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Kayla Davion (Jody Watley) and the cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is not without its flaws. Based on the tried-and-true formula that many jukebox musicals follow, \u003cem>Hippest Trip\u003c/em> doesn’t break any new ground. Many elements of the blueprint are instantly recognizable, including problems introduced and solved with glaring rapidity. While songs like the Five Stairsteps’ “O-o-h Child” and Al Green’s “Tired of Being Alone” weave into the storyline, the majority of its big numbers, despite talent overflowing from the stage, are in the service of nostalgia.\u003c/p>\n\u003cp>Amber Iman, as brilliant a musical theater performer as they come, plays a role that feels underdeveloped. And Angela Birchett, as the ill-fated Delores, seems as if she was given minimal stage directions which probably say something like, “stand here and sing sadly.” \u003c/p>\n\u003cp>The show finds more success when it barrels down and dives deeply into what made Cornelius the man he was, Darrington passionately channeling the weight of Cornelius on his powerful shoulders. Cornelius invokes figures like Martin Luther King Jr., Fred Hampton, the Last Poets and the Black Arts Movement in too-brief passing mentions that nonetheless signify his place among them. \u003c/p>\n\u003cfigure id=\"attachment_13934447\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_359.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of historical figures that come along and change the world, and Cornelius is on the short list of those who have. Coming out of the explosive images and harmful media depictions of Black people in the 1960s, it was Cornelius and his vision that put a people on his back in the 1970s and beyond, showcasing the beauty of Black culture and self-expression, providing agency and careers to massively talented artists. \u003c/p>\n\u003cp>The brilliant multi-hyphenate Gil Scott-Heron, who makes brief appearances in \u003cem>Hippest Trip\u003c/em>, was incorrect about one small detail – every Saturday morning for 35 years, the revolution of Don Cornelius was most certainly televised.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hippest Trip: The Soul Train Musical runs through Oct. 8, 2023, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"title": "The ‘Soul Train’ Musical Explodes With Talent, Despite Following the Formula | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1970s, Don Cornelius broke ground on national television with \u003cem>Soul Train\u003c/em>. Yet as days turned into years, that same broken ground was unable to stabilize beneath him, the beauty of his calling ultimately unfolding into tragedy borne of his ambition.\u003c/p>\n\u003cp>In the long-awaited, monumental world premiere of \u003cem>Hippest Trip: The Soul Train Musical\u003c/em> at American Conservatory Theater, the grandiloquent celebration of Black music and dance shoots fire through every nook and cranny of the theater. With its commitment to largesse, along with a mostly solid penning of Cornelius’ complicated legacy by Dominique Morisseau, the show’s future is laser-focused on Broadway, despite flaws that compromise the show’s organicity.\u003c/p>\n\u003cfigure id=\"attachment_13934446\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_119.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_119-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Amber Iman (Pam Brown) and Quentin Earl Darrington (Don Cornelius) in ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chicago south sider and local television host Don Cornelius (Quentin Earl Darrington) is a golden-throated visionary, convincing his bosses at WCIU in Chicago to support a Black version of Dick Clark’s popular \u003cem>American Bandstand\u003c/em>, a show with minimal interactions with Black artists. While those bosses ultimately approve the move, with the first episode premiering in 1970, none feel it necessary to own a piece of the pie, making Cornelius the overnight owner of a franchise that would last for 35 years and become the nation’s epicenter for Black culture and entertainment. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The ascendance of Cornelius ushers in problematic relationships with many in his orbit, including wife Delores (Angela Birchett), manager Pam Brown (Amber Iman) and son Tony (Sidney Dupont). As time goes on, wars are waged with the evolution of music itself as Cornelius rails against “fuckin’ disco” and “fuckin’ hip-hop,” turning the very name of the show, \u003cem>Soul Train\u003c/em>, into an anachronism. Those battles expand to a mind and body that begins to fail him, leading to a self-inflicted death by gunshot in 2012.\u003c/p>\n\u003cp>The music — drawing on dozens of hits from the ’70s, ’80s and ’90s — is, of course, great, shaped by Kenny Seymour’s terrific arrangements. Director Kamilah Forbes has oodles of talent to work with, and the collection of dancers shaped by Camille A. Brown’s choreography that cooks with butane are the heartbeat of the show. The ubiquity of the \u003cem>Soul Train\u003c/em> dance line and the evolution of popular movement that informed parties and dance halls around the world are given royal treatment here, assisted mightily by Dede Ayite’s multi-decade costume plot, Jason Sherwood’s gargantuan scenic design and the luminous lighting of Jen Schriever. \u003c/p>\n\u003cfigure id=\"attachment_13934450\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_003.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_003-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of \u003cem>Soul Train\u003c/em>‘s highs and lows are prominently displayed in the narrative. While the early 1970s brought the forces of \u003cem>Soul Train\u003c/em> and Motown into Los Angeles, where the hippest dancers and musicians splashed California sun all over their midwest artistic creations, booking talent was still difficult. Even Dick Clark recognized the evolving purchase power of Black viewers, starting his own ill-fated knockoff named \u003cem>Soul Unlimited\u003c/em>, which, thanks to a Cornelius ally named Jesse Jackson, proved to be very limited. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While dance is the star of the show, it’s the story of Cornelius itself that compels. As time marches forward, Cornelius finds his influence slipping away, his abilities to serve as kingmaker giving way to new genres like rap and New Jack Swing. Finding ways for an old soul man to interact with the uncompromising power of Public Enemy or the visceral smoldering of “My Prerogative” (a scalding number that garnered a standing ovation) pushes Cornelius deeper into a King Lear-like tragedy. \u003c/p>\n\u003cfigure id=\"attachment_13934452\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_294.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_294-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">Kayla Davion (Jody Watley) and the cast of ‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is not without its flaws. Based on the tried-and-true formula that many jukebox musicals follow, \u003cem>Hippest Trip\u003c/em> doesn’t break any new ground. Many elements of the blueprint are instantly recognizable, including problems introduced and solved with glaring rapidity. While songs like the Five Stairsteps’ “O-o-h Child” and Al Green’s “Tired of Being Alone” weave into the storyline, the majority of its big numbers, despite talent overflowing from the stage, are in the service of nostalgia.\u003c/p>\n\u003cp>Amber Iman, as brilliant a musical theater performer as they come, plays a role that feels underdeveloped. And Angela Birchett, as the ill-fated Delores, seems as if she was given minimal stage directions which probably say something like, “stand here and sing sadly.” \u003c/p>\n\u003cp>The show finds more success when it barrels down and dives deeply into what made Cornelius the man he was, Darrington passionately channeling the weight of Cornelius on his powerful shoulders. Cornelius invokes figures like Martin Luther King Jr., Fred Hampton, the Last Poets and the Black Arts Movement in too-brief passing mentions that nonetheless signify his place among them. \u003c/p>\n\u003cfigure id=\"attachment_13934447\" class=\"wp-caption aligncenter\" style=\"max-width: 2400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HPT_359.jpg\" alt=\"\" width=\"2400\" height=\"1597\" class=\"size-full wp-image-13934447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359.jpg 2400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HPT_359-1920x1278.jpg 1920w\" sizes=\"(max-width: 2400px) 100vw, 2400px\">\u003cfigcaption class=\"wp-caption-text\">‘Hippest Trip: The Soul Train Musical.’ \u003ccite>(Kevin Berne and Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of historical figures that come along and change the world, and Cornelius is on the short list of those who have. Coming out of the explosive images and harmful media depictions of Black people in the 1960s, it was Cornelius and his vision that put a people on his back in the 1970s and beyond, showcasing the beauty of Black culture and self-expression, providing agency and careers to massively talented artists. \u003c/p>\n\u003cp>The brilliant multi-hyphenate Gil Scott-Heron, who makes brief appearances in \u003cem>Hippest Trip\u003c/em>, was incorrect about one small detail – every Saturday morning for 35 years, the revolution of Don Cornelius was most certainly televised.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hippest Trip: The Soul Train Musical runs through Oct. 8, 2023, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Ways to Fall in Love With Bay Area Theatre and Dance",
"headTitle": "10 Ways to Fall in Love With Bay Area Theatre and Dance | KQED",
