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"content": "\u003cp>If you ask playwright Dustin Chinn for his Joker origin story, he might point to that time in 2016 when \u003ci>Bon Appétit \u003c/i>released a video entitled “\u003ca href=\"https://www.facebook.com/a11in/videos/10155292990304897/?t=0\">PSA: This Is How You Should Be Eating Pho\u003c/a>.”\u003c/p>\n\u003cp>You might remember the one — the white chef in a backwards baseball cap confidently dismissing anyone who adds hoisin or Sriracha to their pho broth while, in the \u003ci>very next breath\u003c/i>, explaining that he’ll squeeze as many limes into his broth as the restaurant is willing to give him (!!).\u003c/p>\n\u003cp>It was one of those classic internet moments: There was the swift backlash (much of it from Vietnamese Americans righteously peeved at some dude-bro telling them they’d been doing it wrong this whole time), the \u003ca href=\"https://www.cosmopolitan.com/food-cocktails/news/a63868/bon-appetit-pho-controversy/\">defensive non-apology\u003c/a> and, eventually, a \u003ca href=\"https://www.bonappetit.com/story/how-you-should-eating-pho\">lengthier \u003ci>mea culpa\u003c/i>\u003c/a>. For Chinn, who is Chinese American, the incident helped spark a years-long obsession with questions of appropriation, colonialism and cultural ownership in food. Eventually, it culminated in his latest play, \u003ca href=\"https://auroratheatre.org/Pho\">\u003ci>Colonialism Is Terrible, But Pho Is Delicious\u003c/i>\u003c/a>, which debuts this week at the \u003ca href=\"https://auroratheatre.org/\">Aurora Theatre Company\u003c/a> in Berkeley under the direction of Oanh Nguyen.\u003c/p>\n\u003cfigure id=\"attachment_13921339\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg\" alt=\"Headshot of an Asian man in a hoodie.\" width=\"240\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot.jpg 800w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Dustin Chinn. \u003ccite>(Courtesy of the Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp data-wp-editing=\"1\">“I think what struck me about [the video] was this particular brand of arrogance to suggest that there is a ‘right’ way [to eat pho]. And also for someone coming from the outsider perspective, who didn’t grow up in the tradition, to claim that they had ownership of it — wow, I don’t know where that comes from,” Chinn says. “Where do you cross the line to where you say, ‘I’ve got this. I’ve got this down’?”\u003c/p>\n\u003cp>The play is set up as a triptych, exploring the aforementioned themes of appropriation and ownership through scenes taken from three imagined moments in the history of pho. The first is a retelling of the dish’s creation story, which is at least partly apocryphal. Chinn’s version focuses on a French aristocrat living in Hanoi during the late 19th century, when the city was the colonial capital of French Indochina. He hires a Vietnamese cook, who has to learn how to prepare pot-au-feu, the French stew that some people believe is the dish that eventually evolved into Vietnamese pho (though this is \u003ca href=\"https://www.splendidtable.org/story/2017/03/06/evolution-of-pho-a-modern-dish-born-of-multicultural-traditions\">widely disputed\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The second scene takes place in 1999 in Ho Chi Minh City, on the eve of President Bill Clinton’s visit — and right as Burger King was about to open the first American burger franchises in Vietnam. It focuses on two Americans visiting a pho cart, never having tried the dish before.\u003c/p>\n\u003cp>Finally, the last scene takes us to a Vietnamese restaurant in today’s rapidly gentrifying Brooklyn — a restaurant that, in a callback to the infamous \u003ci>Bon Appétit\u003c/i> video, refuses to provide any sauce to accompany its pho.\u003c/p>\n\u003cp>Each of the scenes deals with colonialism and the power dynamics that come into play when one culture adapts or borrows from another culture’s cuisine. Each explores questions of what kind of food is considered “fancy” and who profits — and how much they profit — off the sale and popularization of that food.\u003c/p>\n\u003cp>Chinn, for his part, doesn’t consider himself a “hardliner.” He doesn’t believe there should be any one-size-fits-all rule about who is “allowed” to cook certain types of food. He says he’s more interested in questions than in messages. That’s also why he says he wrote the play as a comedy rather than a straightforward drama.\u003c/p>\n\u003cp>[aside postID='arts_13905293,arts_13895488,arts_13914750']“I’m a Chinese American writing about Vietnamese themes,” Chinn says. “This play is not about what it means to be Vietnamese. This play is more about the gray areas within these discussions of authorship and cultural ownership.”\u003c/p>\n\u003cp>What he’s hoping is that the play will attract people who don’t typically go to the theater but who do feel invested in these kinds of issues around food culture. After all, he says, food is the one cultural topic that people get uniquely passionate about — to the point that there are some who consider it “hacky” when writers use food as a shorthand for culture.\u003c/p>\n\u003cp>For Chinn, however, it’s for good reason that food evokes those kinds of primal feelings in people. “It’s something you engage with every day, more than literature or even music. It encompasses things about family and daily needs,” Chinn says. “In lieu of religion, people get very religious about food.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Colonialism Is Terrible, But Pho Is Delicious\u003ci> is in previews until Nov. 10 at the Aurora Theatre Company (2081 Addison St., Berkeley). The official opening night is Thursday, Nov. 10 at 8 p.m., and the play runs until Dec. 4. You can \u003c/i>\u003ca href=\"https://tickets.auroratheatre.org/TheatreManager/1/online?event=0\">\u003ci>buy tickets online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The second scene takes place in 1999 in Ho Chi Minh City, on the eve of President Bill Clinton’s visit — and right as Burger King was about to open the first American burger franchises in Vietnam. It focuses on two Americans visiting a pho cart, never having tried the dish before.\u003c/p>\n\u003cp>Finally, the last scene takes us to a Vietnamese restaurant in today’s rapidly gentrifying Brooklyn — a restaurant that, in a callback to the infamous \u003ci>Bon Appétit\u003c/i> video, refuses to provide any sauce to accompany its pho.\u003c/p>\n\u003cp>Each of the scenes deals with colonialism and the power dynamics that come into play when one culture adapts or borrows from another culture’s cuisine. Each explores questions of what kind of food is considered “fancy” and who profits — and how much they profit — off the sale and popularization of that food.\u003c/p>\n\u003cp>Chinn, for his part, doesn’t consider himself a “hardliner.” He doesn’t believe there should be any one-size-fits-all rule about who is “allowed” to cook certain types of food. He says he’s more interested in questions than in messages. That’s also why he says he wrote the play as a comedy rather than a straightforward drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m a Chinese American writing about Vietnamese themes,” Chinn says. “This play is not about what it means to be Vietnamese. This play is more about the gray areas within these discussions of authorship and cultural ownership.”\u003c/p>\n\u003cp>What he’s hoping is that the play will attract people who don’t typically go to the theater but who do feel invested in these kinds of issues around food culture. After all, he says, food is the one cultural topic that people get uniquely passionate about — to the point that there are some who consider it “hacky” when writers use food as a shorthand for culture.\u003c/p>\n\u003cp>For Chinn, however, it’s for good reason that food evokes those kinds of primal feelings in people. “It’s something you engage with every day, more than literature or even music. It encompasses things about family and daily needs,” Chinn says. “In lieu of religion, people get very religious about food.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Colonialism Is Terrible, But Pho Is Delicious\u003ci> is in previews until Nov. 10 at the Aurora Theatre Company (2081 Addison St., Berkeley). The official opening night is Thursday, Nov. 10 at 8 p.m., and the play runs until Dec. 4. You can \u003c/i>\u003ca href=\"https://tickets.auroratheatre.org/TheatreManager/1/online?event=0\">\u003ci>buy tickets online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marcus Gardley’s ‘LEAR’ is a Culturally Rich Re-Imagining of Shakespeare",
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"content": "\u003cp>When King Lear, played by James A. Williams, first appears on stage, he wears a long fur coat. His crown: a black fedora with gold ribbon trim. It’s a distinctly Black regalness that makes you think Teddy Pendergrass, not Anthony Hopkins. The scene is San Francisco’s Fillmore District in 1969–a time of “urban renewal,” which led to gentrification and the upheaval of Black communities.\u003c/p>\n\u003cp>These are the makings of Marcus Gardley’s \u003cem>\u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">LEAR\u003c/a>\u003c/em>, a modern-verse adaptation of Shakespeare’s famous tragedy, about an aging king who mentally comes undone. Gardley, an Obie-winning playwright who was born in Oakland, stays true to the original story and plot line of \u003cem>King Lear\u003c/em> but gives it his signature stamp of poetic lyricism steeped in Black culture.\u003c/p>\n\u003cp>At the intimate yet towering Bruns Amphitheater, the soft sound of crickets is our silence and the starry night sky is our ceiling. The single set, by San Francisco scenic designer Tanya Orellana, is a cream-colored, open-faced two-story house that feels modern yet classic, walking the same line that Gardley does in his text.\u003c/p>\n\u003cfigure id=\"attachment_13919519\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_225.jpg\" alt=\"Dancers in foreground, actors on second story of modernist style home on stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marcus Gardley’s ‘LEAR.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley’s interpretation gives birth to empowered performances across the entire cast, which is co-directed by fellow Oakland-born Dawn Monique Williams, alongside departing CalShakes artistic director, Eric Ting. The Black Queen, played by Verlina Brown, is striking in all white when she narrates the opening of the play, letting the audience know to essentially freak what you heard about that \u003cem>other\u003c/em> King Lear. She then seamlessly slips into a beautiful singing voice that returns later in the play for the occasional jazzy interlude.\u003c/p>\n\u003cp>Acclaimed San Francisco-based jazz musician Marcus Shelby, who wrote the music for LEAR, plays his upright bass in an upper room of the house, alongside Scott Larson on trombone. This subtle but integral sonic backdrop aids the audience in moving from tender moments to funny exchanges to a few violent fight scenes. It also firmly plants the audience in late ’60s Fillmore, a.k.a. the “Harlem of the West.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sam Jackson shines as Lear’s youngest daughter Cordelia and even more so as The Comic, whose styling is reminiscent of Morris Day as she delivers jokes as biting in social commentary as they are funny. That Gardley renames the character “The Comic” instead of Shakespeare’s “The Fool”–Lear’s comedic court jester-slash-adviser–is a small yet noteworthy update. It’s a nod to the role comics often play as truth-tellers in the Black community, and society as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13919518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_062.jpg\" alt=\"A Black man in a fedora with a cane sits and smiles\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James A. Williams as King Lear in Marcus Gardley’s ‘LEAR,’ at Cal Shakes. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rousing, closing monologue by Kent, played by Cathleen Riddley in another standout performance, feels like a sermon, offering critiques on the use of power and the treatment of Black women in society. It stirred me and quite a few other Black women in the audience to punctuate the on-stage monologue with a “say it!” when Kent, who’s asked to lead the kingdom following Lear’s death, points out how Black women always seem to be the ones tapped clean up the mess others have left behind (\u003cem>mmhmm!\u003c/em>).\u003c/p>\n\u003cp>As the lights go down and the standing ovation ensues, you don’t feel like you’ve been at a two and a half-hour play–yes, two and a half hours, it’s still Shakespeare after all. Rather, you feel the energy of the performance and the obvious pride and love Gardley and company have for Black culture and Black people, beating warm in your chest.