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"title": "Lance Gardner Is Marin Theatre Company’s New Artistic Director",
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"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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"title": "The Most Frequently Performed Plays and Musicals in High Schools This Year",
"headTitle": "The Most Frequently Performed Plays and Musicals in High Schools This Year | KQED",
"content": "\u003cp>The Educational Theatre Association has released its top-10 lists of plays and musicals performed in high schools during the 2022-2023 school year. More than 2,300 public and private high school teachers across the U.S. participated.\u003c/p>\n\u003cp>\u003cem>The Addams Family\u003c/em> topped the list of full-length musicals, followed by \u003cem>Mamma Mia!\u003c/em>\u003c/p>\n\u003cp>The No. 1 full length play was \u003cem>Clue,\u003c/em> followed by \u003cem>Puffs. \u003c/em>Disney’s\u003cem> Frozen JR\u003c/em> held the top spot among short musicals.\u003c/p>\n\u003cp>And \u003cem>10 Ways to Survive the Zombie Apocalypse \u003c/em>tied with \u003cem>Check Please \u003c/em>for the most popular short play.\u003c/p>\n\u003cp>You can see the \u003ca href=\"https://schooltheatre.org/2023-play-survey-reveals-most-popular-high-school-shows\">full list here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://schooltheatre.org/\">EdTA\u003c/a> calls the survey a “snapshot” of both what’s popular with high school theater departments and “the educational climate.” Eighty five percent of respondents reported being, “at least somewhat concerned about censorship” and 67% said that, “censorship concerns” are influencing their selections for next year.\u003c/p>\n\u003ch3>Changing tastes and values reflected in the Play Survey\u003c/h3>\n\u003cp>Jennifer Katona, executive director of EdTA, believes \u003cem>The Addams Family\u003c/em>‘s popularity, “has a lot to do with our students love of the Netflix show \u003cem>Wednesday\u003c/em>.” Another hit this year: \u003cem>The SpongeBob Musical. \u003c/em>“It’s got a lot of music from a lot of different lyricists and musicians, so the students in the schools are really enjoying that one, too\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>This is the first year\u003cem> Mean Girls: High School Version\u003c/em> has been licensed to schools and it jumped to the #10 spot of full-length musicals. It helps that the musical based on \u003ca href=\"https://www.npr.org/2018/04/06/599813454/on-broadway-they-wear-pink-mean-girls-is-now-a-musical\">Tina Fey’s popular movie\u003c/a> had a successful Broadway run not too long ago, and that the cast is largely female. High school theatre programs often attract more girls than boys.\u003c/p>\n\u003cp>[aside postid='education_536534']The annual Play Survey began in 1938. NPR’s Education Desk did an eye-opening \u003ca href=\"https://www.npr.org/sections/ed/2019/07/31/427138970/the-most-popular-high-school-plays-and-musicals\">analysis\u003c/a> of how high school plays have tracked over the survey’s 85 year history.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/02/13/967600332/returning-to-our-town-why-the-play-still-hits-home-after-80-years\">\u003cem>Our Town\u003c/em>\u003c/a>\u003cem>, \u003c/em>for example\u003cem>, \u003c/em>was consistently among the top 10 plays “by decade,” from the 1940s-2010s. In the last two surveys, Thornton Wilder’s eternal classic held the number 10 spot but didn’t make the list this year. Katona says high school drama departments are “diversifying their repertoires.”\u003c/p>\n\u003cp>“Schools have really made an effort to bring in different playwrights and have different representation of voices on their stages,” she says.\u003c/p>\n\u003ch3>Stymied over censorship concerns\u003c/h3>\n\u003cp>With school boards and local governments \u003ca href=\"https://www.npr.org/2023/03/09/1160731547/spelling-bee-high-school-theater\">cancelling\u003c/a> theater productions and banning books, the EdTA survey also found that drama teachers are nervous.\u003c/p>\n\u003cfigure id=\"attachment_13930074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-800x1202.jpg\" alt=\"A young man sits on the edge of a fake fountain on stage, with a young women resting her head on him. They are dressed in 18th century costume.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1920x2884.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erik Martinez and Shelby Brown in New Albany High School’s production of Disney’s ‘Beauty and the Beast’ in New Albany, Ind. The show tied for fifth place (with ‘The Little Mermaid’) in the full-length musical category. \u003ccite>(Educational Theatre Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Teachers know that they need to be smart about what they’re putting on their stages,” says Katona, “They’re making choices that will allow them to keep their theater programs.” She adds, “Theater has always been a safe space for a lot of our students.”\u003c/p>\n\u003cp>Danny Issa teaches theater at Washington-Liberty High School in Arlington, Va. While he says, while he always involves students in the play selection process, he also makes sure school officials are well aware of content that some might find inappropriate.\u003c/p>\n\u003cp>[aside postid='arts_13928405']“The arts in general are in such a precarious position at all times. Are we going to have funding? Are we going to be able to make it through another season?” Issa reflects. “Just a single complaint from a parent can have a show pulled.” That includes losing, “all the money that you’ve pumped into a production.”\u003c/p>\n\u003cp>Still, Issa’s concerns did not stop him — and lots of other high school theater teachers — from staging \u003cem>Almost, Maine, \u003c/em>a play about love and relationships that includes gay characters\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Despite facing challenges in \u003ca href=\"https://www.record-eagle.com/news/local_news/canceled-show-prompts-outcry/article_d52c9763-7814-5c6e-b7c0-e93de9fecbf5.html\">Michigan\u003c/a> and \u003ca href=\"https://www.wfae.org/arts-culture/2015-01-13/almost-maine-goes-on-without-school-support\">North Carolina\u003c/a> in recent years, \u003cem>Almost, Maine\u003c/em> held the No. 6 spot on this year’s list of full-length plays.\u003c/p>\n\u003ch3>High school theater programs are “rebounding from the pandemic”\u003c/h3>\n\u003cp>Culture wars aside, the Play Survey found that, on average, attendance is up and theater programs are ramping up production.\u003c/p>\n\u003cp>“The average audience size across all performances in a school season increased 13 percent over last year to 1,967,” EdTA writes in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13930077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-800x514.png\" alt=\"A girl stands on a table in the center of a stage. Around her, other teens are gathered and mid-dance routine. 'Welcome to the Lion's Den' is projected above them on the stage.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM.png 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mean Girls: High School Version’ made its debut on the list this year in the full-length musical category. Above, a production at J.J. Pearce High School in Richardson, Texas. \u003ccite>(Educational Theatre Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Coming out of the pandemic, I think everyone was really excited to just be able to see theater again,” says Issa.\u003c/p>\n\u003cp>[aside postid='news_11947769']Washington-Liberty High School’s musical — \u003cem>The Prom\u003c/em> — sold more than $10,000 in tickets, up more than $4,000 from last year’s musical, according to Issa.