"content": "\u003cp>\u003cstrong>\u003cem>Find more of KQED’s picks for the \u003ca href=\"https://www.kqed.org/fallguide2023\">best fall 2023 events here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>For Bay Area theatre, fall is when summer festivals wind down and new seasons of performing companies ramp up. As always, far more amazing shows open over the next few months than one roundup can contain. But here’s a sampling of the most exciting, innovative, and thought-provoking works hitting the boards this fall — from A.C.T. to Z Space.\u003c/p>\n\u003ch3>Theater\u003c/h3>\n\u003cfigure id=\"attachment_13933327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg\" alt=\"a group photo of three young Black women and a tall Black man, the musician Questlove, in glasses \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dominique Morisseau, Ahmir Questlove Thompson, Camille A. Brown and Kamilah Forbes. \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.act-sf.org/whats-on/2023-24-season/soul-train/\" target=\"_blank\" rel=\"noopener\">Hippest Trip — The Soul Train Musical\u003c/a>\u003cem>’\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 25–Oct. 1, 2023\u003cbr>\nA.C.T.’s Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>All aboard — the Soul Train is about to leave the station! \u003cem>Hippest Trip — The Soul Train Musical\u003c/em> promises to turn A.C.T.’s Toni Rembe Theater into a celebratory dance party, as well as an homage to the talent that made \u003cem>Soul Train\u003c/em> a beloved household staple for 35 years. Spotlighting the Black music, dance and culture variety show founded by Don Cornelius in 1971, \u003cem>Hippest Trip\u003c/em> presents a powerhouse cast, playwriting by Tony Award-nominated Dominique Morisseau, direction by Kamilah Forbes and choreography by \u003cem>Toni Stone\u003c/em>’s Camille A. Brown.\u003c/p>\n\u003cfigure id=\"attachment_13933423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg\" alt=\"a Black woman with short hair wraps her hands in tape like she's about to box next to a young Asian American man in a jean jacket with his fists up\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabby Momah and Mikee Loria in ‘Wolf Play.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/online/article/wolf-play\" target=\"_blank\" rel=\"noopener\">Wolf Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 2–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Ashby Stage, Berkeley\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tackling the morally dubious practice of adoptive parents “re-homing” their children online, Hansol Jung’s devastatingly astute \u003cem>Wolf Play\u003c/em> brings an unforgettable protagonist to life in this Elizabeth Carter-directed production. Jeenu, a 6-year old adoptee, finds refuge in the idea that he is a wolf seeking his pack. For new parents Robin and Ash, Jeenu is both a completion and a complication inside their own refuge of a chosen family. When external forces intrude in their circle, each character must learn to fight for their territory — and for each other.\u003c/p>\n\u003cfigure id=\"attachment_13933580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary-800x894.jpg\" alt=\"A man in purple top and spiked headpiece, with gold sash\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-768x859.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1374x1536.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gary: A Sequel to Titus Andronicus.’ \u003ccite>(Oakland Theater Project )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/gary\">Gary: A Sequel To Titus Andronicus\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 8–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX\u003c/em>\u003c/p>\n\u003cp>One of Shakespeare’s most harrowing plays, \u003cem>Titus Andronicus\u003c/em> ends in buckets of blood and piles of bodies — a state of affairs gleefully exaggerated in Taylor Mac’s \u003cem>Gary\u003c/em>. With literal bodies stacked to the ceiling, and a pair of put-upon servants to mop up the mess the mighty have left behind, \u003cem>Gary\u003c/em> gives voice to the voiceless — albeit with fart jokes. But don’t think Mac’s foray into Theatre of the Ridiculous territory is all about the frailties of the human body. What Mac is after is examining the frailties of the systems that perpetrate cycles of violence and trauma, finding unexpected grace under unimaginable pressure.\u003c/p>\n\u003cfigure id=\"attachment_13933332\" class=\"wp-caption aligncenter\" style=\"max-width: 546px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\" alt=\"a white woman with curly hair and a green scarf looks at the camera outside\" width=\"546\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot-160x215.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Mary Glen Fredrick. \u003ccite>(Courtesy of Mary Glen Fredrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.crowdedfire.org/edit-annie/\" target=\"_blank\" rel=\"noopener\">Edit Annie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 21–Oct. 14, 2023\u003cbr>\nMagic Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s been two long years since Crowded Fire Theater presented Isaac Gómez’ terrific and terrifying \u003cem>The Displaced\u003c/em>. Their West Coast premiere of \u003cem>Edit Annie\u003c/em>, by rising New York-based playwright and video artist Mary Glen Fredrick, promises to be worth the wait. Unapologetically rooted in the technological tangles of our time, the play explores the implications and repercussions of our ability to continuously reinvent, redefine, and rewind our relationships in a heavily mediated reality. With a superlative cast, co-direction by Leigh Rondon-Davis and Nailah Unole Dida-nese’ah Harper-Malveaux, and video designed and edited by Fredrick with Lana Palmer, \u003cem>Edit Annie\u003c/em> gives the Extremely Online generation a chance to connect IRL without even having to swipe.\u003c/p>\n\u003cfigure id=\"attachment_13933398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg\" alt=\"a spooky costumed drag queen against a purple background\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm.jpg 1766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peaches Christ at the Terror Vault inside the San Francisco Mint. \u003ccite>(Courtesy of Terror Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.tixr.com/groups/terrorvault\" target=\"_blank\" rel=\"noopener\">Terror Vault Presents: The Initiation\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 29-Oct. 31, 2023\u003cbr>\nSan Francisco Mint\u003c/em>\u003c/p>\n\u003cp>Borne from Peaches Christ’s taste for the macabre and San Francisco’s appetite for the immersive, Terror Vault is a haunted attraction that truly delivers. Appropriately ensconced in the magnificent Old Mint — a granite behemoth built in 1874 — Terror Vault makes use of its shadowy corners, vintage vaults, and disorienting floorplan to devious effect. This year’s theme —\u003cem>The Initiation \u003c/em>— delves into the Bay Area’s unsavory association with cults and their leaders, inviting audiences to attend a “seminar” for a mysterious organization called INsight. Far more involved than your typical haunted house, Terror Vault shows include fully realized world-building, humor, exhibitionists, the best horror makeup around, and consensual audience interactivity for a thrilling adventure you won’t soon forget.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://cuttingball.com/tickets\" target=\"_blank\" rel=\"noopener\">Rossum’s Universal Robots\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20–Nov. 12, 2023\u003c/em>\u003cbr>\n\u003cem>EXIT on Taylor, San Francisco\u003c/em>\u003c/p>\n\u003cp>From its inception, Cutting Ball Theater has been devoted to interrogating the present moment through revitalized classics that sidestep mundane realism in favor of fertile imagination. That makes this adaptation of proto-science fiction \u003cem>Rossum’s Universal Robots\u003c/em> completely on-brand, while still staking out some fantastical new territory for this experimental company. Written in 1920 by Czech playwright Karel Čapek, \u003cem>R.U.R.\u003c/em> examines the human condition through the eyes of its greatest imitators, and would-be inheritors. This production is helmed by Chris Steele — who recently stepped in as the company’s fourth Artistic leader operating within a newly-defined collective — and features a dynamic cast of robots who may have already taken over the world.\u003c/p>\n\u003ch2>‘\u003ca href=\"http://berkeleyrep.org/shows/bulrusher/\" target=\"_blank\" rel=\"noopener\">Bulrusher\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27–Dec. 3, 2023\u003cbr>\nBerkeley Rep’s Peet’s Theatre\u003c/em>\u003c/p>\n\u003cp>In a highly anticipated return to Berkeley, the 2007 Pulitzer-nominated \u003cem>Bulrusher\u003c/em> is a language-driven coming-of-age story. Questions of braided identities, personal liberation and birthright combine with poetry, clairvoyance and the regionally specific Northern California dialect known as “Boontling.” Written by Bay Area-raised Eisa Davis, the niece of activist-scholar Angela Davis and an artistic multi-hyphenate in her own right, \u003cem>Bulrusher\u003c/em> asks: How do we discover who we really are in a world that constantly seeks to define us — and confine us? Nicole A. Watson directs.\u003c/p>\n\u003ch3>Dance\u003c/h3>\n\u003cfigure id=\"attachment_13933581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg\" alt=\"A dancer in hospital patient garb leaps in the air with a nurse in the background.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1920x1348.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nursing These Wounds.’ \u003ccite>(KULARTS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.kularts-sf.org/nursing-these-wounds\" target=\"_blank\" rel=\"noopener\">Nursing These Wounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22–24, 2023\u003cbr>\nODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 21–30, 2023\u003cbr>\nBrava Cabaret, San Francisco\u003c/em>\u003c/p>\n\u003cp>The COVID-19 pandemic has revealed the cracks and fissures in so many of our structures and institutions — particularly in the American health care system. So choreographer Alleluia Panis’ embodied exploration of the many faces and pathways of Pilipinix-born nurses and caregivers is as timely as it is vital. Panis, the co-founder of KULARTS, frequently wrestles with themes of migration, labor, and colonization in her work, and looks to folk dance and indigenous tradition to inform her vibrant choreography. This reprise of 2022’s world premiere offers an unflinching, sometimes harrowing, and loving tribute to an entire demographic of under-recognized, overwhelmed public health protectors.\u003c/p>\n\u003cfigure id=\"attachment_13933427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg\" alt=\"a young Black man dancer poses while facing the camera as other dancers in blue dresses move behind him\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1020x751.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-768x566.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1536x1132.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-2048x1509.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1920x1414.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandon Graham in ‘The Lost Art of Dreaming’ from Sean Dorsey Dance. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Three at Z\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.zspace.org/orale\" target=\"_blank\" rel=\"noopener\">Òrale\u003c/a>, Sept. 7–9; \u003ca href=\"https://www.zspace.org/sdd-dreaming\">The Lost Art of Dreaming\u003c/a>, Sept. 29–Oct. 1; \u003ca href=\"https://www.queercatproductions.com/jesdeville\">Forgetting Tree\u003c/a>, Nov. 3–5\u003c/em>\u003cbr>\n\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance-driven, genre-exploding work comes to Z Space with a trio of radical performances. First up is \u003cem>Òrale\u003c/em>, a mini-festival of pieces directed by David Herrera Performance Company with an exciting who’s-who of nationally recognized Latinx dance-makers, with live music provided by the excellent El Vez and the Memphis Mariachis. Next, Sean Dorsey Dance encores \u003cem>The Lost Art of Dreaming \u003c/em>— a visually stunning and emotionally ecstatic work, setting its sights on a future of love and collective liberation, expressed through a choreography of queer trans and non-binary bodies. Finally, Queer Cat Productions and Openhaus Athletics install a “consent-forward” interactive and ecologically-engaged experience called \u003cem>Forgetting Tree\u003c/em> in Z Space’s spacious lobby. Curated and created by Jes DeVille, this work promises to stimulate all of the senses — most especially that of the revolutionary within.