\u003c/p>\n\u003cp>And it’s a feeling so good, like one audience member told me, you just might want to come back and experience it all over again.\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>\u003ci>‘LEAR’ plays at the Bruns Amphitheater in Orinda through Oct. 2, 2022. \u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When King Lear, played by James A. Williams, first appears on stage, he wears a long fur coat. His crown: a black fedora with gold ribbon trim. It’s a distinctly Black regalness that makes you think Teddy Pendergrass, not Anthony Hopkins. The scene is San Francisco’s Fillmore District in 1969–a time of “urban renewal,” which led to gentrification and the upheaval of Black communities.\u003c/p>\n\u003cp>These are the makings of Marcus Gardley’s \u003cem>\u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">LEAR\u003c/a>\u003c/em>, a modern-verse adaptation of Shakespeare’s famous tragedy, about an aging king who mentally comes undone. Gardley, an Obie-winning playwright who was born in Oakland, stays true to the original story and plot line of \u003cem>King Lear\u003c/em> but gives it his signature stamp of poetic lyricism steeped in Black culture.\u003c/p>\n\u003cp>At the intimate yet towering Bruns Amphitheater, the soft sound of crickets is our silence and the starry night sky is our ceiling. The single set, by San Francisco scenic designer Tanya Orellana, is a cream-colored, open-faced two-story house that feels modern yet classic, walking the same line that Gardley does in his text.\u003c/p>\n\u003cfigure id=\"attachment_13919519\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_225.jpg\" alt=\"Dancers in foreground, actors on second story of modernist style home on stage\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_225-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marcus Gardley’s ‘LEAR.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardley’s interpretation gives birth to empowered performances across the entire cast, which is co-directed by fellow Oakland-born Dawn Monique Williams, alongside departing CalShakes artistic director, Eric Ting. The Black Queen, played by Verlina Brown, is striking in all white when she narrates the opening of the play, letting the audience know to essentially freak what you heard about that \u003cem>other\u003c/em> King Lear. She then seamlessly slips into a beautiful singing voice that returns later in the play for the occasional jazzy interlude.\u003c/p>\n\u003cp>Acclaimed San Francisco-based jazz musician Marcus Shelby, who wrote the music for LEAR, plays his upright bass in an upper room of the house, alongside Scott Larson on trombone. This subtle but integral sonic backdrop aids the audience in moving from tender moments to funny exchanges to a few violent fight scenes. It also firmly plants the audience in late ’60s Fillmore, a.k.a. the “Harlem of the West.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sam Jackson shines as Lear’s youngest daughter Cordelia and even more so as The Comic, whose styling is reminiscent of Morris Day as she delivers jokes as biting in social commentary as they are funny. That Gardley renames the character “The Comic” instead of Shakespeare’s “The Fool”–Lear’s comedic court jester-slash-adviser–is a small yet noteworthy update. It’s a nod to the role comics often play as truth-tellers in the Black community, and society as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13919518\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LER_062.jpg\" alt=\"A Black man in a fedora with a cane sits and smiles\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LER_062-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">James A. Williams as King Lear in Marcus Gardley’s ‘LEAR,’ at Cal Shakes. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rousing, closing monologue by Kent, played by Cathleen Riddley in another standout performance, feels like a sermon, offering critiques on the use of power and the treatment of Black women in society. It stirred me and quite a few other Black women in the audience to punctuate the on-stage monologue with a “say it!” when Kent, who’s asked to lead the kingdom following Lear’s death, points out how Black women always seem to be the ones tapped clean up the mess others have left behind (\u003cem>mmhmm!\u003c/em>).\u003c/p>\n\u003cp>As the lights go down and the standing ovation ensues, you don’t feel like you’ve been at a two and a half-hour play–yes, two and a half hours, it’s still Shakespeare after all. Rather, you feel the energy of the performance and the obvious pride and love Gardley and company have for Black culture and Black people, beating warm in your chest.\u003c/p>\n\u003cp>And it’s a feeling so good, like one audience member told me, you just might want to come back and experience it all over again.\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>\u003ci>‘LEAR’ plays at the Bruns Amphitheater in Orinda through Oct. 2, 2022. \u003ca href=\"https://calshakes.org/lear/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s Beloved EXIT Theatre Takes a Final Bow",
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"content": "\u003cp>My first offhand memory of EXIT Theatre doesn’t even take place there. It was at the Potrero Stage in 2018, when I was there to review a show, and I was approached by EXIT Theatre’s publicist. She’d read my reviews—something that always surprises me—and wanted to add me to EXIT’s press list. Having spent the last eight years frequenting the Tenderloin venue, I wasn’t about to refuse. To say the least, I was happy.\u003c/p>\n\u003cp>I had the exact opposite emotion last month, when I learned that EXIT founder Christina Augello is \u003ca href=\"https://datebook.sfchronicle.com/theater/s-f-s-exit-theatre-to-close-ending-40-years-of-small-weird-events-on-eddy-street\">closing the Eddy Street venue for good\u003c/a>. I know that it’s neither the first nor last San Francisco business to close during this still-ongoing pandemic, but for frequent EXIT performers and patrons (I’ve been both), the news was an absolute gut-punch.\u003c/p>\n\u003cp>We all knew EXIT’s origins, and how Augello started performing in the lobby of a Tenderloin residential hotel in 1983. We journalists who reported on the venue knew to \u003ca href=\"https://web.archive.org/web/20191228190326/http:/theexit.org:80/press-room/\" target=\"_blank\" rel=\"noopener noreferrer\">always call it\u003c/a> “EXIT Theatre,” no “the.” We knew that the firefighter’s hat above the cafe was temporarily taken down when a firefighter took offense (it was put back up a month or two later). And, of course, we knew it was the one and only home of the San Francisco Fringe Festival.\u003c/p>\n\u003cfigure id=\"attachment_13807994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg\" alt='(L to R) Sabrina Wenske and Cara McClendon in \"You Fuckin Earned It\" at the SF Fringe Festival.' width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-1020x579.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-960x545.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg 1049w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Sabrina Wenske and Cara McClendon in ‘You Fuckin Earned It’ at the San Francisco Fringe Festival at EXIT Theatre. \u003ccite>(Courtesy Shoot That Clown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What few outsiders knew was exactly why we regulars referred to it as “the heart of San Francisco’s indie theater scene.”\u003c/p>\n\u003cp>Its Eddy Street location puts EXIT just two blocks south of what’s considered the proper heart of San Francisco’s theater district, home to the Curran and Geary Theaters. That’s where you’ll find all the Geary Boulevard tourist traps: countless restaurants; an abundance of art galleries; and who knows how many hotels—all within walking distance of Union Square. It’s where people expect to see world-renowned shows and take a lot of photos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>EXIT, by contrast, is the place where I, as an actor, would hear about critics not seeing my show because they wouldn’t travel through the “gauntlet” of the Tenderloin. (EXIT’s the place where I once arrived for a show, left briefly to get a bite, and returned to find the front display window smashed.)\u003c/p>\n\u003cp>Keeping out the wealthy riff-raff was always part of its appeal. Everyone at EXIT was someone who wanted to be there.\u003c/p>\n\u003cfigure id=\"attachment_13919468\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/50816373361_687d568ee7_k.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/50816373361_687d568ee7_k-800x858.jpg\" alt=\"a shuttered venue with a sign that reads 'EXIT Theatre'\" width=\"600\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-800x858.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-1020x1094.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-768x824.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k.jpg 1146w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The humble exterior of EXIT Theatre, seen shuttered in 2021. The venue’s location in the Tenderloin was part of what kept its spirit intact. \u003ccite>(Charles Lewis III)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Its four stages—the main stage, the black box EXIT Stage Left, the smaller EXIT Studio, and EXIT Cafe cabaret stage—welcomed all the eccentrics and iconoclasts who had almost no chance of appearing on one of those fancier stages a few blocks north. A single night could feature a hard-hitting racial drama, a drag show, a magic act and “DIVA or Die” Burlesque, all under the same roof. Located within walking distance of the Powell BART station and boasting \u003ca href=\"https://web.archive.org/web/20200117065208/http:/www.theexit.org/rental-info/\">reasonably priced stage rentals\u003c/a>, it’s no mystery why broke artists flocked to the storefront fourplex, where paying audiences could absorb our work while consuming microwaved taquitos and sake cocktails, both often served by the wonderful Donna Fujita.\u003c/p>\n\u003cp>Eventually, one wound up at EXIT so frequently that they started working there in some capacity. Artistically, I’ve been there as an actor, producer, writer, director, set builder, and lighting operator. As a volunteer, I’ve been door greeter (with four stages, you soon find that patrons get lost even when you specify) and stage cleaner. And I did, well, \u003ca href=\"https://thethinkingmansidiot.wordpress.com/2014/09/22/theater-around-the-bay-first-time-a-fringin/\">whatever I could\u003c/a> at SF Fringe. While I remain critical of the “paying in experience” cliché, the sense of community inside that building was an experience that couldn’t be bought or found anywhere else, even in a city renowned for off-the-wall art.\u003c/p>\n\u003cfigure id=\"attachment_12471535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg\" alt=\"Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theater's production of 'Paradise Street' by Clive Barker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in EXIT Theatre’s production of ‘Paradise Street’ by Clive Barker in 2016. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m sorry to say that I haven’t been inside the venue since the pandemic started. (Even though I’m COVID-cautious, I regret missing the final Fringe.) When \u003ca href=\"https://localnewsmatters.org/2020/09/30/the-price-of-survival-whats-the-future-of-san-franciscos-indie-performance-spaces/\">I interviewed Christina in late 2020\u003c/a>, while all theaters were closed, I was inspired by her statement that theater would soon “rise from the ashes,” bringing back the sense of community we’d lost to cancellations and closures. Yet I wound up \u003ca href=\"https://localnewsmatters.org/2021/08/18/berkeley-rep-exit-and-other-theaters-halt-reopening-plans-in-response-to-covid-surge/\">reporting about more EXIT shutdowns\u003c/a>.\u003c/p>\n\u003cp>This one is the last. And it hurts.\u003c/p>\n\u003cp>Yes, Christina suggests EXIT (with a satellite venue in Arcata) will continue as a “\u003ca href=\"https://datebook.sfchronicle.com/theater/s-f-s-exit-theatre-to-close-ending-40-years-of-small-weird-events-on-eddy-street\">nomadic\u003c/a>” company, but that’s little comfort for those of us who always knew where to go. Companies like Lorraine Hansberry Theatre, Impact Theatre, Ubuntu Theatre (now Oakland Theater Project) and Ragged Wing Ensemble all vacated their longtime venues when prices got too high. Sure, it’s great to see PianoFight and CounterPulse trying to buy their buildings, but that doesn’t make the loss of EXIT hurt any less. In an increasingly expensive Bay Area, it’s one less go-to venue for eccentric and non-conforming art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m hopeful EXIT Theatre will rise from the ashes in a new location. I just hate not knowing where—or if—it’ll be.\u003c/p>\n\n",