\u003c/p>\n\u003cp>\u003cem>Almost, Maine\u003c/em> also did well\u003cem>. “\u003c/em>We ended up opening our balcony in the auditorium,” Issa says. “Just because of the sheer number of people that showed up for closing night.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and \u003c/em>\u003ca href=\"http://npr.org/\">\u003cem>NPR.org\u003c/em>\u003c/a>\u003cem> versions of this story were edited by Rose Friedman and adapted to \u003c/em>\u003ca href=\"http://npr.org/\">\u003cem>NPR.org\u003c/em>\u003c/a>\u003cem> by Beth Novey.\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=These+were+the+most+frequently+performed+plays+and+musicals+in+high+schools+this+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Educational Theatre Association has released its top-10 lists of plays and musicals performed in high schools during the 2022-2023 school year. More than 2,300 public and private high school teachers across the U.S. participated.\u003c/p>\n\u003cp>\u003cem>The Addams Family\u003c/em> topped the list of full-length musicals, followed by \u003cem>Mamma Mia!\u003c/em>\u003c/p>\n\u003cp>The No. 1 full length play was \u003cem>Clue,\u003c/em> followed by \u003cem>Puffs. \u003c/em>Disney’s\u003cem> Frozen JR\u003c/em> held the top spot among short musicals.\u003c/p>\n\u003cp>And \u003cem>10 Ways to Survive the Zombie Apocalypse \u003c/em>tied with \u003cem>Check Please \u003c/em>for the most popular short play.\u003c/p>\n\u003cp>You can see the \u003ca href=\"https://schooltheatre.org/2023-play-survey-reveals-most-popular-high-school-shows\">full list here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://schooltheatre.org/\">EdTA\u003c/a> calls the survey a “snapshot” of both what’s popular with high school theater departments and “the educational climate.” Eighty five percent of respondents reported being, “at least somewhat concerned about censorship” and 67% said that, “censorship concerns” are influencing their selections for next year.\u003c/p>\n\u003ch3>Changing tastes and values reflected in the Play Survey\u003c/h3>\n\u003cp>Jennifer Katona, executive director of EdTA, believes \u003cem>The Addams Family\u003c/em>‘s popularity, “has a lot to do with our students love of the Netflix show \u003cem>Wednesday\u003c/em>.” Another hit this year: \u003cem>The SpongeBob Musical. \u003c/em>“It’s got a lot of music from a lot of different lyricists and musicians, so the students in the schools are really enjoying that one, too\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>This is the first year\u003cem> Mean Girls: High School Version\u003c/em> has been licensed to schools and it jumped to the #10 spot of full-length musicals. It helps that the musical based on \u003ca href=\"https://www.npr.org/2018/04/06/599813454/on-broadway-they-wear-pink-mean-girls-is-now-a-musical\">Tina Fey’s popular movie\u003c/a> had a successful Broadway run not too long ago, and that the cast is largely female. High school theatre programs often attract more girls than boys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The annual Play Survey began in 1938. NPR’s Education Desk did an eye-opening \u003ca href=\"https://www.npr.org/sections/ed/2019/07/31/427138970/the-most-popular-high-school-plays-and-musicals\">analysis\u003c/a> of how high school plays have tracked over the survey’s 85 year history.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/02/13/967600332/returning-to-our-town-why-the-play-still-hits-home-after-80-years\">\u003cem>Our Town\u003c/em>\u003c/a>\u003cem>, \u003c/em>for example\u003cem>, \u003c/em>was consistently among the top 10 plays “by decade,” from the 1940s-2010s. In the last two surveys, Thornton Wilder’s eternal classic held the number 10 spot but didn’t make the list this year. Katona says high school drama departments are “diversifying their repertoires.”\u003c/p>\n\u003cp>“Schools have really made an effort to bring in different playwrights and have different representation of voices on their stages,” she says.\u003c/p>\n\u003ch3>Stymied over censorship concerns\u003c/h3>\n\u003cp>With school boards and local governments \u003ca href=\"https://www.npr.org/2023/03/09/1160731547/spelling-bee-high-school-theater\">cancelling\u003c/a> theater productions and banning books, the EdTA survey also found that drama teachers are nervous.\u003c/p>\n\u003cfigure id=\"attachment_13930074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-800x1202.jpg\" alt=\"A young man sits on the edge of a fake fountain on stage, with a young women resting her head on him. They are dressed in 18th century costume.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1920x2884.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erik Martinez and Shelby Brown in New Albany High School’s production of Disney’s ‘Beauty and the Beast’ in New Albany, Ind. The show tied for fifth place (with ‘The Little Mermaid’) in the full-length musical category. \u003ccite>(Educational Theatre Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Teachers know that they need to be smart about what they’re putting on their stages,” says Katona, “They’re making choices that will allow them to keep their theater programs.” She adds, “Theater has always been a safe space for a lot of our students.”\u003c/p>\n\u003cp>Danny Issa teaches theater at Washington-Liberty High School in Arlington, Va. While he says, while he always involves students in the play selection process, he also makes sure school officials are well aware of content that some might find inappropriate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The arts in general are in such a precarious position at all times. Are we going to have funding? Are we going to be able to make it through another season?” Issa reflects. “Just a single complaint from a parent can have a show pulled.” That includes losing, “all the money that you’ve pumped into a production.”\u003c/p>\n\u003cp>Still, Issa’s concerns did not stop him — and lots of other high school theater teachers — from staging \u003cem>Almost, Maine, \u003c/em>a play about love and relationships that includes gay characters\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Despite facing challenges in \u003ca href=\"https://www.record-eagle.com/news/local_news/canceled-show-prompts-outcry/article_d52c9763-7814-5c6e-b7c0-e93de9fecbf5.html\">Michigan\u003c/a> and \u003ca href=\"https://www.wfae.org/arts-culture/2015-01-13/almost-maine-goes-on-without-school-support\">North Carolina\u003c/a> in recent years, \u003cem>Almost, Maine\u003c/em> held the No. 6 spot on this year’s list of full-length plays.\u003c/p>\n\u003ch3>High school theater programs are “rebounding from the pandemic”\u003c/h3>\n\u003cp>Culture wars aside, the Play Survey found that, on average, attendance is up and theater programs are ramping up production.\u003c/p>\n\u003cp>“The average audience size across all performances in a school season increased 13 percent over last year to 1,967,” EdTA writes in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13930077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-800x514.png\" alt=\"A girl stands on a table in the center of a stage. Around her, other teens are gathered and mid-dance routine. 'Welcome to the Lion's Den' is projected above them on the stage.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM.png 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mean Girls: High School Version’ made its debut on the list this year in the full-length musical category. Above, a production at J.J. Pearce High School in Richardson, Texas. \u003ccite>(Educational Theatre Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Coming out of the pandemic, I think everyone was really excited to just be able to see theater again,” says Issa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Washington-Liberty High School’s musical — \u003cem>The Prom\u003c/em> — sold more than $10,000 in tickets, up more than $4,000 from last year’s musical, according to Issa.\u003c/p>\n\u003cp>\u003cem>Almost, Maine\u003c/em> also did well\u003cem>. “\u003c/em>We ended up opening our balcony in the auditorium,” Issa says. “Just because of the sheer number of people that showed up for closing night.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and \u003c/em>\u003ca href=\"http://npr.org/\">\u003cem>NPR.org\u003c/em>\u003c/a>\u003cem> versions of this story were edited by Rose Friedman and adapted to \u003c/em>\u003ca href=\"http://npr.org/\">\u003cem>NPR.org\u003c/em>\u003c/a>\u003cem> by Beth Novey.\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=These+were+the+most+frequently+performed+plays+and+musicals+in+high+schools+this+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At Berkeley Rep, ‘Let the Right One In’ Delivers a Scintillating Vampire Tale",