\u003c/p>\n\u003cfigure id=\"attachment_13933417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg\" alt=\"a group of dancers in colorful clothes pose inside a trolley with green seats\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Epifano and dancers on a trolley during the annual San Francisco Trolley Dances. \u003ccite>(Amani Wade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://epiphanydance.org/san-francisco-trolley-dances/\" target=\"_blank\" rel=\"noopener\">San Francisco Trolley Dances: 20th Anniversary Edition\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21–22, 2023\u003c/em>\u003cbr>\n\u003cem>One Bush Plaza, various locations in San Francisco\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s simply nothing like the combination dance festival-urban exploration known as Trolley Dances. This year, the San Francisco treat returns to where it all began 20 years ago — on the iconic F-Market line. Starting at One Bush Plaza with Nava Dance Theatre, then hopping on and off the F-Market train en route to Fisherman’s Wharf, audience members will encounter such Bay Area dance luminaries as Blind Tiger Society, Jennifer Perfilio Movement Works, Kinetech Arts, Loco Bloco and artistic director Kim Epifano’s own company, Epiphany Dance. A highlight of the event will be a piece choreographed by San Diego dance legend Jean Isaacs — the originator of the Trolley Dance concept back in 1997.\u003c/p>\n\n",
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"excerpt": "From Shakespeare to 'Soul Train,' here are highlights of Bay Area theatre and dance this fall.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Find more of KQED’s picks for the \u003ca href=\"https://www.kqed.org/fallguide2023\">best fall 2023 events here\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>For Bay Area theatre, fall is when summer festivals wind down and new seasons of performing companies ramp up. As always, far more amazing shows open over the next few months than one roundup can contain. But here’s a sampling of the most exciting, innovative, and thought-provoking works hitting the boards this fall — from A.C.T. to Z Space.\u003c/p>\n\u003ch3>Theater\u003c/h3>\n\u003cfigure id=\"attachment_13933327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933327\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg\" alt=\"a group photo of three young Black women and a tall Black man, the musician Questlove, in glasses \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Dominique-Morisseau-Ahmir-Questlove-Thompson-Camille-A.-Brown-and-Kamilah-Forbes-c-Nicola-Goode-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dominique Morisseau, Ahmir Questlove Thompson, Camille A. Brown and Kamilah Forbes. \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.act-sf.org/whats-on/2023-24-season/soul-train/\" target=\"_blank\" rel=\"noopener\">Hippest Trip — The Soul Train Musical\u003c/a>\u003cem>’\u003c/em>\u003c/h2>\n\u003cp>\u003cem>Aug. 25–Oct. 1, 2023\u003cbr>\nA.C.T.’s Toni Rembe Theater, San Francisco\u003c/em>\u003c/p>\n\u003cp>All aboard — the Soul Train is about to leave the station! \u003cem>Hippest Trip — The Soul Train Musical\u003c/em> promises to turn A.C.T.’s Toni Rembe Theater into a celebratory dance party, as well as an homage to the talent that made \u003cem>Soul Train\u003c/em> a beloved household staple for 35 years. Spotlighting the Black music, dance and culture variety show founded by Don Cornelius in 1971, \u003cem>Hippest Trip\u003c/em> presents a powerhouse cast, playwriting by Tony Award-nominated Dominique Morisseau, direction by Kamilah Forbes and choreography by \u003cem>Toni Stone\u003c/em>’s Camille A. Brown.\u003c/p>\n\u003cfigure id=\"attachment_13933423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg\" alt=\"a Black woman with short hair wraps her hands in tape like she's about to box next to a young Asian American man in a jean jacket with his fists up\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/A.DSC02067-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabby Momah and Mikee Loria in ‘Wolf Play.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/online/article/wolf-play\" target=\"_blank\" rel=\"noopener\">Wolf Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 2–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Ashby Stage, Berkeley\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tackling the morally dubious practice of adoptive parents “re-homing” their children online, Hansol Jung’s devastatingly astute \u003cem>Wolf Play\u003c/em> brings an unforgettable protagonist to life in this Elizabeth Carter-directed production. Jeenu, a 6-year old adoptee, finds refuge in the idea that he is a wolf seeking his pack. For new parents Robin and Ash, Jeenu is both a completion and a complication inside their own refuge of a chosen family. When external forces intrude in their circle, each character must learn to fight for their territory — and for each other.\u003c/p>\n\u003cfigure id=\"attachment_13933580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Gary-800x894.jpg\" alt=\"A man in purple top and spiked headpiece, with gold sash\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-800x894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1020x1140.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-160x179.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-768x859.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary-1374x1536.jpg 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Gary.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Gary: A Sequel to Titus Andronicus.’ \u003ccite>(Oakland Theater Project )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/gary\">Gary: A Sequel To Titus Andronicus\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 8–Oct. 1, 2023\u003c/em>\u003cbr>\n\u003cem>Oakland Theater Project at FLAX\u003c/em>\u003c/p>\n\u003cp>One of Shakespeare’s most harrowing plays, \u003cem>Titus Andronicus\u003c/em> ends in buckets of blood and piles of bodies — a state of affairs gleefully exaggerated in Taylor Mac’s \u003cem>Gary\u003c/em>. With literal bodies stacked to the ceiling, and a pair of put-upon servants to mop up the mess the mighty have left behind, \u003cem>Gary\u003c/em> gives voice to the voiceless — albeit with fart jokes. But don’t think Mac’s foray into Theatre of the Ridiculous territory is all about the frailties of the human body. What Mac is after is examining the frailties of the systems that perpetrate cycles of violence and trauma, finding unexpected grace under unimaginable pressure.\u003c/p>\n\u003cfigure id=\"attachment_13933332\" class=\"wp-caption aligncenter\" style=\"max-width: 546px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg\" alt=\"a white woman with curly hair and a green scarf looks at the camera outside\" width=\"546\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Mary-Glen-Fredrick-headshot-160x215.jpg 160w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Mary Glen Fredrick. \u003ccite>(Courtesy of Mary Glen Fredrick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.crowdedfire.org/edit-annie/\" target=\"_blank\" rel=\"noopener\">Edit Annie\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 21–Oct. 14, 2023\u003cbr>\nMagic Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>It’s been two long years since Crowded Fire Theater presented Isaac Gómez’ terrific and terrifying \u003cem>The Displaced\u003c/em>. Their West Coast premiere of \u003cem>Edit Annie\u003c/em>, by rising New York-based playwright and video artist Mary Glen Fredrick, promises to be worth the wait. Unapologetically rooted in the technological tangles of our time, the play explores the implications and repercussions of our ability to continuously reinvent, redefine, and rewind our relationships in a heavily mediated reality. With a superlative cast, co-direction by Leigh Rondon-Davis and Nailah Unole Dida-nese’ah Harper-Malveaux, and video designed and edited by Fredrick with Lana Palmer, \u003cem>Edit Annie\u003c/em> gives the Extremely Online generation a chance to connect IRL without even having to swipe.\u003c/p>\n\u003cfigure id=\"attachment_13933398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg\" alt=\"a spooky costumed drag queen against a purple background\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/peacheschrist01_sm.jpg 1766w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peaches Christ at the Terror Vault inside the San Francisco Mint. \u003ccite>(Courtesy of Terror Vault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.tixr.com/groups/terrorvault\" target=\"_blank\" rel=\"noopener\">Terror Vault Presents: The Initiation\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 29-Oct. 31, 2023\u003cbr>\nSan Francisco Mint\u003c/em>\u003c/p>\n\u003cp>Borne from Peaches Christ’s taste for the macabre and San Francisco’s appetite for the immersive, Terror Vault is a haunted attraction that truly delivers. Appropriately ensconced in the magnificent Old Mint — a granite behemoth built in 1874 — Terror Vault makes use of its shadowy corners, vintage vaults, and disorienting floorplan to devious effect. This year’s theme —\u003cem>The Initiation \u003c/em>— delves into the Bay Area’s unsavory association with cults and their leaders, inviting audiences to attend a “seminar” for a mysterious organization called INsight. Far more involved than your typical haunted house, Terror Vault shows include fully realized world-building, humor, exhibitionists, the best horror makeup around, and consensual audience interactivity for a thrilling adventure you won’t soon forget.\u003c/p>\n\u003ch2>‘\u003ca href=\"https://cuttingball.com/tickets\" target=\"_blank\" rel=\"noopener\">Rossum’s Universal Robots\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 20–Nov. 12, 2023\u003c/em>\u003cbr>\n\u003cem>EXIT on Taylor, San Francisco\u003c/em>\u003c/p>\n\u003cp>From its inception, Cutting Ball Theater has been devoted to interrogating the present moment through revitalized classics that sidestep mundane realism in favor of fertile imagination. That makes this adaptation of proto-science fiction \u003cem>Rossum’s Universal Robots\u003c/em> completely on-brand, while still staking out some fantastical new territory for this experimental company. Written in 1920 by Czech playwright Karel Čapek, \u003cem>R.U.R.\u003c/em> examines the human condition through the eyes of its greatest imitators, and would-be inheritors. This production is helmed by Chris Steele — who recently stepped in as the company’s fourth Artistic leader operating within a newly-defined collective — and features a dynamic cast of robots who may have already taken over the world.