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"excerpt": "With four stages and a stubbornly DIY spirit, the Tenderloin venue was more than home to the Fringe Festival—it was the heart of the city's indie theater scene, writes actor-director Charles Lewis III.",
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"description": "With four stages and a stubbornly DIY spirit, the Tenderloin venue was more than home to the Fringe Festival—it was the heart of the city's indie theater scene, writes actor-director Charles Lewis III.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My first offhand memory of EXIT Theatre doesn’t even take place there. It was at the Potrero Stage in 2018, when I was there to review a show, and I was approached by EXIT Theatre’s publicist. She’d read my reviews—something that always surprises me—and wanted to add me to EXIT’s press list. Having spent the last eight years frequenting the Tenderloin venue, I wasn’t about to refuse. To say the least, I was happy.\u003c/p>\n\u003cp>I had the exact opposite emotion last month, when I learned that EXIT founder Christina Augello is \u003ca href=\"https://datebook.sfchronicle.com/theater/s-f-s-exit-theatre-to-close-ending-40-years-of-small-weird-events-on-eddy-street\">closing the Eddy Street venue for good\u003c/a>. I know that it’s neither the first nor last San Francisco business to close during this still-ongoing pandemic, but for frequent EXIT performers and patrons (I’ve been both), the news was an absolute gut-punch.\u003c/p>\n\u003cp>We all knew EXIT’s origins, and how Augello started performing in the lobby of a Tenderloin residential hotel in 1983. We journalists who reported on the venue knew to \u003ca href=\"https://web.archive.org/web/20191228190326/http:/theexit.org:80/press-room/\" target=\"_blank\" rel=\"noopener noreferrer\">always call it\u003c/a> “EXIT Theatre,” no “the.” We knew that the firefighter’s hat above the cafe was temporarily taken down when a firefighter took offense (it was put back up a month or two later). And, of course, we knew it was the one and only home of the San Francisco Fringe Festival.\u003c/p>\n\u003cfigure id=\"attachment_13807994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg\" alt='(L to R) Sabrina Wenske and Cara McClendon in \"You Fuckin Earned It\" at the SF Fringe Festival.' width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-1020x579.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-960x545.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570-520x295.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Youfuckingearnedit-e1504938744570.jpg 1049w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Sabrina Wenske and Cara McClendon in ‘You Fuckin Earned It’ at the San Francisco Fringe Festival at EXIT Theatre. \u003ccite>(Courtesy Shoot That Clown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What few outsiders knew was exactly why we regulars referred to it as “the heart of San Francisco’s indie theater scene.”\u003c/p>\n\u003cp>Its Eddy Street location puts EXIT just two blocks south of what’s considered the proper heart of San Francisco’s theater district, home to the Curran and Geary Theaters. That’s where you’ll find all the Geary Boulevard tourist traps: countless restaurants; an abundance of art galleries; and who knows how many hotels—all within walking distance of Union Square. It’s where people expect to see world-renowned shows and take a lot of photos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>EXIT, by contrast, is the place where I, as an actor, would hear about critics not seeing my show because they wouldn’t travel through the “gauntlet” of the Tenderloin. (EXIT’s the place where I once arrived for a show, left briefly to get a bite, and returned to find the front display window smashed.)\u003c/p>\n\u003cp>Keeping out the wealthy riff-raff was always part of its appeal. Everyone at EXIT was someone who wanted to be there.\u003c/p>\n\u003cfigure id=\"attachment_13919468\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/50816373361_687d568ee7_k.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919468\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/50816373361_687d568ee7_k-800x858.jpg\" alt=\"a shuttered venue with a sign that reads 'EXIT Theatre'\" width=\"600\" height=\"643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-800x858.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-1020x1094.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-160x172.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k-768x824.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/50816373361_687d568ee7_k.jpg 1146w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The humble exterior of EXIT Theatre, seen shuttered in 2021. The venue’s location in the Tenderloin was part of what kept its spirit intact. \u003ccite>(Charles Lewis III)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Its four stages—the main stage, the black box EXIT Stage Left, the smaller EXIT Studio, and EXIT Cafe cabaret stage—welcomed all the eccentrics and iconoclasts who had almost no chance of appearing on one of those fancier stages a few blocks north. A single night could feature a hard-hitting racial drama, a drag show, a magic act and “DIVA or Die” Burlesque, all under the same roof. Located within walking distance of the Powell BART station and boasting \u003ca href=\"https://web.archive.org/web/20200117065208/http:/www.theexit.org/rental-info/\">reasonably priced stage rentals\u003c/a>, it’s no mystery why broke artists flocked to the storefront fourplex, where paying audiences could absorb our work while consuming microwaved taquitos and sake cocktails, both often served by the wonderful Donna Fujita.\u003c/p>\n\u003cp>Eventually, one wound up at EXIT so frequently that they started working there in some capacity. Artistically, I’ve been there as an actor, producer, writer, director, set builder, and lighting operator. As a volunteer, I’ve been door greeter (with four stages, you soon find that patrons get lost even when you specify) and stage cleaner. And I did, well, \u003ca href=\"https://thethinkingmansidiot.wordpress.com/2014/09/22/theater-around-the-bay-first-time-a-fringin/\">whatever I could\u003c/a> at SF Fringe. While I remain critical of the “paying in experience” cliché, the sense of community inside that building was an experience that couldn’t be bought or found anywhere else, even in a city renowned for off-the-wall art.\u003c/p>\n\u003cfigure id=\"attachment_12471535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12471535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg\" alt=\"Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in the Exit Theater's production of 'Paradise Street' by Clive Barker.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Paradise-Street-2-e1481529663220.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Quinn (Lyle McReddie) and Caroline (Jeunée Simon) contemplate some strange events in EXIT Theatre’s production of ‘Paradise Street’ by Clive Barker in 2016. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m sorry to say that I haven’t been inside the venue since the pandemic started. (Even though I’m COVID-cautious, I regret missing the final Fringe.) When \u003ca href=\"https://localnewsmatters.org/2020/09/30/the-price-of-survival-whats-the-future-of-san-franciscos-indie-performance-spaces/\">I interviewed Christina in late 2020\u003c/a>, while all theaters were closed, I was inspired by her statement that theater would soon “rise from the ashes,” bringing back the sense of community we’d lost to cancellations and closures. Yet I wound up \u003ca href=\"https://localnewsmatters.org/2021/08/18/berkeley-rep-exit-and-other-theaters-halt-reopening-plans-in-response-to-covid-surge/\">reporting about more EXIT shutdowns\u003c/a>.\u003c/p>\n\u003cp>This one is the last. And it hurts.\u003c/p>\n\u003cp>Yes, Christina suggests EXIT (with a satellite venue in Arcata) will continue as a “\u003ca href=\"https://datebook.sfchronicle.com/theater/s-f-s-exit-theatre-to-close-ending-40-years-of-small-weird-events-on-eddy-street\">nomadic\u003c/a>” company, but that’s little comfort for those of us who always knew where to go. Companies like Lorraine Hansberry Theatre, Impact Theatre, Ubuntu Theatre (now Oakland Theater Project) and Ragged Wing Ensemble all vacated their longtime venues when prices got too high. Sure, it’s great to see PianoFight and CounterPulse trying to buy their buildings, but that doesn’t make the loss of EXIT hurt any less. In an increasingly expensive Bay Area, it’s one less go-to venue for eccentric and non-conforming art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I’m hopeful EXIT Theatre will rise from the ashes in a new location. I just hate not knowing where—or if—it’ll be.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s Geary Theater is getting a new name.\u003c/p>\n\u003cp>The theater, built in 1910 as the Columbia Theater, will be renamed the Toni Rembe Theater, after the San Francisco philanthropist.\u003c/p>\n\u003cp>American Conservatory Theater (A.C.T.), which operates the building, made the announcement on Monday. The renaming is “in recognition of a $35 million gift from an anonymous donor,” the largest single gift in A.C.T.’s history.\u003c/p>\n\u003cp>“The funds provided are transformational for the future of American Conservatory Theater and the impact of our programming throughout the San Francisco Bay Area,” A.C.T. Executive Director Jennifer Bielstein said in a statement. “Toni is a role model, and we are honored to recognize her in such a deserving and significant way.”\u003c/p>\n\u003cp>A.C.T. has made the theater at 415 Geary Street its home since 1967. In 1989, the theater suffered major damage from the Loma Prieta earthquake, requiring a $28.5 million restoration.\u003c/p>\n\u003cfigure id=\"attachment_13919301\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/9e2af0cc-6f4a-0d8d-2869-55ff3e90f438.jpg\" alt=\"\" width=\"600\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Banners along the facade of the former Geary Theater announce the building’s new name. \u003ccite>(Kevin Berne / A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The renaming of the Geary Theater follows other high-profile venue name changes in San Francisco, such as the 2019 renaming of the Giants’ ballpark, previously known as AT&T Park, to Oracle Park. Other renamings are not so corporate, including a 2018 renaming of the Nourse Auditorium, home to City Arts & Lectures. That theater is now known as the Sydney Goldstein Theater, in honor of City Arts & Lectures’ late founder.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pam MacKinnon, A.C.T.’s artistic director, said in a statement: “Toni Rembe has been central to the health and wellbeing of the Bay Area theater scene. Her wide-ranging artistic taste and appreciation of artists and the special act of audiences coming together for a story make her a true theater lover.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rembe, president of the van Lӧben Sels/Rembe Rock Foundation, has served on A.C.T.’s Board of Trustees for over 20 years. She is a past president and chair of A.C.T.’s board, a past president of the Commonwealth Club, and a a retired partner at Pillsbury Winthrop Shaw Pittman LLP.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s Geary Theater is getting a new name.\u003c/p>\n\u003cp>The theater, built in 1910 as the Columbia Theater, will be renamed the Toni Rembe Theater, after the San Francisco philanthropist.\u003c/p>\n\u003cp>American Conservatory Theater (A.C.T.), which operates the building, made the announcement on Monday. The renaming is “in recognition of a $35 million gift from an anonymous donor,” the largest single gift in A.C.T.’s history.\u003c/p>\n\u003cp>“The funds provided are transformational for the future of American Conservatory Theater and the impact of our programming throughout the San Francisco Bay Area,” A.C.T. Executive Director Jennifer Bielstein said in a statement. “Toni is a role model, and we are honored to recognize her in such a deserving and significant way.”\u003c/p>\n\u003cp>A.C.T. has made the theater at 415 Geary Street its home since 1967. In 1989, the theater suffered major damage from the Loma Prieta earthquake, requiring a $28.5 million restoration.\u003c/p>\n\u003cfigure id=\"attachment_13919301\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/9e2af0cc-6f4a-0d8d-2869-55ff3e90f438.jpg\" alt=\"\" width=\"600\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Banners along the facade of the former Geary Theater announce the building’s new name. \u003ccite>(Kevin Berne / A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The renaming of the Geary Theater follows other high-profile venue name changes in San Francisco, such as the 2019 renaming of the Giants’ ballpark, previously known as AT&T Park, to Oracle Park. Other renamings are not so corporate, including a 2018 renaming of the Nourse Auditorium, home to City Arts & Lectures. That theater is now known as the Sydney Goldstein Theater, in honor of City Arts & Lectures’ late founder.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Antony and Cleopatra’ Soars With John Adams’ Tense Delights",