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"headTitle": "At Berkeley Rep, ‘Let the Right One In’ Delivers a Scintillating Vampire Tale | KQED",
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"content": "\u003cp>The National Theatre of Scotland’s production of\u003cem> Let the Right One In\u003c/em>, running at Berkeley Repertory Theatre through June 25, brings forth a thrilling vampire narrative where gore is merely a pit stop on the journey to deeper, more grueling themes.\u003c/p>\n\u003cp>Jack Thorne’s adapted script from John Ajvide Lindqvist’s 2004 novel (itself the source of two movie adaptations) is manifested convincingly by director John Tiffany, with associate director Steven Hoggett, offering a sharply skilled kinetic smorgasbord. Much like the creative team’s most recent project in the Bay Area, \u003cem>Harry Potter and the Cursed Child\u003c/em>, the production finds rays of light in the narrative’s darkness.[aside postid='arts_13929225']\u003c/p>\n\u003cp>Oskar (Diego Lucano) is a skinny, delicate child who doesn’t seem to fit anywhere. He navigates daily torture by a group of bullies, and every adult interaction yields a wasteland of disappointment. There’s his mom (Nicole Shalhoub), a woman who drinks at inopportune times while offering little warmth. His dad (Erik Hellman) lives away from home, only participating in Oskar’s drab life as needed. There’s also a teacher (Julius Thomas III), who ignores Oskar’s muted pleas for support.\u003c/p>\n\u003cfigure id=\"attachment_13929770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_010-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_010-800x532.jpg\" alt=\"two people on stage in a play\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Hellman (Kurt) and Diego Lucano (Oskar) in the West Coast premiere of the National Theatre of Scotland production of ‘Let the Right One In.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Entering this scenario is Eli (Noah Lamanna), who strikes up a relationship of mutual desperation with Oskar. While Oskar is 12, and at some point will approach 13, Eli’s age is much more static — which seems to allow for greater insight into the more torturous aspects of pre-teen purgatory.\u003c/p>\n\u003cp>As bad as Oskar’s parental situation is, compared to Eli he’s practically being raised by Mike and Carol Brady. Although not explicitly stated, some specific type of abuse has been inflicted by Eli’s creepy father Hakan (Richard Topol). It doesn’t take much to see the yearning and devastation between Oskar and Eli in their sorrowful eyes; while Eli’s pair are gaunt and hollow, devoid of emotion, Oskar’s pupils speak of an undesirable solitude.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet what Eli needs does not live in Oskar’s eyes. Something much more necessary comes into view: a scratch at the cheekbone, where a tantalizing morsel of fresh blood teases Eli’s perverse palate. But in order to give in to hunger, and a violently growling stomach, Eli must ignore the human connection that Oskar’s damaged soul offers.\u003c/p>\n\u003cfigure id=\"attachment_13929769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_081-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929769\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_081-800x532.jpg\" alt=\"four people in blue light with fake snowfall on a stage in a play\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-R: Jon Demegillo, Nicole Shalhoub, Erik Hellman and Jack DiFalco in the West Coast premiere of the National Theatre of Scotland production of ‘Let the Right One In.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The entire production is an exercise in scintillation. Chahine Yavroyan’s cool lighting design exudes a chill, as snowfall moves through hues of soft blue through the highly functional scenic marvel of Christine Jones. Yet the story truly soars in Jeremy Chernick’s magical special effects design, which is not for the squeamish. Blood drips, splats, pours and flows with high levels of violence, capturing live on stage so many harrowing touches that parallel the \u003ca href=\"https://www.rottentomatoes.com/m/let_the_right_one_in\" target=\"_blank\" rel=\"noopener\">phenomenal 2008 film adaptation\u003c/a>.\u003c/p>\n\u003cp>While the story offers many wonderful technical aspects (including a haunting soundscape from designer Gareth Fry that a few times dipped into unnecessary, excessive volume), the piece is led mightily by both Lucano and Lamanna. It is through the horrors of youth and their lack of agency that the story flourishes, their connection taking on both childlike and adult forms. There is the playful jostling at the candy counter with a less-than-amused cashier, or a giddy fascination with the Rubik’s Cube — and also a desire to lie next to each other and allow their persecuted skin to breathe uninterrupted.\u003c/p>\n\u003cfigure id=\"attachment_13929771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_214-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_214-1-800x1202.jpg\" alt=\"a young person with black hair and fake blood on their face in a play\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-1920x2885.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-scaled.jpg 1703w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noah Lamanna (Eli) in the West Coast premiere of the National Theatre of Scotland production of ‘Let the Right One In.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oskar and Eli’s deepest connection comes from joint trauma. The ironies of each existence is rich; unapologetic tenderness through brutality. Their contrast in movement is keen — Oskar’s cumbrous, awkward gait is a great foil for Eli’s more airy slithering through space. Yet they are both weighted down by unflinching circumstances and a desire for joy. That bliss ultimately concludes with a dark victory in the play’s waning moments. Bullies are only bullies until they get punched in the mouth — or perhaps something more sinister is afoot.\u003c/p>\n\u003cp>\u003cem>Let the Right One In\u003c/em> offers much to feed the soul, and marks a powerful examination of live theater’s magical capabilities. Every technical tool helps reveal delicious storytelling, using horror to reveal deep luminosity. And despite their perilous journey, Oskar and Eli’s future just might be bloody beautiful after all.