\u003c/p>\n\u003ch2>‘\u003ca href=\"http://berkeleyrep.org/shows/bulrusher/\" target=\"_blank\" rel=\"noopener\">Bulrusher\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 27–Dec. 3, 2023\u003cbr>\nBerkeley Rep’s Peet’s Theatre\u003c/em>\u003c/p>\n\u003cp>In a highly anticipated return to Berkeley, the 2007 Pulitzer-nominated \u003cem>Bulrusher\u003c/em> is a language-driven coming-of-age story. Questions of braided identities, personal liberation and birthright combine with poetry, clairvoyance and the regionally specific Northern California dialect known as “Boontling.” Written by Bay Area-raised Eisa Davis, the niece of activist-scholar Angela Davis and an artistic multi-hyphenate in her own right, \u003cem>Bulrusher\u003c/em> asks: How do we discover who we really are in a world that constantly seeks to define us — and confine us? Nicole A. Watson directs.\u003c/p>\n\u003ch3>Dance\u003c/h3>\n\u003cfigure id=\"attachment_13933581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933581\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg\" alt=\"A dancer in hospital patient garb leaps in the air with a nurse in the background.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/NursingTheseWounds-1920x1348.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nursing These Wounds.’ \u003ccite>(KULARTS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.kularts-sf.org/nursing-these-wounds\" target=\"_blank\" rel=\"noopener\">Nursing These Wounds\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22–24, 2023\u003cbr>\nODC Theater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 21–30, 2023\u003cbr>\nBrava Cabaret, San Francisco\u003c/em>\u003c/p>\n\u003cp>The COVID-19 pandemic has revealed the cracks and fissures in so many of our structures and institutions — particularly in the American health care system. So choreographer Alleluia Panis’ embodied exploration of the many faces and pathways of Pilipinix-born nurses and caregivers is as timely as it is vital. Panis, the co-founder of KULARTS, frequently wrestles with themes of migration, labor, and colonization in her work, and looks to folk dance and indigenous tradition to inform her vibrant choreography. This reprise of 2022’s world premiere offers an unflinching, sometimes harrowing, and loving tribute to an entire demographic of under-recognized, overwhelmed public health protectors.\u003c/p>\n\u003cfigure id=\"attachment_13933427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg\" alt=\"a young Black man dancer poses while facing the camera as other dancers in blue dresses move behind him\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-800x589.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1020x751.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-160x118.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-768x566.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1536x1132.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-2048x1509.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/SeanDorseyDance_TheLostArtOfDreaming_premiere_14_photoLydiaDaniller-1-1-1920x1414.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandon Graham in ‘The Lost Art of Dreaming’ from Sean Dorsey Dance. \u003ccite>(Lydia Daniller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Three at Z\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.zspace.org/orale\" target=\"_blank\" rel=\"noopener\">Òrale\u003c/a>, Sept. 7–9; \u003ca href=\"https://www.zspace.org/sdd-dreaming\">The Lost Art of Dreaming\u003c/a>, Sept. 29–Oct. 1; \u003ca href=\"https://www.queercatproductions.com/jesdeville\">Forgetting Tree\u003c/a>, Nov. 3–5\u003c/em>\u003cbr>\n\u003cem>Z Space, San Francisco\u003c/em>\u003c/p>\n\u003cp>Dance-driven, genre-exploding work comes to Z Space with a trio of radical performances. First up is \u003cem>Òrale\u003c/em>, a mini-festival of pieces directed by David Herrera Performance Company with an exciting who’s-who of nationally recognized Latinx dance-makers, with live music provided by the excellent El Vez and the Memphis Mariachis. Next, Sean Dorsey Dance encores \u003cem>The Lost Art of Dreaming \u003c/em>— a visually stunning and emotionally ecstatic work, setting its sights on a future of love and collective liberation, expressed through a choreography of queer trans and non-binary bodies. Finally, Queer Cat Productions and Openhaus Athletics install a “consent-forward” interactive and ecologically-engaged experience called \u003cem>Forgetting Tree\u003c/em> in Z Space’s spacious lobby. Curated and created by Jes DeVille, this work promises to stimulate all of the senses — most especially that of the revolutionary within.\u003c/p>\n\u003cfigure id=\"attachment_13933417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg\" alt=\"a group of dancers in colorful clothes pose inside a trolley with green seats\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-2048x1368.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kim-Epifano-left-and-dancers-for-SFTD-2023.-Photo-by-Amani-Wade-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kim Epifano and dancers on a trolley during the annual San Francisco Trolley Dances. \u003ccite>(Amani Wade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://epiphanydance.org/san-francisco-trolley-dances/\" target=\"_blank\" rel=\"noopener\">San Francisco Trolley Dances: 20th Anniversary Edition\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 21–22, 2023\u003c/em>\u003cbr>\n\u003cem>One Bush Plaza, various locations in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s simply nothing like the combination dance festival-urban exploration known as Trolley Dances. This year, the San Francisco treat returns to where it all began 20 years ago — on the iconic F-Market line. Starting at One Bush Plaza with Nava Dance Theatre, then hopping on and off the F-Market train en route to Fisherman’s Wharf, audience members will encounter such Bay Area dance luminaries as Blind Tiger Society, Jennifer Perfilio Movement Works, Kinetech Arts, Loco Bloco and artistic director Kim Epifano’s own company, Epiphany Dance. A highlight of the event will be a piece choreographed by San Diego dance legend Jean Isaacs — the originator of the Trolley Dance concept back in 1997.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ayodele Nzinga Opens Curtain at BAM House, a New Home for Black Arts",
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"content": "\u003cp>When I visit Ayodele Nzinga, founder and director of the \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> theater troupe, in late July, she’s directing rehearsal for their latest production, August Wilson’s \u003cem>Radio Golf\u003c/em>. The play, which runs through Aug. 27, is the troupe’s first formal production since the start of the pandemic. And while the show closes the company’s 24th season, it also opens a new chapter.[aside postid='arts_13900077']\u003c/p>\n\u003cp>“It feels stupendous. I’m not even gonna front,” says Nzinga, who is also Oakland’s first poet laureate. “I’m having the time of my life. I feel like a lot of what it took to be right here isn’t glamorous or sexy work.”\u003c/p>\n\u003cp>“Right here” is in the newly named BAM (Black Arts Movement) House on 1540 Broadway in downtown Oakland — a 100-seat black-box theater space formerly known as PianoFight (and before that, known as The Flight Deck, before their closure in 2020). After years of renting out space from the previous tenants, Nzinga’s nonprofit, the \u003ca href=\"http://www.bambdcdc.com/\">Black Arts Movement and Business District Community Development Corporation\u003c/a>, now holds the lease.\u003c/p>\n\u003cfigure id=\"attachment_13933234\" class=\"wp-caption aligncenter\" style=\"max-width: 1679px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image1.jpg\" alt=\"a red and black and green painted building\" width=\"1679\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1.jpg 1679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1536x1105.jpg 1536w\" sizes=\"(max-width: 1679px) 100vw, 1679px\">\u003cfigcaption class=\"wp-caption-text\">The newly painted exterior of BAM House at 1540 Broadway in downtown Oakland. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Nzinga and the Lower Bottom Playaz got word from PianoFight in February that \u003ca href=\"https://www.kqed.org/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary\" target=\"_blank\" rel=\"noopener\">it would be closing down\u003c/a>, Nzinga’s first thought was how they might rent the space through the end of the year. “That blossomed into a conversation about, why not BAMBD CDC take over this space, and have its first official headquarters,” Nzinga says.\u003c/p>\n\u003cp>In 2016, the Oakland City Council\u003ca href=\"https://oaklandlibrary.org/wp-content/uploads/sites/100/2021/08/BAMBD-Resolution-85958-CMS-ATT-C.pdf\"> designated sections\u003c/a> (PDF) of downtown and West Oakland as the Black Arts Movement and Business District. In response, Nzinga founded her community development corporation, BAMBD CDC, to help sustain local artists and ensure they’re able to live and work in Oakland. But neither the district nor the nonprofit have had a formal space for artists or the public to visit. Now, they have BAM House — and Nzinga’s been making the house a home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was a bit ragged on the edges when we came in,” Nzinga says. “So [now], you’ll notice were just in the most pristine black box ever. And we thought that the outside of the building needed to make a statement.”\u003c/p>\n\u003cp>The exterior has been painted red, black and green with a shield on top that has the organization’s initials.\u003c/p>\n\u003cp>“The weapons that cross the shield are a paintbrush and a pen. We just made this sacred space right here on Broadway,” Nzinga says.\u003c/p>\n\u003cp>And right on time for the \u003ca href=\"http://www.bambdfest.com/\">BAMBDFEST Biennial\u003c/a>, a month-long festival which includes the production of \u003cem>Radio Golf\u003c/em>, and various other theater and literary events across various venues in Oakland. It all culminates in an official black carpet ribbon-cutting ceremony for BAM House on Sept. 1.\u003c/p>\n\u003cfigure id=\"attachment_13933236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image2-800x600.jpg\" alt=\"a stage with two desks and two Black men, actors, sitting behind them \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanley T. Hunt II (left) as Harmond Wilks alongside Koran Streets as Roosevelt Hicks in a scene from the Lower Bottom Playaz’s production of August Wilson’s play ‘Radio Golf.’ \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is the platform for so much more potential,” Nzinga says. “Now, being in the building, it’d be nice to buy it. We want to turn this into a cultural center as opposed to a building that we have to rent out in order to pay the rent.”