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"content": "\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>[aside postID='arts_12731274']But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley-based composer John Adams is known for operas about recent events, be it his breakthrough \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G72JjpMEdKs\" rel=\"noopener noreferrer\" target=\"_blank\">Nixon in China\u003c/a>\u003c/em>, or its follow-up, \u003cem>\u003ca href=\"https://www.kqed.org/news/10344417/the-reading-list-protesters-target-berkeley-composers-opera\" rel=\"noopener noreferrer\" target=\"_blank\">The Death of Klinghoffer\u003c/a>\u003c/em>. So with a world premiere in San Francisco of his new opera, based on the story of Antony and Cleopatra, people may wonder: how will this distinctly modern composer tackle one of the world’s oldest and most famous love stories?\u003c/p>\n\u003cp>The answer depends on just how much you associate love with light, happy melodies and swooning duets, largely absent in \u003cem>Antony and Cleopatra\u003c/em>. The opera, which opened Sept. 10, leans into the story’s political battles rather than the romance between the two title characters, played by Anima Edris and Gerald Finley. Their romantic chemistry is reflected less on stage than in the text, adapted from Shakespeare—and even then, their love seems to blossom more in death than in life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for those who see \u003cem>Antony and Cleopatra\u003c/em> as a tragedy, or an epic of the Roman empire, this opera delivers in spades. Adams’ rich score is filled with tension, which culminates in a fiery speech by Paul Appelby as Caesar, accompanied by a large choir. The set design opens and closes like a medium-format camera around the stage, whisking the audience back and forth between Rome and Egypt. At one point, characters hover above the stage, appearing to walk in the clouds, and Adams’ use of repetition and rhythm drives the action.\u003c/p>\n\u003cp>And, at the end, we get Cleopatra, alone in anguish of her love for Antony: “His delights were dolphin-like,” she sings. “They showed his back above the element they lived in.” Adams’ adaptation of \u003cem>Antony and Cleopatra\u003c/em> has several of these extraordinary, dolphin-like delights, and it’s worth seeing before it heads to the Met in New York.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>‘Antony and Cleopatra’ runs through Oct. 5th at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "South Bay’s Naatak Debuts Its 100th Theater Production: The Epic ‘Ramayan’",
"headTitle": "South Bay’s Naatak Debuts Its 100th Theater Production: The Epic ‘Ramayan’ | KQED",
"content": "\u003cp>The Bay Area is home to one of the largest Indian American communities in the country\u003cspan style=\"font-weight: 400\">—\u003c/span>and, as it happens, one of the largest amateur Indian American theater companies. \u003ca href=\"https://www.naatak.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Naatak\u003c/a>\u003cspan style=\"font-weight: 400\">—\u003c/span>which means theater, or drama, in Hindi—is about to stage its 100th production.\u003c/p>\n\u003cp>In this COVID-era world, where small arts organizations continue to struggle, it’s worth taking a moment to note the remarkable resiliency of a theater troupe launched by a couple of college students back in 1996. One of them was Sujit Saraf, who is still today the artistic director of Naatak.\u003c/p>\n\u003cp>“A close friend of mine and I were doing our Ph.D.s at Berkeley and Stanford. We had done a fair amount of theater as undergraduates in India, in Delhi. We thought it would be wonderful to recreate those days,” he says at a recent rehearsal in the modest warehouse space the theater rents in Santa Clara. “And we held an audition, and the first audition was held in my dorm at U.C. Berkeley.”\u003c/p>\n\u003cp>27 years later, Naatak is still going strong—as a volunteer operation. There’s nobody on payroll. Ticket sales go to covering costs.\u003c/p>\n\u003cfigure id=\"attachment_13918340\" class=\"wp-caption aligncenter\" style=\"max-width: 2541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-scaled.jpg\" alt=\"Three Indian dancers in bright orange costumes pose together\" width=\"2541\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-scaled.jpg 2541w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1020x1028.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1524x1536.jpg 1524w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-2032x2048.jpg 2032w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1920x1935.jpg 1920w\" sizes=\"(max-width: 2541px) 100vw, 2541px\">\u003cfigcaption class=\"wp-caption-text\">Medha Acharya, Archana Kamath and Sushmita Shrikanth will perform in ‘Ramayan,’ the 100th production by South Bay theater company Naatak. \u003ccite>(Photo: Courtesy of Kyle Adler )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I run a little software development company. I do this [Naatak] in my off hours,” says Saraf. “I’m a techie, I’m an engineer, like, I would say, 90% of Nataak members and perhaps even 80% of Naatak’s audience.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, Silicon Valley has provided the free labor, and also the \u003ca href=\"https://www.kqed.org/arts/11511800/south-indian-arts-scene-booms-in-silicon-valley\" target=\"_blank\" rel=\"noopener noreferrer\">audiences\u003c/a>, for a host of productions over the years that include original work, Western classics with Indian American flair and Indian classics.\u003c/p>\n\u003cp>Naatak’s 100th production will be \u003cem>Ramayan\u003c/em>, attributed to the poet Valmiki (who may be a composite of several poets, not unlike the ancient Greek Homer). The version Naatak will be performing is known as the \u003cem>Tulasi Ramayan\u003c/em> by the poet Tulsidas, an abridged version crafted by Saraf himself. [aside postid='arts_13918445']\u003c/p>\n\u003cp>“We chose one of our two great epics which have permeated into the Indian consciousness over 2,500 years,” says Saraf, who added you cannot grow up in India without being exposed to \u003cem>Ramayan\u003c/em>.\u003c/p>\n\u003cp>It’s about a prince’s quest to rescue his beloved wife from the clutches of a demon king with the help of an army of monkeys and bears.\u003c/p>\n\u003cfigure id=\"attachment_13918344\" class=\"wp-caption aligncenter\" style=\"max-width: 2191px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image-1-scaled.jpeg\" alt=\"Two men in classical Indian costume pretend to fight each other\" width=\"2191\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-scaled.jpeg 2191w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-800x935.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1020x1192.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-160x187.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-768x897.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1314x1536.jpeg 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1753x2048.jpeg 1753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1920x2244.jpeg 1920w\" sizes=\"(max-width: 2191px) 100vw, 2191px\">\u003cfigcaption class=\"wp-caption-text\">Abhishek Sharma and Dinesh Rao will play the brothers Bali and Sugreev in ‘Ramayan,’ the 100th production of South Bay theater company Naatak. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I grew up with stories of the \u003cem>Ramayan\u003c/em>,” he adds. “My mother recited one of the seven chapters in \u003cem>Ramayan\u003c/em> every day of her life, from the age of 12, when she learned it, to the age of 61 when she died.”\u003c/p>\n\u003cp>Saraf says the story resonates with Indian and Indian American audience members alike, who have demonstrated an appetite for a wide variety of works in a wide variety of of languages; in Hindi, Tamil and Telugu, as well as ancient Awadhi. “However, the vast majority of our plays are in Hindi,” Saraf says.\u003c/p>\n\u003cp>[aside postid='arts_13866378']And pre-COVID, he observed that, the bigger the Naatak production, the bigger the audience. “People like musicals.” People also like to \u003cem>perform\u003c/em> musicals, and as the troupe has become more experienced over the years, Naatak is game to produce ever more ambitious works. “This play would not be possible at this scale 15 years ago,” Saraf says.\u003c/p>\n\u003cp>Soumya Agastya, the producer and dance director for this production of \u003cem>Ramayan\u003c/em>, says that, here in the South Bay, there’s a wealth of classically trained musicians and dancers to call upon.\u003c/p>\n\u003cfigure id=\"attachment_13918342\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Pic-1-Musicians.png\" alt=\"A row of singers and musicians rehearses in a warehouse\" width=\"1286\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-800x435.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-1020x555.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-768x418.png 768w\" sizes=\"(max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Ambhranee Yakkundi, Tanmayi Rao, Savitha Gayathri, Nachiketa Yakkundi, Anitha Dixit, Surya Saraf, Amit Shenoy, Ajay Sundar Raj (partially cut off) rehearse ‘Ramayan’ ahead of its performance in September 2022. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I host the dance auditions and I always ask them to be six years classically trained, in Bharatanatyam or Kuchipudi,” she says. “Those are the two dance forms of classical dance that we’re using today.”\u003c/p>\n\u003cp>[aside postid='arts_12808122']By day, Agastya’s an account manager in sales for Synopsis, a software company in Mountain View. Nights and weekends? Her heart belongs to Naatak. For the last 25 years, in fact. “When you do all of this hard work, and you put out a product and you have, like, 3-4,000 people who watch it and they come to you and say that was an outstanding production, or you guys did a fabulous job. Oh, it’s so rewarding. So satisfying. It’s really worth it, every bit of sweat that we put into this I think is all worth that,” Agastya says.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ganapriya.com/ny/ny.html\" target=\"_blank\" rel=\"noopener noreferrer\">Nachiketa Yakkundi\u003c/a> would agree. The Oracle software engineer has performed all over India and North America, and runs a music school in Cupertino. And he’s also in charge of the music for this production. “It is so fulfilling. It touches the heart,” he says. “It is very much what I love doing, and applying what I love already to something that is so tangible. And we have all these youngsters who are so enthusiastic.”\u003c/p>\n\u003cp>An estimated 1,000 people have worked with Naatak over the years. “Our musicians and dancers are very well trained,” Saraf says, adding most of Naatak’s actors are experienced too, having performed in dozens of plays over the years. “You obviously acquire certain skills. We’ve done this many, many, many times, so we do feel that the quality of our productions is superb.”\u003c/p>\n\u003cfigure id=\"attachment_13918343\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image-scaled.jpeg\" alt=\"A headshot of a middle-aged, Indian-American man\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sujit Saraf is co-founder and artistic director of the South Bay theater company, Naatak. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_10971776']The pandemic has been hard on Naatak. Like other theater companies, they switched to Zoom for a year and a half. Even after a year after lockdowns lifted, Saraf estimates ticket sales are off by about 30%. But there’s nobody on the company’s payroll and no overhead except for the warehouse space in Santa Clara. “When we shut down, our only loss was the useless rent we were paying in these two spaces,” says Saraf. “Also over the years, we have been extremely frugal with our money. So we are not in any danger of shutting down.”\u003c/p>\n\u003cp>As other live entertainment operations wheeze on their last legs, Saraf says he can see the volunteer-run Naatak outlasting two or three more pandemics, and maybe even his own retirement, when that day comes. [aside postid='arts_13917757']\u003c/p>\n\u003cp>“Well, I’ve become older, but the average age in Naatak has not increased much,” Saraf says. “Some of the new people call me ‘sir’ because they see my gray hair, and they are aware of my age, so they feel a certain distance from me. I’m waiting for the day they call me ‘uncle.’ That’s when I think it will be the time to hang up!”