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Let the Right One In’ runs through June 25 at the Berkeley Rep’s Roda Theatre. \u003ca href=\"https://www.berkeleyrep.org/shows/let-the-right-one-in\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "REVIEW: ‘Let The Right One In’ Scintillates at Berkeley Rep | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Theatre of Scotland’s production of\u003cem> Let the Right One In\u003c/em>, running at Berkeley Repertory Theatre through June 25, brings forth a thrilling vampire narrative where gore is merely a pit stop on the journey to deeper, more grueling themes.\u003c/p>\n\u003cp>Jack Thorne’s adapted script from John Ajvide Lindqvist’s 2004 novel (itself the source of two movie adaptations) is manifested convincingly by director John Tiffany, with associate director Steven Hoggett, offering a sharply skilled kinetic smorgasbord. Much like the creative team’s most recent project in the Bay Area, \u003cem>Harry Potter and the Cursed Child\u003c/em>, the production finds rays of light in the narrative’s darkness.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oskar (Diego Lucano) is a skinny, delicate child who doesn’t seem to fit anywhere. He navigates daily torture by a group of bullies, and every adult interaction yields a wasteland of disappointment. There’s his mom (Nicole Shalhoub), a woman who drinks at inopportune times while offering little warmth. His dad (Erik Hellman) lives away from home, only participating in Oskar’s drab life as needed. There’s also a teacher (Julius Thomas III), who ignores Oskar’s muted pleas for support.\u003c/p>\n\u003cfigure id=\"attachment_13929770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_010-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929770\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_010-800x532.jpg\" alt=\"two people on stage in a play\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_010-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erik Hellman (Kurt) and Diego Lucano (Oskar) in the West Coast premiere of the National Theatre of Scotland production of ‘Let the Right One In.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Entering this scenario is Eli (Noah Lamanna), who strikes up a relationship of mutual desperation with Oskar. While Oskar is 12, and at some point will approach 13, Eli’s age is much more static — which seems to allow for greater insight into the more torturous aspects of pre-teen purgatory.\u003c/p>\n\u003cp>As bad as Oskar’s parental situation is, compared to Eli he’s practically being raised by Mike and Carol Brady. Although not explicitly stated, some specific type of abuse has been inflicted by Eli’s creepy father Hakan (Richard Topol). It doesn’t take much to see the yearning and devastation between Oskar and Eli in their sorrowful eyes; while Eli’s pair are gaunt and hollow, devoid of emotion, Oskar’s pupils speak of an undesirable solitude.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet what Eli needs does not live in Oskar’s eyes. Something much more necessary comes into view: a scratch at the cheekbone, where a tantalizing morsel of fresh blood teases Eli’s perverse palate. But in order to give in to hunger, and a violently growling stomach, Eli must ignore the human connection that Oskar’s damaged soul offers.\u003c/p>\n\u003cfigure id=\"attachment_13929769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_081-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929769\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_081-800x532.jpg\" alt=\"four people in blue light with fake snowfall on a stage in a play\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_081-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L-R: Jon Demegillo, Nicole Shalhoub, Erik Hellman and Jack DiFalco in the West Coast premiere of the National Theatre of Scotland production of ‘Let the Right One In.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The entire production is an exercise in scintillation. Chahine Yavroyan’s cool lighting design exudes a chill, as snowfall moves through hues of soft blue through the highly functional scenic marvel of Christine Jones. Yet the story truly soars in Jeremy Chernick’s magical special effects design, which is not for the squeamish. Blood drips, splats, pours and flows with high levels of violence, capturing live on stage so many harrowing touches that parallel the \u003ca href=\"https://www.rottentomatoes.com/m/let_the_right_one_in\" target=\"_blank\" rel=\"noopener\">phenomenal 2008 film adaptation\u003c/a>.\u003c/p>\n\u003cp>While the story offers many wonderful technical aspects (including a haunting soundscape from designer Gareth Fry that a few times dipped into unnecessary, excessive volume), the piece is led mightily by both Lucano and Lamanna. It is through the horrors of youth and their lack of agency that the story flourishes, their connection taking on both childlike and adult forms. There is the playful jostling at the candy counter with a less-than-amused cashier, or a giddy fascination with the Rubik’s Cube — and also a desire to lie next to each other and allow their persecuted skin to breathe uninterrupted.\u003c/p>\n\u003cfigure id=\"attachment_13929771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_214-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LRO_214-1-800x1202.jpg\" alt=\"a young person with black hair and fake blood on their face in a play\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-1920x2885.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LRO_214-1-scaled.jpg 1703w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Noah Lamanna (Eli) in the West Coast premiere of the National Theatre of Scotland production of ‘Let the Right One In.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oskar and Eli’s deepest connection comes from joint trauma. The ironies of each existence is rich; unapologetic tenderness through brutality. Their contrast in movement is keen — Oskar’s cumbrous, awkward gait is a great foil for Eli’s more airy slithering through space. Yet they are both weighted down by unflinching circumstances and a desire for joy. That bliss ultimately concludes with a dark victory in the play’s waning moments. Bullies are only bullies until they get punched in the mouth — or perhaps something more sinister is afoot.\u003c/p>\n\u003cp>\u003cem>Let the Right One In\u003c/em> offers much to feed the soul, and marks a powerful examination of live theater’s magical capabilities. Every technical tool helps reveal delicious storytelling, using horror to reveal deep luminosity. And despite their perilous journey, Oskar and Eli’s future just might be bloody beautiful after all.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Let the Right One In’ runs through June 25 at the Berkeley Rep’s Roda Theatre. \u003ca href=\"https://www.berkeleyrep.org/shows/let-the-right-one-in\" target=\"_blank\" rel=\"noopener\">Tickets and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-plays-musicals-summer",
"title": "10 Hot Tickets to Bay Area Plays and Musicals This Summer",