\u003c/p>\n\u003cp>She cites \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Arts Alliance\u003c/a> in East Oakland as a model for what she hopes BAM House will represent for downtown and West Oakland.\u003c/p>\n\u003cp>“This is a space for dreamers,” Nzinga says. “Maybe this is a place to train replacements so that we make sure that there’s an after. After me, after the Lower Bottom Playaz. There’s an after in Oakland for people of color and artists.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BAMBDFEST Biennial runs through Sept. 1. For details, \u003ca href=\"http://www.bambdfest.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. The Lower Bottom Playaz production of ‘Radio Golf’ plays through Aug. 27. For ticket info, \u003ca href=\"http://www.lowerbottomplayaz.com/Box-Office.php\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It feels stupendous. I’m not even gonna front,” says Nzinga, who is also Oakland’s first poet laureate. “I’m having the time of my life. I feel like a lot of what it took to be right here isn’t glamorous or sexy work.”\u003c/p>\n\u003cp>“Right here” is in the newly named BAM (Black Arts Movement) House on 1540 Broadway in downtown Oakland — a 100-seat black-box theater space formerly known as PianoFight (and before that, known as The Flight Deck, before their closure in 2020). After years of renting out space from the previous tenants, Nzinga’s nonprofit, the \u003ca href=\"http://www.bambdcdc.com/\">Black Arts Movement and Business District Community Development Corporation\u003c/a>, now holds the lease.\u003c/p>\n\u003cfigure id=\"attachment_13933234\" class=\"wp-caption aligncenter\" style=\"max-width: 1679px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image1.jpg\" alt=\"a red and black and green painted building\" width=\"1679\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1.jpg 1679w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image1-1536x1105.jpg 1536w\" sizes=\"(max-width: 1679px) 100vw, 1679px\">\u003cfigcaption class=\"wp-caption-text\">The newly painted exterior of BAM House at 1540 Broadway in downtown Oakland. \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Nzinga and the Lower Bottom Playaz got word from PianoFight in February that \u003ca href=\"https://www.kqed.org/arts/13924185/pianofights-theatre-was-independent-creative-accessible-and-necessary\" target=\"_blank\" rel=\"noopener\">it would be closing down\u003c/a>, Nzinga’s first thought was how they might rent the space through the end of the year. “That blossomed into a conversation about, why not BAMBD CDC take over this space, and have its first official headquarters,” Nzinga says.\u003c/p>\n\u003cp>In 2016, the Oakland City Council\u003ca href=\"https://oaklandlibrary.org/wp-content/uploads/sites/100/2021/08/BAMBD-Resolution-85958-CMS-ATT-C.pdf\"> designated sections\u003c/a> (PDF) of downtown and West Oakland as the Black Arts Movement and Business District. In response, Nzinga founded her community development corporation, BAMBD CDC, to help sustain local artists and ensure they’re able to live and work in Oakland. But neither the district nor the nonprofit have had a formal space for artists or the public to visit. Now, they have BAM House — and Nzinga’s been making the house a home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was a bit ragged on the edges when we came in,” Nzinga says. “So [now], you’ll notice were just in the most pristine black box ever. And we thought that the outside of the building needed to make a statement.”\u003c/p>\n\u003cp>The exterior has been painted red, black and green with a shield on top that has the organization’s initials.\u003c/p>\n\u003cp>“The weapons that cross the shield are a paintbrush and a pen. We just made this sacred space right here on Broadway,” Nzinga says.\u003c/p>\n\u003cp>And right on time for the \u003ca href=\"http://www.bambdfest.com/\">BAMBDFEST Biennial\u003c/a>, a month-long festival which includes the production of \u003cem>Radio Golf\u003c/em>, and various other theater and literary events across various venues in Oakland. It all culminates in an official black carpet ribbon-cutting ceremony for BAM House on Sept. 1.\u003c/p>\n\u003cfigure id=\"attachment_13933236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/image2-800x600.jpg\" alt=\"a stage with two desks and two Black men, actors, sitting behind them \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1536x1153.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/image2.jpg 1999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stanley T. Hunt II (left) as Harmond Wilks alongside Koran Streets as Roosevelt Hicks in a scene from the Lower Bottom Playaz’s production of August Wilson’s play ‘Radio Golf.’ \u003ccite>(Ariana Proehl/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is the platform for so much more potential,” Nzinga says. “Now, being in the building, it’d be nice to buy it. We want to turn this into a cultural center as opposed to a building that we have to rent out in order to pay the rent.”\u003c/p>\n\u003cp>She cites \u003ca href=\"https://www.eastsideartsalliance.org/\">Eastside Arts Alliance\u003c/a> in East Oakland as a model for what she hopes BAM House will represent for downtown and West Oakland.\u003c/p>\n\u003cp>“This is a space for dreamers,” Nzinga says. “Maybe this is a place to train replacements so that we make sure that there’s an after. After me, after the Lower Bottom Playaz. There’s an after in Oakland for people of color and artists.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BAMBDFEST Biennial runs through Sept. 1. For details, \u003ca href=\"http://www.bambdfest.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. The Lower Bottom Playaz production of ‘Radio Golf’ plays through Aug. 27. For ticket info, \u003ca href=\"http://www.lowerbottomplayaz.com/Box-Office.php\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Leave it to Frida Kahlo and Diego Rivera to keep making history, nearly 70 years after death: In the 100-year history of San Francisco Opera, \u003cem>El último sueño de Frida y Diego\u003c/em> is both its first production sung in Spanish, and the first time the Opera has produced the work of a female composer of color, Gabriela Lena Frank.\u003c/p>\n\u003cp>[aside postid='news_11848986']The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The production, which opened June 13, gleefully and poignantly captures the “live out loud” nature of the famously tempestuous and highly decorated Mexican couple. The fictional story, about a final meeting between the art icons upon Kahlo’s 24-hour return to earth from the underworld, brings together many terrific facets of performance storytelling. An extra element that makes the production special for San Francisco, given the artists’ time spent living in the city: Just steps from War Memorial Opera House is City Hall, where the couple remarried in 1940 after a short-lived divorce.\u003c/p>\n\u003cp>The production takes its visual cues from the artists: The vast stage is awash in radiant colors. In the first act, deep fall tones of brown and orange surround the world of the dead, people who have been given enough pan dulce to last them the actual eternity of their spiritual existence.\u003c/p>\n\u003cfigure id=\"attachment_13930506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC6488-800x533.jpg\" alt=\"a blue and orange colorful stage with a woman in an orange dress dancing at center\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC6488-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That world of votive candles and marigolds is mightily crafted by set designer Jorge Ballina, coupled with the stunning, dramaturgically decadent costumes of designer Eloise Kazan; both have plenty more eye-candy up their sleeve in Act II. Victor Zapatero’s lighting design is both brilliant and wistful, a spectacle on full display. Rounding out the all-Mexican creative team is director Lorena Maza, a highly influential theater figure in Mexico’s national scene.\u003c/p>\n\u003cp>It has been more than three years since Kahlo left earth to begin eternal rest, which was welcomed considering her body had been breaking down for years. Much of that was due to a devastating trolley accident at 18, leaving her in chronic pain for the remaining 29 years of her life. When the opportunity presents itself to return to earth, why should she? Infinite heartache and pain, both literal and figurative, surrounded every minute of her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Rivera wore infidelity like a second skin, “Friduchita” was his true muse. His inspiration on earth, having now lived more than three years without his wife, is sorely lacking. His desire to summon Frida as he faces his own mortality and the magic of Dia de los Muertos — and, for her, the opportunity to spend 24 hours on earth and see her art once more — prove too much for both to resist.\u003c/p>\n\u003cfigure id=\"attachment_13930512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7635-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7635-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Daniela Mack as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The scoring is lush, with seamless poetry from the libretto of Pulitzer Prize-winning playwright Nilo Cruz filling Frank’s compositions deliciously. Conductor Roberto Kalb and his fluid wand are passionate while pulling together such richness from his 60-member orchestra.\u003c/p>\n\u003cp>But most striking throughout the very tight runtime — action totaling 105 minutes — are the luminescent performances. As Diego Rivera, Alfredo Daza’s superb baritone is an adroit combination of playfulness and regret. His self-deprecation, often referring to his “pot-belly,” lends joviality, making him less fresco muralist icon and more human being.\u003c/p>\n\u003cp>Scintillating soprano Yaritza Véliz carries much of the responsibility of crafting the story’s magic. She is out-of-this-world as Catrina, the underworld’s soulkeeper. As Catrina, Véliz is a skeletal sight in bronze, commanding with her rules — no touching of a human, because “a caress can cost you the memory of pain.”\u003c/p>\n\u003cfigure id=\"attachment_13930510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/DSC7858-800x533.jpg\" alt=\"a person in an underworld-themed dress/skeleton costume holds a staff with a skeleton on top on a blue stage in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/DSC7858-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yaritza Véliz as Catrina in Gabriela Lena Frank and Nilo Cruz’s ‘El último sueño de Frida y Diego.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The humor and tenderness of the piece comes from countertenor Jake Ingbar, whose artistic spirit of Leonardo greatly desires to return to earth as Greta Garbo. There is a fan who believes Garbo has passed, desiring a spiritual visit, and Leonardo is happy to appease. It is the wisdom and encouragement of Leonardo, along with a chilling set of glimmering vocals, that pushes the story into a new stratosphere. Returning to earth is on Frida’s terms, reminds Leonardo.\u003c/p>\n\u003cp>Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.\u003c/p>\n\u003cfigure id=\"attachment_13930516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg\" alt=\"a large cast in colorful costumes bow against a red backdrop at the conclusion of an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/1492-elultimosueno-230613-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Composer Gabriela Lena Frank and librettist Nilo Cruz take a bow with the cast of ‘El último sueño de Frida y Diego’ at the San Francisco Opera premiere on June 13, 2023. \u003ccite>(Ando Caulfield for Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cruz, who drops morsels of insight about the role of art in our living world, also delivers some critical truths in his shimmering libretto. At one point, Frida asks Diego, “Do they still call me the painter with the brush of agony?”\u003c/p>\n\u003cp>It is the pain of her life and the legacy of her death that allows both of her lives, whether in a painting or on an opera stage, to flourish.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘El último sueño de Frida y Diego’ runs through June 30 at San Francisco Opera’s War Memorial Opera House. \u003ca href=\"https://www.sfopera.com/operas/el-ultimo-sueno-de-frida-y-diego/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death",