\u003c/p>\n\u003cp>But not quite yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.naatak.org/2022-ramayan/\" target=\"_blank\" rel=\"noopener noreferrer\">Naatak performs \u003c/a>\u003c/em>\u003ca href=\"https://www.naatak.org/2022-ramayan/\" target=\"_blank\" rel=\"noopener noreferrer\">Ramayan\u003c/a>\u003cem> at Cubberley Theatre in Palo Alto September 4-25, 2022. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is home to one of the largest Indian American communities in the country\u003cspan style=\"font-weight: 400\">—\u003c/span>and, as it happens, one of the largest amateur Indian American theater companies. \u003ca href=\"https://www.naatak.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Naatak\u003c/a>\u003cspan style=\"font-weight: 400\">—\u003c/span>which means theater, or drama, in Hindi—is about to stage its 100th production.\u003c/p>\n\u003cp>In this COVID-era world, where small arts organizations continue to struggle, it’s worth taking a moment to note the remarkable resiliency of a theater troupe launched by a couple of college students back in 1996. One of them was Sujit Saraf, who is still today the artistic director of Naatak.\u003c/p>\n\u003cp>“A close friend of mine and I were doing our Ph.D.s at Berkeley and Stanford. We had done a fair amount of theater as undergraduates in India, in Delhi. We thought it would be wonderful to recreate those days,” he says at a recent rehearsal in the modest warehouse space the theater rents in Santa Clara. “And we held an audition, and the first audition was held in my dorm at U.C. Berkeley.”\u003c/p>\n\u003cp>27 years later, Naatak is still going strong—as a volunteer operation. There’s nobody on payroll. Ticket sales go to covering costs.\u003c/p>\n\u003cfigure id=\"attachment_13918340\" class=\"wp-caption aligncenter\" style=\"max-width: 2541px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-scaled.jpg\" alt=\"Three Indian dancers in bright orange costumes pose together\" width=\"2541\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-scaled.jpg 2541w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-800x806.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1020x1028.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-768x774.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1524x1536.jpg 1524w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-2032x2048.jpg 2032w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/MedhaAcharya_ArchanaKamath_SushmitaShrikanth_photo_by_Kyle_Adler-2-1920x1935.jpg 1920w\" sizes=\"(max-width: 2541px) 100vw, 2541px\">\u003cfigcaption class=\"wp-caption-text\">Medha Acharya, Archana Kamath and Sushmita Shrikanth will perform in ‘Ramayan,’ the 100th production by South Bay theater company Naatak. \u003ccite>(Photo: Courtesy of Kyle Adler )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I run a little software development company. I do this [Naatak] in my off hours,” says Saraf. “I’m a techie, I’m an engineer, like, I would say, 90% of Nataak members and perhaps even 80% of Naatak’s audience.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, Silicon Valley has provided the free labor, and also the \u003ca href=\"https://www.kqed.org/arts/11511800/south-indian-arts-scene-booms-in-silicon-valley\" target=\"_blank\" rel=\"noopener noreferrer\">audiences\u003c/a>, for a host of productions over the years that include original work, Western classics with Indian American flair and Indian classics.\u003c/p>\n\u003cp>Naatak’s 100th production will be \u003cem>Ramayan\u003c/em>, attributed to the poet Valmiki (who may be a composite of several poets, not unlike the ancient Greek Homer). The version Naatak will be performing is known as the \u003cem>Tulasi Ramayan\u003c/em> by the poet Tulsidas, an abridged version crafted by Saraf himself. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We chose one of our two great epics which have permeated into the Indian consciousness over 2,500 years,” says Saraf, who added you cannot grow up in India without being exposed to \u003cem>Ramayan\u003c/em>.\u003c/p>\n\u003cp>It’s about a prince’s quest to rescue his beloved wife from the clutches of a demon king with the help of an army of monkeys and bears.\u003c/p>\n\u003cfigure id=\"attachment_13918344\" class=\"wp-caption aligncenter\" style=\"max-width: 2191px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image-1-scaled.jpeg\" alt=\"Two men in classical Indian costume pretend to fight each other\" width=\"2191\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-scaled.jpeg 2191w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-800x935.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1020x1192.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-160x187.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-768x897.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1314x1536.jpeg 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1753x2048.jpeg 1753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1-1920x2244.jpeg 1920w\" sizes=\"(max-width: 2191px) 100vw, 2191px\">\u003cfigcaption class=\"wp-caption-text\">Abhishek Sharma and Dinesh Rao will play the brothers Bali and Sugreev in ‘Ramayan,’ the 100th production of South Bay theater company Naatak. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I grew up with stories of the \u003cem>Ramayan\u003c/em>,” he adds. “My mother recited one of the seven chapters in \u003cem>Ramayan\u003c/em> every day of her life, from the age of 12, when she learned it, to the age of 61 when she died.”\u003c/p>\n\u003cp>Saraf says the story resonates with Indian and Indian American audience members alike, who have demonstrated an appetite for a wide variety of works in a wide variety of of languages; in Hindi, Tamil and Telugu, as well as ancient Awadhi. “However, the vast majority of our plays are in Hindi,” Saraf says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And pre-COVID, he observed that, the bigger the Naatak production, the bigger the audience. “People like musicals.” People also like to \u003cem>perform\u003c/em> musicals, and as the troupe has become more experienced over the years, Naatak is game to produce ever more ambitious works. “This play would not be possible at this scale 15 years ago,” Saraf says.\u003c/p>\n\u003cp>Soumya Agastya, the producer and dance director for this production of \u003cem>Ramayan\u003c/em>, says that, here in the South Bay, there’s a wealth of classically trained musicians and dancers to call upon.\u003c/p>\n\u003cfigure id=\"attachment_13918342\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Pic-1-Musicians.png\" alt=\"A row of singers and musicians rehearses in a warehouse\" width=\"1286\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-800x435.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-1020x555.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Pic-1-Musicians-768x418.png 768w\" sizes=\"(max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Ambhranee Yakkundi, Tanmayi Rao, Savitha Gayathri, Nachiketa Yakkundi, Anitha Dixit, Surya Saraf, Amit Shenoy, Ajay Sundar Raj (partially cut off) rehearse ‘Ramayan’ ahead of its performance in September 2022. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I host the dance auditions and I always ask them to be six years classically trained, in Bharatanatyam or Kuchipudi,” she says. “Those are the two dance forms of classical dance that we’re using today.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By day, Agastya’s an account manager in sales for Synopsis, a software company in Mountain View. Nights and weekends? Her heart belongs to Naatak. For the last 25 years, in fact. “When you do all of this hard work, and you put out a product and you have, like, 3-4,000 people who watch it and they come to you and say that was an outstanding production, or you guys did a fabulous job. Oh, it’s so rewarding. So satisfying. It’s really worth it, every bit of sweat that we put into this I think is all worth that,” Agastya says.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ganapriya.com/ny/ny.html\" target=\"_blank\" rel=\"noopener noreferrer\">Nachiketa Yakkundi\u003c/a> would agree. The Oracle software engineer has performed all over India and North America, and runs a music school in Cupertino. And he’s also in charge of the music for this production. “It is so fulfilling. It touches the heart,” he says. “It is very much what I love doing, and applying what I love already to something that is so tangible. And we have all these youngsters who are so enthusiastic.”\u003c/p>\n\u003cp>An estimated 1,000 people have worked with Naatak over the years. “Our musicians and dancers are very well trained,” Saraf says, adding most of Naatak’s actors are experienced too, having performed in dozens of plays over the years. “You obviously acquire certain skills. We’ve done this many, many, many times, so we do feel that the quality of our productions is superb.”\u003c/p>\n\u003cfigure id=\"attachment_13918343\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/image-scaled.jpeg\" alt=\"A headshot of a middle-aged, Indian-American man\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/image-1920x1920.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Sujit Saraf is co-founder and artistic director of the South Bay theater company, Naatak. \u003ccite>(Photo: Courtesy of Naatak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The pandemic has been hard on Naatak. Like other theater companies, they switched to Zoom for a year and a half. Even after a year after lockdowns lifted, Saraf estimates ticket sales are off by about 30%. But there’s nobody on the company’s payroll and no overhead except for the warehouse space in Santa Clara. “When we shut down, our only loss was the useless rent we were paying in these two spaces,” says Saraf. “Also over the years, we have been extremely frugal with our money. So we are not in any danger of shutting down.”\u003c/p>\n\u003cp>As other live entertainment operations wheeze on their last legs, Saraf says he can see the volunteer-run Naatak outlasting two or three more pandemics, and maybe even his own retirement, when that day comes. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Well, I’ve become older, but the average age in Naatak has not increased much,” Saraf says. “Some of the new people call me ‘sir’ because they see my gray hair, and they are aware of my age, so they feel a certain distance from me. I’m waiting for the day they call me ‘uncle.’ That’s when I think it will be the time to hang up!”\u003c/p>\n\u003cp>But not quite yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.naatak.org/2022-ramayan/\" target=\"_blank\" rel=\"noopener noreferrer\">Naatak performs \u003c/a>\u003c/em>\u003ca href=\"https://www.naatak.org/2022-ramayan/\" target=\"_blank\" rel=\"noopener noreferrer\">Ramayan\u003c/a>\u003cem> at Cubberley Theatre in Palo Alto September 4-25, 2022. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-theatre-fall-preview-2022",