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"headTitle": "10 Hot Tickets to Bay Area Plays and Musicals This Summer | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Theater companies typically grind hard from September to June, and as a result, the summer months ease up a bit before the cycle starts again in the fall. This doesn’t mean the Bay Area theater scene is a barren wasteland over the summer; quite the opposite.\u003c/p>\n\u003cp>Bay Area stages this summer host a healthy mix of the classic and contemporary, along with world premieres and hearty musicals. Here are 10 shows from late May to early September that you don’t want to miss.\u003c/p>\n\u003cfigure id=\"attachment_13929271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg\" alt=\"a photo of three people posed in front of a wooden door, two youngish Latino-appearing men with a Latina woman in an orange standing between them, looking at the camera\" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1020x1043.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1502x1536.jpg 1502w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1920x1963.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caleb Cabrera and Regina Morones and Samuel Prince in ‘Yerma.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Yerma\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nMay 27–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Spanish poet Federico Garcia Lorca, whose passion explodes from the ink, has a special quality that knows no end. Lorca’s characters are not simply products of circumstance; they are wholly consumed by fate. His ideas and word combinations are incredibly thrilling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>Yerma\u003c/em>, a play not as frequently produced as the two others in his Rural Trilogy, the title character is childless, desperately yearning to be a mother. Her desperation leads to her self-destruction, which parallels the tragedy of Lorca himself, killed in 1936 at the hands of a firing squad at age 38. \u003cem>Yerma\u003c/em> is the type of play that Shotgun Players does beautifully, with the immeasurable benefit of one of Spain’s greatest voices.\u003c/p>\n\u003cfigure id=\"attachment_13929279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg\" alt=\"three people, a white woman, a Black man and a Japanese-American man in colorful outfits, perform on a stage with a fake animal skeleton of some kind\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aymee Garcia, Cole Thompson and Kennedy Kanagawa in ‘Into the Woods’ \u003ccite>(Matthew Murphy and Evan Zimmerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfcurran.com/\">Into the Woods\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Curran, San Francisco\u003cbr>\nJune 20–25, 2023\u003c/em>\u003c/p>\n\u003cp>The Bay Area is a regular stop for national tours, but \u003cem>Into the Woods\u003c/em> offers an added bonus: multiple original cast members from the critically acclaimed Broadway production. The show opened in May of 2022 as a two-week run at the New York City Center before a Broadway transfer led to multiple extensions and six Tony Award nominations.\u003c/p>\n\u003cp>The masterpiece from James Lapine and Stephen Sondheim joins together multiple plots of various fairy tales of the Brothers Grimm — often with much darker consequences than their Disney counterparts. Making its way out West as well is the melancholy cow puppet Milky White, an aspect of the show that was all the rage in New York.\u003c/p>\n\u003cfigure id=\"attachment_13929281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg\" alt=\"a young Black woman with curly hair poses for a portrait in a red dress\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Longtime Bay Area performer Elizabeth Carter makes her TheatreWorks directorial debut with ‘Steel Magnolias.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/\">Steel Magnolias\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Mountain View Center for the Performing Arts\u003cbr>\nJune 7–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>TheatreWorks Silicon Valley has been crafting great, innovative artistry for its recent productions, rethinking what a classic can be and infusing the work with components that expand a show’s inclusivity. (Exhibit A: their \u003cem>Little Shop of Horrors\u003c/em>, placed in San Francisco’s Chinatown, this past December.) This year, a play set in the South, which featured an all-white cast in the popular 1989 film, adapts the action into a Black-owned salon. Longtime Bay Area performer Elizabeth Carter directs.\u003c/p>\n\u003cfigure id=\"attachment_13929283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg\" alt=\"a large group of people in top hats and shiny outfits perform a dance in a chorus line on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘A Chorus Line’ at the London Palladium. San Francisco Playhouse closes its 20th anniversary season with the musical starting June 22. \u003ccite>(Alamy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/2022-2023-season/a-chorus-line/\">A Chorus Line\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Francisco Playhouse\u003cbr>\nJune 22–Sept. 9, 2023\u003c/em>\u003c/p>\n\u003cp>San Francisco Playhouse is going all in with its collection of musicals, offering up three in a 12-month span. One of the most decorated musicals in history, winning nine Tony awards and the Pulitzer Prize for drama in 1976, \u003cem>A Chorus Line\u003c/em> follows a colorful group of dancers vying for a coveted spot on a Broadway chorus line. Each dancer brings deep, personal stories with lots of humor and heartbreak. Despite their variety of backgrounds, each of the dancers ultimately asks the same question — if the dream were to end instantly after so much sacrifice, \u003ca href=\"https://www.youtube.com/watch?v=dwk0Sh3id4w\">are there any regrets\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13929284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-800x450.png\" alt=\"a group of four people, three Black women and one Black man, Questlove, smile for the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0.png 970w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hippest Trip’: Dominique Morrisseau (book), Ahmir ‘Questlove’ Thompson (executive producer), Camille A. Brown (choreography), Kamilah Forbes (director). \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Hippest Trip — The Soul Train Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nAug. 25–Oct. 1, 2023\u003c/em>\u003c/p>\n\u003cp>When Chicago disc jockey Joe Cobb pierced the television speaker with his dulcet falsetto screaming, “The soooooouuulllll train,” followed by Sid McCoy smoothly introducing “the hippest trip in America” while a colorful train \u003ca href=\"https://www.youtube.com/watch?v=f8osiVlz6Ws\">bounced along outer space\u003c/a>, you knew that Saturday morning was ready to commence with unbridled Black joy. Every ounce of \u003cem>Soul Train\u003c/em> is iconic — dapper host Don Cornelius, the \u003ca href=\"https://www.youtube.com/watch?v=lODBVM802H8\">Soul Train line\u003c/a>, prime fashion, and the show’s indelible role in popular culture.\u003c/p>\n\u003cp>This new musical, which finally premieres at A.C.T. after plenty of delays, is led by a dream team, including playwright Dominique Morrisseau and musician/Soul Train savant Ahmir “Questlove” Thompson. A long-anticipated world premiere, it’s poised to become the theatre event of the summer with high ambitions beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13929285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg\" alt=\"a glass of water on a table in front of a woman's face, lit darkly; she has brown skin and black hair and is wearing dark lipstick\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez in ‘Who’s Afraid of Virginia Woolf.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/virginia\">Who’s Afraid of Virginia Woolf\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Flax Art & Design, Oakland\u003cbr>\nMay 26–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Long considered a masterpiece of the American theater, this unflinchingly comedic and profound work from Edward Albee follows middle-aged couple George and Martha, who invite a young professor and his wife over to their place for a nightcap; a dangerous round of fun and games ensues.