"headTitle": "Tina Turner Musical Gains Extra Meaning in the Wake of the Rock Icon’s Death | KQED",
"content": "\u003cp>The national tour of Broadway’s \u003cem>Tina — The Tina Turner Musical\u003c/em> makes its California debut this week, arriving as a poignant, \u003ca href=\"https://www.kqed.org/arts/13929587/tina-turner-rock-and-roll-icon-dies-at-83\">posthumous celebration\u003c/a> following the rock music icon’s death last month.\u003c/p>\n\u003cp>[aside postid='arts_13929587']\u003cem>Tina\u003c/em> opens in Los Angeles at the Hollywood Pantages Theatre on Wednesday, steps away from her Hollywood Walk of Fame star and where she recorded for Capitol Records. It plays there until July 9, followed by two weeks at Segerstrom Center the Arts in Costa Mesa and stops in San Diego, San Francisco and San Jose later this summer.\u003c/p>\n\u003cp>“We have always wanted to put audiences in the room with her and it’s obviously going to have even more of a special meaning now that she is gone from us physically,” says Katori Hall, co-writer of the musical.\u003c/p>\n\u003cp>“But her energy, her spirit, obviously has been interwoven into our creative processes. And I pray that we’ll always be able to give every audience member a little piece of Tina when they come to the show.”\u003c/p>\n\u003cfigure id=\"attachment_13930442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg\" alt=\"A Black woman, smiling broadly, dances wildly, arms raised in the air. She is wearing a gold tassled mini dress and has a line of gleeful backing dancers waving and clapping behind her.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1536x926.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Rodgers plays Tina Turner in ’Tina — The Tina Turner Musical.’ Here, she performs a number at Philadelphia’s Thanksgiving Day Parade, 2022. \u003ccite>(Gilbert Carrasquillo/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner, who survived a horrifying marriage to triumph in middle age with such hits as “What’s Love Got to Do With It” and “Better Be Good To Me,” died last month in Küsnacht near Zurich. She was 83.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After California, the tour continues its multi-year national journey, visiting 37 more cities across North America next season. It has been touring regularly since fall 2022. There are also productions running on London’s West End, as well as in Sydney, Australia, and Stuttgart, Germany.\u003c/p>\n\u003cp>[aside postid='arts_13897052']The musical traces the highs and lows of the two-time Rock & Roll Hall of Fame inductee, including her hellish marriage scarred by domestic violence and the rise as a beloved solo artist with songs like “Private Dancer,” ″River Deep, Mountain High,” “The Best” and “Proud Mary.”\u003c/p>\n\u003cp>\u003cem>Tina\u003c/em> captured 12 Tony nominations, including an eventual best actress winning trophy for Adrienne Warren in the title role. Hall wrote the book with Frank Ketelaar and Kees Prins.\u003c/p>\n\u003cfigure id=\"attachment_13930441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg\" alt=\"A senior Black woman wearing red blouse and black pants warmly embraces a younger, smiling Black woman wearing white top and black pants. They are standing on a stage with the word Tina lit up behind them.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1536x1098.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner and Adrienne Warren during the ‘TINA — The Tina Turner Musical’ photocall in London, October 2017. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two actors share the role of Turner on the road — Naomi Rodgers and Zurin Villanueva, each playing four of the eight performances a week. Also co-starring are Roderick Lawrence, Roz White, Carla R. Stewart and Lael Van Keuren.\u003c/p>\n\u003cp>Tour organizers realized by seeing Warren as Turner on Broadway that not just one actor could play the demanding role on the road, says Hall.\u003c/p>\n\u003cp>[aside postid='arts_13894392']“We saw how hard it is on the body. It’s the physicality, it’s the singing, but it’s also just the emotional heft every night one has to put upon their shoulders and go through, two hours plus of the life of Tina Turner.”\u003c/p>\n\u003cp>Hall recalls finding out that Turner had died when she woke up with messages flooding her phone. Her mind went back to the time when Turner attended \u003cem>Tina\u003c/em> on Broadway.\u003c/p>\n\u003cp>“When she walked through the door, to see people get on their feet and give her a standing ovation, I was so grateful that she was able to feel that energy and feel that love on the American side of the pond before she passed,” says Hall.\u003c/p>\n\u003cp>“I think it was just a beautiful gift that we were able to give her in that moment and to be in the room breathing with her and witnessing that love just showering down from the balcony.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tina — The Tina Turner Musical’ will be at San Francisco’s Golden Gate Theater, Aug. 1—27, 2023 (\u003ca href=\"https://www.goldengatetheatresf.com/tina-turner-musical-tickets/\">tickets here\u003c/a>) and San Jose’s Center for the Performing Arts, Aug. 29—Sept. 3, 2023 (\u003ca href=\"https://sanjosetheaters.org/calendar/#event=tina-the-tina-turner-musical-broadway-san-jose;instance=20230829000000?popup=1\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Tina\u003c/em> opens in Los Angeles at the Hollywood Pantages Theatre on Wednesday, steps away from her Hollywood Walk of Fame star and where she recorded for Capitol Records. It plays there until July 9, followed by two weeks at Segerstrom Center the Arts in Costa Mesa and stops in San Diego, San Francisco and San Jose later this summer.\u003c/p>\n\u003cp>“We have always wanted to put audiences in the room with her and it’s obviously going to have even more of a special meaning now that she is gone from us physically,” says Katori Hall, co-writer of the musical.\u003c/p>\n\u003cp>“But her energy, her spirit, obviously has been interwoven into our creative processes. And I pray that we’ll always be able to give every audience member a little piece of Tina when they come to the show.”\u003c/p>\n\u003cfigure id=\"attachment_13930442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg\" alt=\"A Black woman, smiling broadly, dances wildly, arms raised in the air. She is wearing a gold tassled mini dress and has a line of gleeful backing dancers waving and clapping behind her.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507-1536x926.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1444899941-scaled-e1686679496507.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Rodgers plays Tina Turner in ’Tina — The Tina Turner Musical.’ Here, she performs a number at Philadelphia’s Thanksgiving Day Parade, 2022. \u003ccite>(Gilbert Carrasquillo/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turner, who survived a horrifying marriage to triumph in middle age with such hits as “What’s Love Got to Do With It” and “Better Be Good To Me,” died last month in Küsnacht near Zurich. She was 83.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After California, the tour continues its multi-year national journey, visiting 37 more cities across North America next season. It has been touring regularly since fall 2022. There are also productions running on London’s West End, as well as in Sydney, Australia, and Stuttgart, Germany.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The musical traces the highs and lows of the two-time Rock & Roll Hall of Fame inductee, including her hellish marriage scarred by domestic violence and the rise as a beloved solo artist with songs like “Private Dancer,” ″River Deep, Mountain High,” “The Best” and “Proud Mary.”\u003c/p>\n\u003cp>\u003cem>Tina\u003c/em> captured 12 Tony nominations, including an eventual best actress winning trophy for Adrienne Warren in the title role. Hall wrote the book with Frank Ketelaar and Kees Prins.\u003c/p>\n\u003cfigure id=\"attachment_13930441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg\" alt=\"A senior Black woman wearing red blouse and black pants warmly embraces a younger, smiling Black woman wearing white top and black pants. They are standing on a stage with the word Tina lit up behind them.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406-1536x1098.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-862434658-scaled-e1686679054406.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tina Turner and Adrienne Warren during the ‘TINA — The Tina Turner Musical’ photocall in London, October 2017. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two actors share the role of Turner on the road — Naomi Rodgers and Zurin Villanueva, each playing four of the eight performances a week. Also co-starring are Roderick Lawrence, Roz White, Carla R. Stewart and Lael Van Keuren.\u003c/p>\n\u003cp>Tour organizers realized by seeing Warren as Turner on Broadway that not just one actor could play the demanding role on the road, says Hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We saw how hard it is on the body. It’s the physicality, it’s the singing, but it’s also just the emotional heft every night one has to put upon their shoulders and go through, two hours plus of the life of Tina Turner.”\u003c/p>\n\u003cp>Hall recalls finding out that Turner had died when she woke up with messages flooding her phone. Her mind went back to the time when Turner attended \u003cem>Tina\u003c/em> on Broadway.\u003c/p>\n\u003cp>“When she walked through the door, to see people get on their feet and give her a standing ovation, I was so grateful that she was able to feel that energy and feel that love on the American side of the pond before she passed,” says Hall.\u003c/p>\n\u003cp>“I think it was just a beautiful gift that we were able to give her in that moment and to be in the room breathing with her and witnessing that love just showering down from the balcony.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tina — The Tina Turner Musical’ will be at San Francisco’s Golden Gate Theater, Aug. 1—27, 2023 (\u003ca href=\"https://www.goldengatetheatresf.com/tina-turner-musical-tickets/\">tickets here\u003c/a>) and San Jose’s Center for the Performing Arts, Aug. 29—Sept. 3, 2023 (\u003ca href=\"https://sanjosetheaters.org/calendar/#event=tina-the-tina-turner-musical-broadway-san-jose;instance=20230829000000?popup=1\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tony Awards 2023: Here's the List of Major Winners With Photos",