"title": "This Fall, the (Real, In-Person!) Play’s the Thing",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Returning to theater regularly after the heights of the pandemic is all about getting comfortable with new normals. Showing your vax card, slapping a little sticker on your shirt as proof of checking in and masking up while taking in a staged story are all small sacrifices—ones well worth making in order to support theater companies in the Bay.\u003c/p>\n\u003cp>This fall lineup of shows has something for everyone, from intimate, narrative-driven gatherings to mammoth regional and world premieres—as well as a prodigal child triumphantly returning to the Bay Area.\u003c/p>\n\u003cp>Here are 11 shows you don’t want to miss this fall.\u003c/p>\n\u003cfigure id=\"attachment_13918390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lear.Marcus-Gardley.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lear.Marcus-Gardley-800x534.jpeg\" alt=\"an African American man in jeans a red shirt smiles while posing in front of a wooden fence\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland native Marcus Gardley will debut his modern-day verse translation of William Shakespeare’s ‘King Lear’ at Cal Shakes in Orinda. \u003ccite>(Courtesy California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://calshakes.org/\">Lear\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 7-Oct. 2\u003cbr>\nBruns Amphitheater, Orinda\u003c/em>\u003c/p>\n\u003cp>Playwright and poet Marcus Gardley has achieved an impressive national profile, and is now lending his talents to constructing a modern-day verse translation of William Shakespeare’s \u003cem>King Lear\u003c/em>. The West Oakland native is part of an incredible East Bay crew crafting the show, including fellow Oaklander Dawn Monique Williams, who’s co-directing the piece with outgoing artistic director Eric Ting, departing Cal Shakes after seven years at the helm.\u003cbr>\nThe company partnered with Oakland Theater Project to tell the story of Lear, a man whose loyalties to two of his three daughters lead to his self-destruction. San Francisco-based jazz icon Marcus Shelby lends original, live compositions to the production.\u003c/p>\n\u003cfigure id=\"attachment_13918386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918386\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-800x500.jpg\" alt=\"An African AMerican woman in black shirt and glasses smiles in a portrait\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina.jpg 1143w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Christina Anderson \u003ccite>(Courtesy Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/\">The Ripple, the Wave that Carried Me Home\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 9-Oct. 16\u003c/em>\u003cbr>\n\u003cem>Berkeley Repertory Theatre\u003c/em>\u003c/p>\n\u003cp>This long-anticipated world premiere was developed at Berkeley Rep’s Center for the Creation and Development of New Work, named the Ground Floor. The show, written by Tony nominee Christina Anderson and co-produced with Chicago’s Goodman Theatre, follows Janice as she wrestles with her childhood and her parents’ activism; themes include political inheritance, racial justice and family forgiveness.\u003c/p>\n\u003cfigure id=\"attachment_13918383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Passengers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Passengers-800x533.jpg\" alt=\"five people in a play pretend to be on a train\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 7 Fingers Creative Collective open ‘Passengers’ at American Conservatory Theater Sept. 15. \u003ccite>(Courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/202223-season/passengers/\">Passengers\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 15-Oct. 9\u003cbr>\nThe Geary Theater\u003c/em>\u003c/p>\n\u003cp>The 7 Fingers Creative Collective has made a strong footprint in the Bay Area, bringing back the legendary venue Club Fugazi with their love-letter production of \u003cem>Dear San Francisco\u003c/em>, focusing on mind-blowing circus acts and live music. Now, founding co-artistic director Shana Carroll has written, directed and choreographed the new production \u003cem>Passengers\u003c/em>, telling a story about transit in all its forms through circus arts, dance, song, acrobatics and theater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13918385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Indecent.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918385\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Indecent-800x533.jpg\" alt=\"two women in white outfits dance in front of a brick wall in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left, Rivka Borek and Malka Wallick in ‘Indecent,’ which opens at the San Francisco Playhouse Sept. 22. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/\">Indecent\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22-Nov. 5\u003cbr>\nSan Francisco Playhouse\u003c/em>\u003c/p>\n\u003cp>The Bay Area premiere of highly decorated and Pulitzer-winning playwright Paula Vogel (\u003cem>How I Learned to Drive\u003c/em>) explores the story of Sholem Asch and his debut of \u003cem>The God of Vengeance\u003c/em>, in 1922, which polarized Broadway, ultimately leading to the \u003ca href=\"https://web.uwm.edu/yiddish-stage/10-things-you-need-to-know-about-god-of-vengeance\">arrests of cast members and an obscenity trial\u003c/a>. The score is loaded with traditional Eastern European Jewish music, or klezmer, and is co-produced with the Bay Area’s Yiddish Theatre Ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13918381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/LanguageofWildBerries.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/LanguageofWildBerries.jpg\" alt=\"two women smile in side by side portraits, one in a yellow head scarf\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries-768x384.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right, ‘The Language of Wild Berries’ translator-director Torange Yeghiazarian and playwright Naghmeh Samini. \u003ccite>(Courtesy Golden Thread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://goldenthread.org/\">The Language of Wild Berries\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 13-Nov. 6\u003cbr>\nPotrero Stage, San Francisco\u003c/em>\u003c/p>\n\u003cp>Like so many performing arts groups in March of 2020, Golden Thread was forced to rethink and ultimately postpone their upcoming production—\u003cem>The Language of Wild Berries\u003c/em> is a long time in the making. Written by Iranian playwright Naghmeh Samini and translated by Torange Yeghiazarian, the play’s plot revolves around the 10th wedding anniversary of Donya and Davood, who return to their honeymoon spot on the Caspian Sea to celebrate. But there is an eerie factor, as they are now followed by a mysterious stranger who forces the couple to deeply examine their marriage both present and past. The company’s answer two years ago was to release the show as a radio play, but Golden Thread is now ready for the in-person production in its U.S. premiere, which provides a glimpse into the lives of contemporary Iranians.\u003c/p>\n\u003cfigure id=\"attachment_13918382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/RedShades.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918382 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/RedShades-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tommy Clifford-Carlos as Ida in ‘The Red Shades,’ in which a trans teen escapes her small town and finds herself among a gang of trans superheroes in the Tenderloin. \u003ccite>(Tristan Crane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Red Shades: A Trans Superhero Rock Opera\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 13-Nov. 5\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003c/em>\u003cbr>\nThe world premiere of \u003cem>The Red Shades\u003c/em> takes the thrill of musical theater and fuses it with a rock concert. The story follows transgender teen girl Ida, who escapes from her small town to a gang of trans superheroes in the Tenderloin. Leading the show are two incredible forces—the fantastic Edris Cooper-Anifowoshe co-directs with phenomenal multi-hyphenate Rotimi Agbabiaka, who is coming off performing multiple roles in a glitzy production of \u003cem>Midsummer Night’s Dream\u003c/em> in Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_13918384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-800x552.jpg\" alt=\"a woman with dark gray hair in a gray suit poses with her chin in her hand in front of trees\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Theater Project associate artistic director Lisa Ramirez’s play, ‘Book of Sand,’ is inspired by Jorge Luis Borges’ 1975 short story. \u003ccite>(Courtesy Oakland Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ci.ovationtix.com/35459/production/1092708\">Book of Sand\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 28-Nov. 20\u003cbr>\nThe Oakland Theater at Flax Art & Design\u003c/em>\u003c/p>\n\u003cp>A mysterious book, an unknown language, and an infinite number of pages are the backbone of the narrative, inspired by Argentine author Jorge Luis Borges’ short story from 1975. The piece of magical realism is the basis for the company’s wonderful associate artistic director Lisa Ramirez and her script to ask many profound questions about beginnings, endings and the journey to achieve peace.\u003c/p>\n\u003cfigure id=\"attachment_13918380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/River-Bride.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/River-Bride-800x600.jpg\" alt=\"a woman with black hair in a pink top poses in a restaurant booth\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marisela Treviño Orta, playwright of ‘River Bride,’ which opens at the 6th Street Playhouse in Santa Rosa Nov. 3. \u003ccite>(Courtesy Marisela Treviño Orta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://6thstreetplayhouse.com/shows/2022-23/the-river-bride-la-novia-del-rio/\">The River Bride\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Nov. 3-20\u003cbr>\n6th Street Playhouse, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>\u003cem>The River Bride\u003c/em> is a highly produced work by Texas native Marisela Treviño Orta, who spent many years honing her craft in the Bay Area and received her MFA at the University of San Francisco; the piece was developed in San Rafael at Alter Theater’s AlterLab in 2013 before making its world premiere at the Oregon Shakespeare Festival in 2016. Its story takes place over three days before a wedding, when a handsome man is fished from the Amazon River, forcing two sisters into potentially dangerous choices. Amazon folklore and magical realism inform this powerful tale of love and transformation.\u003c/p>\n\u003cfigure id=\"attachment_13918388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Natasha.Pierre.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918388\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Natasha.Pierre-800x465.jpg\" alt=\"a man in a colorful red and grey jacket and black hat stands looking defiant in a portrait\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Albert Hodge plays Pierre in the Shotgun Players’ production of ‘Natasha, Pierre & the Great Comet of 1812’ at the Ashby Stage in Berkeley beginning Nov. 5. \u003ccite>(Benjamin Krantz/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=75468815-60C2-4313-920F-CAF102016CFA&menu_id=48FA49FA-9662-4A5C-B77F-0D14F007E1A5\">Natasha, Pierre & the Great Comet of 1812\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nNov. 5-Dec. 30\u003c/em>\u003c/p>\n\u003cp>The daring artists at Shotgun Players take on the highly acclaimed musical, which got its start in 2012 at the phenomenal Ars Nova in Lower Manhattan. A snippet of Leo Tolstoy’s epic novel \u003cem>War and Peace\u003c/em> is the basis for composer Dave Malloy’s adaptation focusing on Natasha, a young woman in search of her fiancé in 19th-century Russia, and middle-aged soul Pierre, a man awash in regrets. A standard setup in the Ashby is out the window, and in its place are cabaret tables topped with Russian vodka, and a scintillating set from designer Nina Ball.\u003c/p>\n\u003cfigure id=\"attachment_13918389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ainttooproud.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg\" alt=\"a group of men dressed as the Motown group the Temptations stand around a piano and sing\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud.jpeg 1180w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Smokey Robinson (Christian Thompson), David Ruffin (Ephraim Sykes), Melvin Franklin (Jared Joseph), Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope) and Paul Williams (James Harkness) build a tune in ‘Ain’t Too Proud,’ which made its world premiere at Berkeley Rep in 2017 before landing in New York City two years later. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://broadwaysf.com/Online/default.asp\">Ain’t Too Proud: The Life and Times of the Temptations\u003c/a>‘\u003c/h2>\n\u003cp>\u003cem>Nov. 9-Dec. 4\u003cbr>\nGolden Gate Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>A touring show might be an odd choice for a region’s top fall theatre picks, but \u003cem>Ain’t Too Proud \u003c/em>has a rich history in the Bay Area. It made its world premiere at the Berkeley Repertory Theatre in 2017 and became the Rep’s highest grossing production before transferring to multiple cities and then Broadway. The show was nominated for 12 Tonys, but only snagged one, which honored Sergio Trujillo’s scintillating choreography. It went strong for a year in New York until COVID-19 wreaked havoc everywhere; the musical then struggled to find its footing after re-opening in October of 2021, closing for good in January. Still, a plethora of feel-good hits and some delightful insight into the story of the iconic Motown group make for a fun evening of nostalgia—and a second chance to score tickets after the Rep’s multiple sold-out extensions.\u003c/p>\n\u003cfigure id=\"attachment_13918387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Thanksgiving-Play.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918387\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Thanksgiving-Play-800x533.jpg\" alt=\"a woman dressed in grey sits in a folding chair outside a small trailer\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Larissa Fasthorse, whose satirical ‘Thanksgiving Play’ opens Nov. 17 at the City Lights Theater Company in San Jose. \u003ccite>(John D. & Catherine T. MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://cltc.org/\">The Thanksgiving Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Nov. 17-Dec. 18\u003cbr>\nCity Lights Theater Company, San Jose\u003c/em>\u003c/p>\n\u003cp>The venerable 40-year-old South Bay company takes on MacArthur “Genius Grant” recipient Larissa Fasthorse’s satirical send-up. The play focuses on a group of white teaching artists tasked with creating a Thanksgiving pageant. Their mission: honor both the holiday and Native American Heritage Month while displaying cultural sensitivity towards everyone and everything. The searing one-act play is slated for Broadway in the spring of 2023, produced by non-profit theater Second Stage, who stated that Fasthorse will be the first female Native American playwright to land on the Great White Way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Daring new works, a transgender rock musical, a Shakespeare adaptation and more return to the Bay Area's stages this fall.",