\u003c/p>\n\u003cp>Oakland Theater Project is on a roll of late, producing gritty narratives from fresh playwrights while continuing to build upon a healthy repertory company of terrific artists. Popular company members Lisa Ramirez and Michael Socrates Moran perform and direct, respectively.\u003c/p>\n\u003cfigure id=\"attachment_13929286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929286\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg\" alt=\"a portrait of a man with light brown skin and a very short beard wearing a black t-shirt\" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ari’el Stachel in ‘Out of Character’ \u003ccite>(Sergio Pasquariello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/out-of-character/\">Out of Character\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 23–July 20, 2023\u003c/em>\u003c/p>\n\u003cp>Seeing the beautiful musical \u003cem>The Band’s Visit\u003c/em> in 2017 was to witness an incredible set of performances from an all-star cast. One of those performers, the handsome Berkeley-raised talent Ari’el Stachel, \u003ca href=\"https://www.youtube.com/watch?v=GUW-yM2y53s\">made audiences swoon\u003c/a> as the confident musician Haled. That swooning was no accident; his performance landed him the 2018 Tony Award for best featured actor in a musical.\u003c/p>\n\u003cp>Stachel returns home for this solo debut, telling his story of the difficulties he faced as an Israeli American of Yemeni Jewish descent shortly after the 9/11 attacks. In keeping with the homegrown nature of the piece, the show was developed at the Rep’s Ground Floor and is directed by former artistic director Tony Taccone, who led the Rep for 33 years before retiring in 2019.\u003c/p>\n\u003cfigure id=\"attachment_13929288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929288\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg\" alt=\"three people, a Black man in a suit, a Black woman in a white top and black pants and a Black woman in a peach dress, laugh while performing a reading in front of an applauding crowd\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1536x962.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited.jpg 1599w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Rotimi Agbabiaka, playwright Traci Tolmaire and actor Ryan Nicole Austin perform a staged reading of ‘In the Evening by the Moonlight’ at the Museum of African Diaspora. \u003ccite>(Courtesy Lorraine Hansberry Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lhtsf.org/\">In the Evening by the Moonlight\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Young Performer’s Theatre at Fort Mason, San Francisco\u003cbr>\nJune 15–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>The Lorraine Hansberry Theatre is the home for this new play that imagines a conversation between three major figures: the theatre’s namesake, Lorraine Hansberry, Nina Simone and James Baldwin. The piece is set in Hansberry’s Waverly Place flat in New York, as the three icons confront a fearful future while expressing hopes for a revolution.\u003c/p>\n\u003cp>The play, which received a successful reading in April, is written by Traci Tolmaire, and co-created and directed by artistic director Margo Hall.\u003c/p>\n\u003cfigure id=\"attachment_13929291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png\" alt=\"three white people, two men and one woman, smile for the camera while sitting in an empty theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1536x1152.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1.png 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hamlet’ from the Marin Shakespeare Company, left to right: Jon Tracy (director), Bridgette Loriaux (‘Gertrude’) and Nick Musleh (‘Hamlet’). \u003ccite>(Jon Tracy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Hamlet\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Forest Meadows Amphitheatre, San Rafael\u003cbr>\nJune 16–July 16, 2023\u003c/em>\u003c/p>\n\u003cp>Nothing screams summer like Shakespeare in an outdoor setting, and the Marin Shakespeare Company has presented the Bard outside since 1989. Well-known Bay Area director Jon Tracy is taking over the reins as summer season artistic producer, and while he has directed for the company plenty, this is his debut in the new role.\u003c/p>\n\u003cp>The story of Hamlet has everything one can ask for in a drama — iconic characters, lust, betrayal, greed, humor and deception. To be or not to be in the house? Grabbing some Shakespeare on a beautiful North Bay night under the stars is a definite “to be.”\u003c/p>\n\u003cfigure id=\"attachment_13929293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg\" alt=\"\" width=\"800\" height=\"1105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1020x1408.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-160x221.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-768x1060.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1112x1536.jpeg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1483x2048.jpeg 1483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Timothy Near, director of ‘The Road to Mecca.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Road to Mecca\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Below, San Francisco\u003cbr>\nJune 4–30, 2023\u003c/em>\u003c/p>\n\u003cp>This work from Athol Fugard, long considered the greatest of South African playwrights, centers an aging Miss Helen, who fills her home and garden with sculptures made from junk after the death of her husband. As her mental health continues to deteriorate, two people — a local pastor and a young teacher — fight to determine the ultimate path of her perilous future.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The piece brings together a group of artists who last worked together on another Fugard piece at Z Below, \u003cem>A Lesson from Aloes\u003c/em>, in 2018. Timothy Near leads the three-hander, reuniting the longtime director with top acting talents Victor Talmadge and Wendy vanden Heuvel.\u003c/p>\n\n",
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"excerpt": "This summer, local theatre stages host a mix of the classic and contemporary, alongside world premieres and hearty musicals.",
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"title": "10 Hot Tickets to Bay Area Plays and Musicals This Summer | KQED",
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"headline": "10 Hot Tickets to Bay Area Plays and Musicals This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area.\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Theater companies typically grind hard from September to June, and as a result, the summer months ease up a bit before the cycle starts again in the fall. This doesn’t mean the Bay Area theater scene is a barren wasteland over the summer; quite the opposite.\u003c/p>\n\u003cp>Bay Area stages this summer host a healthy mix of the classic and contemporary, along with world premieres and hearty musicals. Here are 10 shows from late May to early September that you don’t want to miss.\u003c/p>\n\u003cfigure id=\"attachment_13929271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg\" alt=\"a photo of three people posed in front of a wooden door, two youngish Latino-appearing men with a Latina woman in an orange standing between them, looking at the camera\" width=\"800\" height=\"818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-800x818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1020x1043.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-768x785.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1502x1536.jpg 1502w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159-1920x1963.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Caleb-Cabrera-and-Regina-Morones-and-Samuel-Prince-Credit-Robbie-Sweeny-DSC00159.