"headTitle": "Tony Awards 2023: Here’s the List of Major Winners With Photos | KQED",
"content": "\u003cp>The 76th Tony Awards wrapped up at the United Palace Sunday night. Below is the list of major 2023 Tony Award nominees with winners marked in bold. The complete list of winners is \u003ca href=\"https://www.tonyawards.com/winners/\">here\u003c/a>.\u003c/p>\n\u003ch3>Best Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>& Juliet\u003cbr>\nNew York, New York\u003cbr>\nShucked\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/06/09/1181406854/some-like-it-hot-on-broadway-remixes-the-original-1959-charm-for-a-modern-audien\">\u003cem>Some Like It Hot\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Ain’t No Mo’\u003cbr>\nBetween Riverside and Crazy\u003cbr>\nCost of Living\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003ch3>Best Revival of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Camelot\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Revival of a Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Topdog/Underdog\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg\" alt=\"A Black woman in a pink dress gasps with joy while accepting a trophy at a podium. Behind her stand three Black men in suits and a woman wearing a gold gown.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzan-Lori Parks accepts the award for Best Revival of a Play for ‘Topdog/Underdog’ onstage during The 76th Annual Tony Awards at United Palace Theater on June 11, 2023 in New York City. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Doll’s House\u003cbr>\nThe Piano Lesson\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actress of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Victoria Clark, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Annaleigh Ashford, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Sara Bareilles, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Lorna Courtney, \u003cem>& Juliet\u003cbr>\n\u003c/em>Micaela Diamond, \u003cem>Parade\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actress of a Play\u003c/h3>\n\u003cp>Winner: \u003cstrong>Jodie Comer, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/04/11/1169318356/prima-facie\">\u003cstrong>\u003cem>Prima Facie\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Jessica Chastain, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Jessica Hecht, \u003cem>Summer, 1976\u003cbr>\n\u003c/em>Audra McDonald, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/20/audra-mcdonald-ohio-state-murders\">\u003cem>Ohio State Murders\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actor of a Musical\u003c/h3>\n\u003cp>Winner: \u003cstrong>J. Harrison Ghee, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930397\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930397\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg\" alt=\"A nonbinary Black person in a powder blue gown and long gloves holds a trophy and leans forward towards a microphone.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Harrison Ghee accepts the award for Best Leading Actor in a Musical for ‘Some Like It Hot.’ They are the second nonbinary actor to win. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian Borle, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Josh Groban, \u003ca href=\"https://www.npr.org/2023/04/10/1168970326/josh-groban-never-gave-up-his-dream-of-playing-sweeney-todd\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Brian D’Arcy James, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ben Platt, \u003cem>Parade\u003cbr>\n\u003c/em>Colton Ryan, \u003cem>New York, New York\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actor of a Play\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Sean Hayes, \u003c/strong>\u003cstrong>\u003cem>Good Night, Oscar\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yahya Abdul-Mateen II, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Corey Hawkins, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Stephen McKinley Henderson, \u003cem>Between Riverside and Crazy\u003cbr>\n\u003c/em>Wendell Pierce, \u003ca href=\"https://www.npr.org/2022/10/11/1128092585/too-young-too-old-or-just-a-woman-wendell-pierce-stars-in-death-of-a-salesman\">\u003cem>Death of a Salesman\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Bonnie Milligan, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg\" alt=\"A curvy white blonde woman wearing a purple strapless gown stands in front of a wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Milligan wins the Tony Award for best featured actress in a musical. \u003ccite>(Dimitrios Kambouris/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julia Lester, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ruthie Ann Miles, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>NaTasha Yvette Williams, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Betsy Wolfe, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Play\u003c/strong>\u003c/h3>\n\u003cp>Winner: \u003cstrong>Miriam Silverman, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cstrong>\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Nikki Crawford, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Crystal Lucas-Perry, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Katy Sullivan, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Kara Young, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Alex Newell, \u003c/strong>\u003cstrong>\u003cem>Shucked\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg\" alt=\"A curvy Black woman in a gold gown smiles and strikes a pose in front of a green wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Newell wins Best Featured Actor in a musical at The 76th Annual Tony Awards. \u003ccite>(Dominik Bindl/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kevin Cahoon, \u003cem>Shucked\u003c/em>\u003c/p>\n\u003cp>Justin Cooley, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Kevin Del Aguila, \u003cem>Some Like It Hot\u003c/em>\u003c/p>\n\u003cp>Jordan Donica, \u003cem>Camelot\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Brandon Uranowitz, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg\" alt=\"A man with dark curly hair and beard stands on stage holding a trophy and a sheet of paper. He is smiling broadly.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Uranowitz accepts the award for Best Featured Actor in a Play for ‘Leopoldstadt’ onstage during The 76th Annual Tony Awards. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jordan E. Cooper, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Samuel L. Jackson, \u003cem>The Piano Lesson\u003cbr>\n\u003c/em>Arian Moayed, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>David Zayas, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Michael Arden, \u003c/strong>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Lear deBessonet, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Casey Nicholaw, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Jack O’Brien, \u003cem>Shucked\u003cbr>\n\u003c/em>Jessica Stone, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Patrick Marber,\u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem> Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Saheem Ali, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jo Bonney, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Jamie Lloyd, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Stevie Walker-Webb,\u003cem> Ain’t No Mo\u003cbr>\n\u003c/em>Max Webster, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/22/life-of-pi-theater\">\u003cem>Life of Pi\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Book of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>David Lindsay-Abaire, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>David West Read,\u003cem> & Juliet\u003cbr>\n\u003c/em>Robert Horn,\u003cem> Shucked\u003cbr>\n\u003c/em>Matthew López and Amber Ruffin,\u003cem> Some Like It Hot\u003cbr>\n\u003c/em>David Thompson and Sharon Washington,\u003cem> New York, New York\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Original Score\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo,\u003c/em>\u003c/strong> \u003c/a>\u003cstrong>music by Jeanine Tesori; lyrics by David Lindsay-Abaire\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Almost Famous, \u003c/em>music by Tom Kitt; lyrics by Cameron Crowe and Tom Kitt\u003cbr>\n\u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP, \u003c/em>\u003c/a>music and lyrics: Helen Park and Max Vernon\u003cbr>\n\u003cem>Shucked\u003c/em>, music and lyrics: Brandy Clark and Shane McAnally\u003cbr>\n\u003cem>Some Like It Hot\u003c/em>, music: Marc Shaiman; lyrics: Scott Wittman & Marc Shaiman\u003c/p>\n\u003ch3>\u003cstrong>Best Choreography\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Casey Nicholaw, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steven Hoggett, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Susan Stroman, \u003cem>New York, New York\u003cbr>\n\u003c/em>Jennifer Weber, \u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jennifer Weber, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Awards+2023%3A+Here%27s+the+list+of+major+winners+with+photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "History was made as Alex Newell became the first nonbinary actor to win a Tony and J. Harrison Ghee the second.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 76th Tony Awards wrapped up at the United Palace Sunday night. Below is the list of major 2023 Tony Award nominees with winners marked in bold. The complete list of winners is \u003ca href=\"https://www.tonyawards.com/winners/\">here\u003c/a>.\u003c/p>\n\u003ch3>Best Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>& Juliet\u003cbr>\nNew York, New York\u003cbr>\nShucked\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/06/09/1181406854/some-like-it-hot-on-broadway-remixes-the-original-1959-charm-for-a-modern-audien\">\u003cem>Some Like It Hot\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>Ain’t No Mo’\u003cbr>\nBetween Riverside and Crazy\u003cbr>\nCost of Living\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003c/p>\n\u003ch3>Best Revival of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Camelot\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Revival of a Play\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>\u003cem>Topdog/Underdog\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg\" alt=\"A Black woman in a pink dress gasps with joy while accepting a trophy at a podium. Behind her stand three Black men in suits and a woman wearing a gold gown.