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"title": "Bay Area Theatre Preview: This Fall, the (Real, In-Person!) Play's the Thing | KQED",
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"source": "Fall Arts Guide 2022",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Returning to theater regularly after the heights of the pandemic is all about getting comfortable with new normals. Showing your vax card, slapping a little sticker on your shirt as proof of checking in and masking up while taking in a staged story are all small sacrifices—ones well worth making in order to support theater companies in the Bay.\u003c/p>\n\u003cp>This fall lineup of shows has something for everyone, from intimate, narrative-driven gatherings to mammoth regional and world premieres—as well as a prodigal child triumphantly returning to the Bay Area.\u003c/p>\n\u003cp>Here are 11 shows you don’t want to miss this fall.\u003c/p>\n\u003cfigure id=\"attachment_13918390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lear.Marcus-Gardley.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918390\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lear.Marcus-Gardley-800x534.jpeg\" alt=\"an African American man in jeans a red shirt smiles while posing in front of a wooden fence\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-1020x681.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lear.Marcus-Gardley.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland native Marcus Gardley will debut his modern-day verse translation of William Shakespeare’s ‘King Lear’ at Cal Shakes in Orinda. \u003ccite>(Courtesy California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://calshakes.org/\">Lear\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 7-Oct. 2\u003cbr>\nBruns Amphitheater, Orinda\u003c/em>\u003c/p>\n\u003cp>Playwright and poet Marcus Gardley has achieved an impressive national profile, and is now lending his talents to constructing a modern-day verse translation of William Shakespeare’s \u003cem>King Lear\u003c/em>. The West Oakland native is part of an incredible East Bay crew crafting the show, including fellow Oaklander Dawn Monique Williams, who’s co-directing the piece with outgoing artistic director Eric Ting, departing Cal Shakes after seven years at the helm.\u003cbr>\nThe company partnered with Oakland Theater Project to tell the story of Lear, a man whose loyalties to two of his three daughters lead to his self-destruction. San Francisco-based jazz icon Marcus Shelby lends original, live compositions to the production.\u003c/p>\n\u003cfigure id=\"attachment_13918386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918386\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-800x500.jpg\" alt=\"An African AMerican woman in black shirt and glasses smiles in a portrait\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Ripple-The-Wave.anderson-christina.jpg 1143w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Christina Anderson \u003ccite>(Courtesy Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.berkeleyrep.org/\">The Ripple, the Wave that Carried Me Home\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 9-Oct. 16\u003c/em>\u003cbr>\n\u003cem>Berkeley Repertory Theatre\u003c/em>\u003c/p>\n\u003cp>This long-anticipated world premiere was developed at Berkeley Rep’s Center for the Creation and Development of New Work, named the Ground Floor. The show, written by Tony nominee Christina Anderson and co-produced with Chicago’s Goodman Theatre, follows Janice as she wrestles with her childhood and her parents’ activism; themes include political inheritance, racial justice and family forgiveness.\u003c/p>\n\u003cfigure id=\"attachment_13918383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Passengers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Passengers-800x533.jpg\" alt=\"five people in a play pretend to be on a train\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Passengers.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 7 Fingers Creative Collective open ‘Passengers’ at American Conservatory Theater Sept. 15. \u003ccite>(Courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.act-sf.org/whats-on/202223-season/passengers/\">Passengers\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 15-Oct. 9\u003cbr>\nThe Geary Theater\u003c/em>\u003c/p>\n\u003cp>The 7 Fingers Creative Collective has made a strong footprint in the Bay Area, bringing back the legendary venue Club Fugazi with their love-letter production of \u003cem>Dear San Francisco\u003c/em>, focusing on mind-blowing circus acts and live music. Now, founding co-artistic director Shana Carroll has written, directed and choreographed the new production \u003cem>Passengers\u003c/em>, telling a story about transit in all its forms through circus arts, dance, song, acrobatics and theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13918385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Indecent.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918385\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Indecent-800x533.jpg\" alt=\"two women in white outfits dance in front of a brick wall in a play\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Indecent.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left, Rivka Borek and Malka Wallick in ‘Indecent,’ which opens at the San Francisco Playhouse Sept. 22. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfplayhouse.org/sfph/\">Indecent\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 22-Nov. 5\u003cbr>\nSan Francisco Playhouse\u003c/em>\u003c/p>\n\u003cp>The Bay Area premiere of highly decorated and Pulitzer-winning playwright Paula Vogel (\u003cem>How I Learned to Drive\u003c/em>) explores the story of Sholem Asch and his debut of \u003cem>The God of Vengeance\u003c/em>, in 1922, which polarized Broadway, ultimately leading to the \u003ca href=\"https://web.uwm.edu/yiddish-stage/10-things-you-need-to-know-about-god-of-vengeance\">arrests of cast members and an obscenity trial\u003c/a>. The score is loaded with traditional Eastern European Jewish music, or klezmer, and is co-produced with the Bay Area’s Yiddish Theatre Ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13918381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/LanguageofWildBerries.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/LanguageofWildBerries.jpg\" alt=\"two women smile in side by side portraits, one in a yellow head scarf\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/LanguageofWildBerries-768x384.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right, ‘The Language of Wild Berries’ translator-director Torange Yeghiazarian and playwright Naghmeh Samini. \u003ccite>(Courtesy Golden Thread)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://goldenthread.org/\">The Language of Wild Berries\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 13-Nov. 6\u003cbr>\nPotrero Stage, San Francisco\u003c/em>\u003c/p>\n\u003cp>Like so many performing arts groups in March of 2020, Golden Thread was forced to rethink and ultimately postpone their upcoming production—\u003cem>The Language of Wild Berries\u003c/em> is a long time in the making. Written by Iranian playwright Naghmeh Samini and translated by Torange Yeghiazarian, the play’s plot revolves around the 10th wedding anniversary of Donya and Davood, who return to their honeymoon spot on the Caspian Sea to celebrate. But there is an eerie factor, as they are now followed by a mysterious stranger who forces the couple to deeply examine their marriage both present and past. The company’s answer two years ago was to release the show as a radio play, but Golden Thread is now ready for the in-person production in its U.S. premiere, which provides a glimpse into the lives of contemporary Iranians.\u003c/p>\n\u003cfigure id=\"attachment_13918382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/RedShades.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13918382 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/RedShades-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/RedShades.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tommy Clifford-Carlos as Ida in ‘The Red Shades,’ in which a trans teen escapes her small town and finds herself among a gang of trans superheroes in the Tenderloin. \u003ccite>(Tristan Crane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"http://www.zspace.org/\">The Red Shades: A Trans Superhero Rock Opera\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 13-Nov. 5\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003c/em>\u003cbr>\nThe world premiere of \u003cem>The Red Shades\u003c/em> takes the thrill of musical theater and fuses it with a rock concert. The story follows transgender teen girl Ida, who escapes from her small town to a gang of trans superheroes in the Tenderloin. Leading the show are two incredible forces—the fantastic Edris Cooper-Anifowoshe co-directs with phenomenal multi-hyphenate Rotimi Agbabiaka, who is coming off performing multiple roles in a glitzy production of \u003cem>Midsummer Night’s Dream\u003c/em> in Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_13918384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-800x552.jpg\" alt=\"a woman with dark gray hair in a gray suit poses with her chin in her hand in front of trees\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Book-of-Sand.LisaRamirez.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Theater Project associate artistic director Lisa Ramirez’s play, ‘Book of Sand,’ is inspired by Jorge Luis Borges’ 1975 short story. \u003ccite>(Courtesy Oakland Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://ci.ovationtix.com/35459/production/1092708\">Book of Sand\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Oct. 28-Nov. 20\u003cbr>\nThe Oakland Theater at Flax Art & Design\u003c/em>\u003c/p>\n\u003cp>A mysterious book, an unknown language, and an infinite number of pages are the backbone of the narrative, inspired by Argentine author Jorge Luis Borges’ short story from 1975. The piece of magical realism is the basis for the company’s wonderful associate artistic director Lisa Ramirez and her script to ask many profound questions about beginnings, endings and the journey to achieve peace.\u003c/p>\n\u003cfigure id=\"attachment_13918380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/River-Bride.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/River-Bride-800x600.jpg\" alt=\"a woman with black hair in a pink top poses in a restaurant booth\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/River-Bride.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marisela Treviño Orta, playwright of ‘River Bride,’ which opens at the 6th Street Playhouse in Santa Rosa Nov. 3. \u003ccite>(Courtesy Marisela Treviño Orta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://6thstreetplayhouse.com/shows/2022-23/the-river-bride-la-novia-del-rio/\">The River Bride\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Nov. 3-20\u003cbr>\n6th Street Playhouse, Santa Rosa\u003c/em>\u003c/p>\n\u003cp>\u003cem>The River Bride\u003c/em> is a highly produced work by Texas native Marisela Treviño Orta, who spent many years honing her craft in the Bay Area and received her MFA at the University of San Francisco; the piece was developed in San Rafael at Alter Theater’s AlterLab in 2013 before making its world premiere at the Oregon Shakespeare Festival in 2016. Its story takes place over three days before a wedding, when a handsome man is fished from the Amazon River, forcing two sisters into potentially dangerous choices. Amazon folklore and magical realism inform this powerful tale of love and transformation.\u003c/p>\n\u003cfigure id=\"attachment_13918388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Natasha.Pierre.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918388\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Natasha.Pierre-800x465.jpg\" alt=\"a man in a colorful red and grey jacket and black hat stands looking defiant in a portrait\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Natasha.Pierre.