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caleb Cabrera and Regina Morones and Samuel Prince in ‘Yerma.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Yerma\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nMay 27–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Spanish poet Federico Garcia Lorca, whose passion explodes from the ink, has a special quality that knows no end. Lorca’s characters are not simply products of circumstance; they are wholly consumed by fate. His ideas and word combinations are incredibly thrilling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Yerma\u003c/em>, a play not as frequently produced as the two others in his Rural Trilogy, the title character is childless, desperately yearning to be a mother. Her desperation leads to her self-destruction, which parallels the tragedy of Lorca himself, killed in 1936 at the hands of a firing squad at age 38. \u003cem>Yerma\u003c/em> is the type of play that Shotgun Players does beautifully, with the immeasurable benefit of one of Spain’s greatest voices.\u003c/p>\n\u003cfigure id=\"attachment_13929279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929279\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg\" alt=\"three people, a white woman, a Black man and a Japanese-American man in colorful outfits, perform on a stage with a fake animal skeleton of some kind\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/INTO-THE-WOODS-1.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aymee Garcia, Cole Thompson and Kennedy Kanagawa in ‘Into the Woods’ \u003ccite>(Matthew Murphy and Evan Zimmerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sfcurran.com/\">Into the Woods\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>The Curran, San Francisco\u003cbr>\nJune 20–25, 2023\u003c/em>\u003c/p>\n\u003cp>The Bay Area is a regular stop for national tours, but \u003cem>Into the Woods\u003c/em> offers an added bonus: multiple original cast members from the critically acclaimed Broadway production. The show opened in May of 2022 as a two-week run at the New York City Center before a Broadway transfer led to multiple extensions and six Tony Award nominations.\u003c/p>\n\u003cp>The masterpiece from James Lapine and Stephen Sondheim joins together multiple plots of various fairy tales of the Brothers Grimm — often with much darker consequences than their Disney counterparts. Making its way out West as well is the melancholy cow puppet Milky White, an aspect of the show that was all the rage in New York.\u003c/p>\n\u003cfigure id=\"attachment_13929281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg\" alt=\"a young Black woman with curly hair poses for a portrait in a red dress\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Elizabeth_Carter_Jenny-Graham-2-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Longtime Bay Area performer Elizabeth Carter makes her TheatreWorks directorial debut with ‘Steel Magnolias.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://theatreworks.org/\">Steel Magnolias\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Mountain View Center for the Performing Arts\u003cbr>\nJune 7–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>TheatreWorks Silicon Valley has been crafting great, innovative artistry for its recent productions, rethinking what a classic can be and infusing the work with components that expand a show’s inclusivity. (Exhibit A: their \u003cem>Little Shop of Horrors\u003c/em>, placed in San Francisco’s Chinatown, this past December.) This year, a play set in the South, which featured an all-white cast in the popular 1989 film, adapts the action into a Black-owned salon. Longtime Bay Area performer Elizabeth Carter directs.\u003c/p>\n\u003cfigure id=\"attachment_13929283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg\" alt=\"a large group of people in top hats and shiny outfits perform a dance in a chorus line on stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-2048x1366.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/SFP_AChorusLine_Alamy-scaled-1-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘A Chorus Line’ at the London Palladium. San Francisco Playhouse closes its 20th anniversary season with the musical starting June 22. \u003ccite>(Alamy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/2022-2023-season/a-chorus-line/\">A Chorus Line\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>San Francisco Playhouse\u003cbr>\nJune 22–Sept. 9, 2023\u003c/em>\u003c/p>\n\u003cp>San Francisco Playhouse is going all in with its collection of musicals, offering up three in a 12-month span. One of the most decorated musicals in history, winning nine Tony awards and the Pulitzer Prize for drama in 1976, \u003cem>A Chorus Line\u003c/em> follows a colorful group of dancers vying for a coveted spot on a Broadway chorus line. Each dancer brings deep, personal stories with lots of humor and heartbreak. Despite their variety of backgrounds, each of the dancers ultimately asks the same question — if the dream were to end instantly after so much sacrifice, \u003ca href=\"https://www.youtube.com/watch?v=dwk0Sh3id4w\">are there any regrets\u003c/a>?\u003c/p>\n\u003cfigure id=\"attachment_13929284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929284\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-800x450.png\" alt=\"a group of four people, three Black women and one Black man, Questlove, smile for the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0.png 970w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hippest Trip’: Dominique Morrisseau (book), Ahmir ‘Questlove’ Thompson (executive producer), Camille A. Brown (choreography), Kamilah Forbes (director). \u003ccite>(Nicola Goode)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/2023-24-season/soul-train/\">Hippest Trip — The Soul Train Musical\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Toni Rembe Theater, San Francisco\u003cbr>\nAug. 25–Oct. 1, 2023\u003c/em>\u003c/p>\n\u003cp>When Chicago disc jockey Joe Cobb pierced the television speaker with his dulcet falsetto screaming, “The soooooouuulllll train,” followed by Sid McCoy smoothly introducing “the hippest trip in America” while a colorful train \u003ca href=\"https://www.youtube.com/watch?v=f8osiVlz6Ws\">bounced along outer space\u003c/a>, you knew that Saturday morning was ready to commence with unbridled Black joy. Every ounce of \u003cem>Soul Train\u003c/em> is iconic — dapper host Don Cornelius, the \u003ca href=\"https://www.youtube.com/watch?v=lODBVM802H8\">Soul Train line\u003c/a>, prime fashion, and the show’s indelible role in popular culture.\u003c/p>\n\u003cp>This new musical, which finally premieres at A.C.T. after plenty of delays, is led by a dream team, including playwright Dominique Morrisseau and musician/Soul Train savant Ahmir “Questlove” Thompson. A long-anticipated world premiere, it’s poised to become the theatre event of the summer with high ambitions beyond the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13929285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg\" alt=\"a glass of water on a table in front of a woman's face, lit darkly; she has brown skin and black hair and is wearing dark lipstick\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Virginia_Wolf_h.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez in ‘Who’s Afraid of Virginia Woolf.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://oaklandtheaterproject.org/virginia\">Who’s Afraid of Virginia Woolf\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Flax Art & Design, Oakland\u003cbr>\nMay 26–June 18, 2023\u003c/em>\u003c/p>\n\u003cp>Long considered a masterpiece of the American theater, this unflinchingly comedic and profound work from Edward Albee follows middle-aged couple George and Martha, who invite a young professor and his wife over to their place for a nightcap; a dangerous round of fun and games ensues.