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497750243-ffc62254b1729bad46d135758037541235bae251-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzan-Lori Parks accepts the award for Best Revival of a Play for ‘Topdog/Underdog’ onstage during The 76th Annual Tony Awards at United Palace Theater on June 11, 2023 in New York City. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Doll’s House\u003cbr>\nThe Piano Lesson\u003cbr>\n\u003c/em>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actress of a Musical\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Victoria Clark, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Annaleigh Ashford, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Sara Bareilles, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Lorna Courtney, \u003cem>& Juliet\u003cbr>\n\u003c/em>Micaela Diamond, \u003cem>Parade\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actress of a Play\u003c/h3>\n\u003cp>Winner: \u003cstrong>Jodie Comer, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/04/11/1169318356/prima-facie\">\u003cstrong>\u003cem>Prima Facie\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Jessica Chastain, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Jessica Hecht, \u003cem>Summer, 1976\u003cbr>\n\u003c/em>Audra McDonald, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/20/audra-mcdonald-ohio-state-murders\">\u003cem>Ohio State Murders\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>Best Leading Actor of a Musical\u003c/h3>\n\u003cp>Winner: \u003cstrong>J. Harrison Ghee, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930397\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930397\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg\" alt=\"A nonbinary Black person in a powder blue gown and long gloves holds a trophy and leans forward towards a microphone.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497761638-edac1f1ccea96603676ceb94429fc35a4a5ea1d2-1-scaled-e1686546388359.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Harrison Ghee accepts the award for Best Leading Actor in a Musical for ‘Some Like It Hot.’ They are the second nonbinary actor to win. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian Borle, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Josh Groban, \u003ca href=\"https://www.npr.org/2023/04/10/1168970326/josh-groban-never-gave-up-his-dream-of-playing-sweeney-todd\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Brian D’Arcy James, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ben Platt, \u003cem>Parade\u003cbr>\n\u003c/em>Colton Ryan, \u003cem>New York, New York\u003c/em>\u003c/p>\n\u003ch3>Best Leading Actor of a Play\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Sean Hayes, \u003c/strong>\u003cstrong>\u003cem>Good Night, Oscar\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yahya Abdul-Mateen II, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Corey Hawkins, \u003cem>Topdog/Underdog\u003cbr>\n\u003c/em>Stephen McKinley Henderson, \u003cem>Between Riverside and Crazy\u003cbr>\n\u003c/em>Wendell Pierce, \u003ca href=\"https://www.npr.org/2022/10/11/1128092585/too-young-too-old-or-just-a-woman-wendell-pierce-stars-in-death-of-a-salesman\">\u003cem>Death of a Salesman\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Bonnie Milligan, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg\" alt=\"A curvy white blonde woman wearing a purple strapless gown stands in front of a wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497712679-f08650cbec59ebf07f8ec068a47336be70b4ff19-1-scaled-e1686546620316.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bonnie Milligan wins the Tony Award for best featured actress in a musical. \u003ccite>(Dimitrios Kambouris/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julia Lester, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Ruthie Ann Miles, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>NaTasha Yvette Williams, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Betsy Wolfe, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actress of a Play\u003c/strong>\u003c/h3>\n\u003cp>Winner: \u003cstrong>Miriam Silverman, \u003c/strong>\u003ca href=\"https://www.npr.org/2023/02/11/1155171985/lorraine-hansberry-oscar-isaac-rachel-brosnahan-sign-brustein-window\">\u003cstrong>\u003cem>The Sign in Sidney Brustein’s Window\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Nikki Crawford, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Crystal Lucas-Perry, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Katy Sullivan, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Kara Young, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Alex Newell, \u003c/strong>\u003cstrong>\u003cem>Shucked\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13930399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg\" alt=\"A curvy Black woman in a gold gown smiles and strikes a pose in front of a green wall with TONY written on it.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497729655-42819d66171e4b5bd79afe3da4e965eb55a0dddb-1-scaled-e1686546869200.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Newell wins Best Featured Actor in a musical at The 76th Annual Tony Awards. \u003ccite>(Dominik Bindl/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kevin Cahoon, \u003cem>Shucked\u003c/em>\u003c/p>\n\u003cp>Justin Cooley, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Kevin Del Aguila, \u003cem>Some Like It Hot\u003c/em>\u003c/p>\n\u003cp>Jordan Donica, \u003cem>Camelot\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Featured Actor of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003cstrong>Brandon Uranowitz, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem>Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13930400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg\" alt=\"A man with dark curly hair and beard stands on stage holding a trophy and a sheet of paper. He is smiling broadly.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1497743195-4007f37be0456575d9c9e9da0473e873229d805b-1-scaled-e1686547067225.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon Uranowitz accepts the award for Best Featured Actor in a Play for ‘Leopoldstadt’ onstage during The 76th Annual Tony Awards. \u003ccite>(Theo Wargo/Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jordan E. Cooper, \u003cem>Ain’t No Mo’\u003cbr>\n\u003c/em>Samuel L. Jackson, \u003cem>The Piano Lesson\u003cbr>\n\u003c/em>Arian Moayed, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>David Zayas, \u003cem>Cost of Living\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Michael Arden, \u003c/strong>\u003cstrong>\u003cem>Parade\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Lear deBessonet, \u003ca href=\"https://www.npr.org/2022/07/22/1112105706/into-the-woods-broadway\">\u003cem>Into the Woods\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Casey Nicholaw, \u003cem>Some Like It Hot\u003cbr>\n\u003c/em>Jack O’Brien, \u003cem>Shucked\u003cbr>\n\u003c/em>Jessica Stone, \u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cem>Kimberly Akimbo\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Direction of a Play\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Patrick Marber,\u003c/strong>\u003ca href=\"https://www.npr.org/2022/10/01/1126387837/tom-stoppard-leopoldstadt-broadway\">\u003cstrong>\u003cem> Leopoldstadt\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Saheem Ali, \u003ca href=\"https://www.npr.org/2022/07/02/1106366826/pulitzer-prize-winning-play-fat-ham-takes-hamlet-in-unexpected-directions\">\u003cem>Fat Ham\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jo Bonney, \u003cem>Cost of Living\u003cbr>\n\u003c/em>Jamie Lloyd, \u003cem>A Doll’s House\u003cbr>\n\u003c/em>Stevie Walker-Webb,\u003cem> Ain’t No Mo\u003cbr>\n\u003c/em>Max Webster, \u003ca href=\"https://www.wbur.org/hereandnow/2022/12/22/life-of-pi-theater\">\u003cem>Life of Pi\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Best Book of a Musical\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>David Lindsay-Abaire, \u003c/strong>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>David West Read,\u003cem> & Juliet\u003cbr>\n\u003c/em>Robert Horn,\u003cem> Shucked\u003cbr>\n\u003c/em>Matthew López and Amber Ruffin,\u003cem> Some Like It Hot\u003cbr>\n\u003c/em>David Thompson and Sharon Washington,\u003cem> New York, New York\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Best Original Score\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner: \u003c/em>\u003ca href=\"https://www.npr.org/2022/11/13/1136342559/composer-jeanine-tesori-on-the-new-broadway-musical-kimberly-akimbo\">\u003cstrong>\u003cem>Kimberly Akimbo,\u003c/em>\u003c/strong> \u003c/a>\u003cstrong>music by Jeanine Tesori; lyrics by David Lindsay-Abaire\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Almost Famous, \u003c/em>music by Tom Kitt; lyrics by Cameron Crowe and Tom Kitt\u003cbr>\n\u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP, \u003c/em>\u003c/a>music and lyrics: Helen Park and Max Vernon\u003cbr>\n\u003cem>Shucked\u003c/em>, music and lyrics: Brandy Clark and Shane McAnally\u003cbr>\n\u003cem>Some Like It Hot\u003c/em>, music: Marc Shaiman; lyrics: Scott Wittman & Marc Shaiman\u003c/p>\n\u003ch3>\u003cstrong>Best Choreography\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Winner:\u003c/em> \u003cstrong>Casey Nicholaw, \u003c/strong>\u003cstrong>\u003cem>Some Like It Hot\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Steven Hoggett, \u003ca href=\"https://www.npr.org/2023/03/29/1166249500/as-sweeney-todd-returns-to-broadway-4-sweeneys-dish-about-the-difficult-role\">\u003cem>Sweeney Todd: The Demon Barber of Fleet Street\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Susan Stroman, \u003cem>New York, New York\u003cbr>\n\u003c/em>Jennifer Weber, \u003ca href=\"https://www.npr.org/2022/11/21/1137813095/kpop-musical-broadway-luna\">\u003cem>KPOP\u003c/em>\u003c/a>\u003cem>\u003cbr>\n\u003c/em>Jennifer Weber, \u003cem>& Juliet\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Awards+2023%3A+Here%27s+the+list+of+major+winners+with+photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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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"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.",
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"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>",
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"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?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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