\u003c/p>\n\u003cp>Oakland Theater Project is on a roll of late, producing gritty narratives from fresh playwrights while continuing to build upon a healthy repertory company of terrific artists. Popular company members Lisa Ramirez and Michael Socrates Moran perform and direct, respectively.\u003c/p>\n\u003cfigure id=\"attachment_13929286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929286\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg\" alt=\"a portrait of a man with light brown skin and a very short beard wearing a black t-shirt\" width=\"800\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-800x1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-768x1153.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StachelAri_SergioPasquariello.jpg 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ari’el Stachel in ‘Out of Character’ \u003ccite>(Sergio Pasquariello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/shows/out-of-character/\">Out of Character\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Berkeley Repertory Theatre\u003cbr>\nJune 23–July 20, 2023\u003c/em>\u003c/p>\n\u003cp>Seeing the beautiful musical \u003cem>The Band’s Visit\u003c/em> in 2017 was to witness an incredible set of performances from an all-star cast. One of those performers, the handsome Berkeley-raised talent Ari’el Stachel, \u003ca href=\"https://www.youtube.com/watch?v=GUW-yM2y53s\">made audiences swoon\u003c/a> as the confident musician Haled. That swooning was no accident; his performance landed him the 2018 Tony Award for best featured actor in a musical.\u003c/p>\n\u003cp>Stachel returns home for this solo debut, telling his story of the difficulties he faced as an Israeli American of Yemeni Jewish descent shortly after the 9/11 attacks. In keeping with the homegrown nature of the piece, the show was developed at the Rep’s Ground Floor and is directed by former artistic director Tony Taccone, who led the Rep for 33 years before retiring in 2019.\u003c/p>\n\u003cfigure id=\"attachment_13929288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929288\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg\" alt=\"three people, a Black man in a suit, a Black woman in a white top and black pants and a Black woman in a peach dress, laugh while performing a reading in front of an applauding crowd\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited-1536x962.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/1-01_edited_edited.jpg 1599w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actor Rotimi Agbabiaka, playwright Traci Tolmaire and actor Ryan Nicole Austin perform a staged reading of ‘In the Evening by the Moonlight’ at the Museum of African Diaspora. \u003ccite>(Courtesy Lorraine Hansberry Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.lhtsf.org/\">In the Evening by the Moonlight\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Young Performer’s Theatre at Fort Mason, San Francisco\u003cbr>\nJune 15–July 2, 2023\u003c/em>\u003c/p>\n\u003cp>The Lorraine Hansberry Theatre is the home for this new play that imagines a conversation between three major figures: the theatre’s namesake, Lorraine Hansberry, Nina Simone and James Baldwin. The piece is set in Hansberry’s Waverly Place flat in New York, as the three icons confront a fearful future while expressing hopes for a revolution.\u003c/p>\n\u003cp>The play, which received a successful reading in April, is written by Traci Tolmaire, and co-created and directed by artistic director Margo Hall.\u003c/p>\n\u003cfigure id=\"attachment_13929291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929291\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png\" alt=\"three white people, two men and one woman, smile for the camera while sitting in an empty theater\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1020x765.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1-1536x1152.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/pasted-image-0-1.png 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The team behind ‘Hamlet’ from the Marin Shakespeare Company, left to right: Jon Tracy (director), Bridgette Loriaux (‘Gertrude’) and Nick Musleh (‘Hamlet’). \u003ccite>(Jon Tracy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.marinshakespeare.org/\">Hamlet\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Forest Meadows Amphitheatre, San Rafael\u003cbr>\nJune 16–July 16, 2023\u003c/em>\u003c/p>\n\u003cp>Nothing screams summer like Shakespeare in an outdoor setting, and the Marin Shakespeare Company has presented the Bard outside since 1989. Well-known Bay Area director Jon Tracy is taking over the reins as summer season artistic producer, and while he has directed for the company plenty, this is his debut in the new role.\u003c/p>\n\u003cp>The story of Hamlet has everything one can ask for in a drama — iconic characters, lust, betrayal, greed, humor and deception. To be or not to be in the house? Grabbing some Shakespeare on a beautiful North Bay night under the stars is a definite “to be.”\u003c/p>\n\u003cfigure id=\"attachment_13929293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg\" alt=\"\" width=\"800\" height=\"1105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-800x1105.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1020x1408.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-160x221.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-768x1060.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1112x1536.jpeg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1-1483x2048.jpeg 1483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Timothy-Near_DavidAllenPhoto-scaled-1.jpeg 1854w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Timothy Near, director of ‘The Road to Mecca.’ \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Road to Mecca\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Z Below, San Francisco\u003cbr>\nJune 4–30, 2023\u003c/em>\u003c/p>\n\u003cp>This work from Athol Fugard, long considered the greatest of South African playwrights, centers an aging Miss Helen, who fills her home and garden with sculptures made from junk after the death of her husband. As her mental health continues to deteriorate, two people — a local pastor and a young teacher — fight to determine the ultimate path of her perilous future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The piece brings together a group of artists who last worked together on another Fugard piece at Z Below, \u003cem>A Lesson from Aloes\u003c/em>, in 2018. Timothy Near leads the three-hander, reuniting the longtime director with top acting talents Victor Talmadge and Wendy vanden Heuvel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Children's Theatre to Close, Citing Financial Challenges",
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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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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"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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"radiolab": {
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},
"rightnowish": {
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"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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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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