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Albert Hodge plays Pierre in the Shotgun Players’ production of ‘Natasha, Pierre & the Great Comet of 1812’ at the Ashby Stage in Berkeley beginning Nov. 5. \u003ccite>(Benjamin Krantz/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=75468815-60C2-4313-920F-CAF102016CFA&menu_id=48FA49FA-9662-4A5C-B77F-0D14F007E1A5\">Natasha, Pierre & the Great Comet of 1812\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Ashby Stage, Berkeley\u003cbr>\nNov. 5-Dec. 30\u003c/em>\u003c/p>\n\u003cp>The daring artists at Shotgun Players take on the highly acclaimed musical, which got its start in 2012 at the phenomenal Ars Nova in Lower Manhattan. A snippet of Leo Tolstoy’s epic novel \u003cem>War and Peace\u003c/em> is the basis for composer Dave Malloy’s adaptation focusing on Natasha, a young woman in search of her fiancé in 19th-century Russia, and middle-aged soul Pierre, a man awash in regrets. A standard setup in the Ashby is out the window, and in its place are cabaret tables topped with Russian vodka, and a scintillating set from designer Nina Ball.\u003c/p>\n\u003cfigure id=\"attachment_13918389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ainttooproud.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg\" alt=\"a group of men dressed as the Motown group the Temptations stand around a piano and sing\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/ainttooproud.jpeg 1180w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(L to R) Smokey Robinson (Christian Thompson), David Ruffin (Ephraim Sykes), Melvin Franklin (Jared Joseph), Otis Williams (Derrick Baskin), Eddie Kendricks (Jeremy Pope) and Paul Williams (James Harkness) build a tune in ‘Ain’t Too Proud,’ which made its world premiere at Berkeley Rep in 2017 before landing in New York City two years later. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://broadwaysf.com/Online/default.asp\">Ain’t Too Proud: The Life and Times of the Temptations\u003c/a>‘\u003c/h2>\n\u003cp>\u003cem>Nov. 9-Dec. 4\u003cbr>\nGolden Gate Theatre, San Francisco\u003c/em>\u003c/p>\n\u003cp>A touring show might be an odd choice for a region’s top fall theatre picks, but \u003cem>Ain’t Too Proud \u003c/em>has a rich history in the Bay Area. It made its world premiere at the Berkeley Repertory Theatre in 2017 and became the Rep’s highest grossing production before transferring to multiple cities and then Broadway. The show was nominated for 12 Tonys, but only snagged one, which honored Sergio Trujillo’s scintillating choreography. It went strong for a year in New York until COVID-19 wreaked havoc everywhere; the musical then struggled to find its footing after re-opening in October of 2021, closing for good in January. Still, a plethora of feel-good hits and some delightful insight into the story of the iconic Motown group make for a fun evening of nostalgia—and a second chance to score tickets after the Rep’s multiple sold-out extensions.\u003c/p>\n\u003cfigure id=\"attachment_13918387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Thanksgiving-Play.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918387\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Thanksgiving-Play-800x533.jpg\" alt=\"a woman dressed in grey sits in a folding chair outside a small trailer\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Thanksgiving-Play.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Larissa Fasthorse, whose satirical ‘Thanksgiving Play’ opens Nov. 17 at the City Lights Theater Company in San Jose. \u003ccite>(John D. & Catherine T. MacArthur Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://cltc.org/\">The Thanksgiving Play\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Nov. 17-Dec. 18\u003cbr>\nCity Lights Theater Company, San Jose\u003c/em>\u003c/p>\n\u003cp>The venerable 40-year-old South Bay company takes on MacArthur “Genius Grant” recipient Larissa Fasthorse’s satirical send-up. The play focuses on a group of white teaching artists tasked with creating a Thanksgiving pageant. Their mission: honor both the holiday and Native American Heritage Month while displaying cultural sensitivity towards everyone and everything. The searing one-act play is slated for Broadway in the spring of 2023, produced by non-profit theater Second Stage, who stated that Fasthorse will be the first female Native American playwright to land on the Great White Way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "fall-guide-free-events-bay-area-2022",
"title": "Fun on a Budget: 8 Free Fall Events in the Bay Area",
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"headTitle": "Fun on a Budget: 8 Free Fall Events in the Bay Area | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Gas prices. Sky-high inflation. The Millennial inability to stop buying lattes and avocado toast. (\u003cem>I kid!\u003c/em>)\u003c/p>\n\u003cp>The year 2022 has been rough on wallets across the country, and our wallets also happen to be sitting (half-empty) in one of its most expensive regions. (San Francisco, Oakland and San Jose all made the list of top-10 most expensive American cities.)\u003c/p>\n\u003cp>What does that mean? It means we all need as much free stuff as possible. And luckily for us, there are a lot of great events coming up that won’t cost you a dime to attend. Movies, art, dance, live music, parties, theater—we’ve got you covered. Bay Area rents may break the bank, but there’s a wealth of fun things to do that won’t.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13917591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png\" alt=\"A Black dancer in open black shirt and tight black shorts, lays on a wooden platform, arms outstretched dramatically, with one leg kicked upwards and pointed out. Crowds watch on from the sidelines.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM.png 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer strikes a pose at 2021’s Open To All Ball at Lake Merritt Amphitheater. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/events/1198327271019474/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Hyphy Ball\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003cbr>\n\u003cem>Sept. 10, 1pm–7pm\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The follow-up to 2021’s dazzling \u003ca href=\"https://www.kqed.org/arts/13902915/photos-lgbtq-oakland-shows-out-at-the-open-to-all-vogue-ball\" target=\"_blank\" rel=\"noopener noreferrer\">Open to All Ball\u003c/a> is set to transform the shores of Lake Merritt once more into ballroom bliss. This year’s ball carries the same ethos as the last one: everyone—and they do mean absolutely everyone—is welcome. The 2022 theme, however, is brand new, and hella Oakland: hyphy. That will influence every category in this year’s contests, from performance soundtracks to the all-important runway fashions.\u003c/p>\n\u003cp>As usual, there are big prizes to be won, including $1,000 cash awards for categories including Realness, Face and Runway, and a $4,000 prize for the Tag Team performance. This year’s grand finale promises to be next-level thanks to the caveat that teams must include at least one hyphy move in their presentation. So … serve and turf?\u003c/p>\n\u003cfigure id=\"attachment_13917640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-2.29.48-PM-1-800x517.png\" alt=\"A Black woman in black and white striped dress, sits on a stool with her feet up, laughing as she holds an acoustic guitar on her lap.\" width=\"800\" height=\"517\">\u003cfigcaption class=\"wp-caption-text\">Meklit, an Ethiopia-born, Bay Area-dwelling singer, blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. And she’s on the Hardly Strictly lineup this year. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 30-Oct. 2\u003c/em>\u003c/p>\n\u003cp>After a two-year absence from Golden Gate Park, Hardly Strictly is set for a triumphant return this October with a lineup that offers something for nearly every mood and taste.\u003c/p>\n\u003cp>Festival veterans like Emmylou Harris (in her 22nd HSB appearance!) and Buddy Miller (in his 17th!) will be present, accounted for and offering warm fuzzy feelings to fend off the fog. Marcus Mumford and Talking Heads’ Jerry Harrison and Adrian Belew check the mainstream-appeal boxes. And local flavor comes in the form of Tré Burt (Sacramento), Meklit (San Francisco), Brothers Comatose (North Bay) and A.J. Lee and Blue Summit (South Bay).\u003c/p>\n\u003cp>But as usual, HSB will also be serving up fantastic artists from around the country. So far, this year’s must-not-miss list includes: the heart-wrenching but always uplifting Allison Russell, the retro-soul stylings of Lucius and the bluegrass-rooted Afrofuturism of Jake Blount. In a lineup that has long been proud to stray beyond the confines of traditional bluegrass, Blount is a one-man example of why it’s so exciting to do just that.\u003c/p>\n\u003cfigure id=\"attachment_13917608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.08.11-PM-800x542.png\" alt=\"A father and son walk hand-in-hand towards a group of parents and children playing with bubbles. Behind them, various stalls can be seen lining the street.\" width=\"800\" height=\"542\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s 20th Street Block Party will take place on Valencia St. this year. \u003ccite>(Instagram/ @noisepop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop’s 20th Street Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Valencia Street between 18th and 21st Streets, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 15, 12pm-6pm\u003c/em>\u003c/p>\n\u003cp>This family-friendly free-for-all will take over three whole blocks of Valencia Street to bring live music, food, local arts and crafts, and a whole lot of fun, to the Mission. The location may be slightly different in 2022, but the vibe will remain the same as the prior eight years: a love letter to the diversity and creativity of the Mission District.\u003c/p>\n\u003cp>Proceeds collected at this year’s community gathering will assist two great nonprofits in continuing their work in the neighborhood. \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">826 Valencia\u003c/a> (a.k.a. the Pirate Supply Store) will use all donations to further their mission of making sure under-resourced kids get a tutoring boost so they can become great writers. And \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a> will keep working toward equity in business ownership, providing mentorship and affordable kitchen space to female and BIPOC entrepreneurs.\u003c/p>\n\u003cfigure id=\"attachment_13917609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.37.26-PM-800x486.png\" alt=\"Three South Asian women sitting in a row laughing.\" width=\"800\" height=\"486\">\u003cfigcaption class=\"wp-caption-text\">Attendees taking in a show at Cupertino’s Diwali: Festival of Lights. \u003ccite>(Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/bayareadiwalifestival\" target=\"_blank\" rel=\"noopener noreferrer\">Diwali Festival of Lights\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Memorial Park, Cupertino\u003c/em>\u003cbr>\n\u003cem>Oct. 8, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Sure, this festival is happening a full 15 days before Diwali’s five-day celebration even starts, but it’s never too soon to get excited about light triumphing over darkness.\u003c/p>\n\u003cp>Beyond honoring the holiday itself, Cupertino’s Festival of Lights is a celebration of all things Desi. The plethora of colorful dance displays—a journey through classical \u003ca href=\"https://en.wikipedia.org/wiki/Bharatanatyam\" target=\"_blank\" rel=\"noopener noreferrer\">Bharatanatyam\u003c/a> to modern \u003ca href=\"https://en.wikipedia.org/wiki/Bhangra_(dance)#Bhangra_today\" target=\"_blank\" rel=\"noopener noreferrer\">Bhangra\u003c/a>—are worth the journey alone. But the spicy and aromatic street food on hand also satisfies rumbling stomachs, the stalls have plenty to keep dedicated shoppers busy and the \u003ca href=\"https://en.wikipedia.org/wiki/Rangoli\" target=\"_blank\" rel=\"noopener noreferrer\">Rangoli\u003c/a> art displays are just mesmerizing. Plus, there’s even a Kids Zone that usually includes some pretty ridiculous physical challenges. (If you’ve ever wanted to stick your child in a giant hamster ball, this is the place to do it.)\u003c/p>\n\u003cp>To cap it all, there’s even free parking. Just head to De Anza College’s A and B lots.\u003c/p>\n\u003cfigure id=\"attachment_13917731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.07.55-PM-800x601.png\" alt=\"A grid of 12 squares showing different styles of paintings and crafts.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">A tiny portion of the artists showing at San Francisco Open Studios. \u003ccite>(Courtesy of SFOS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artspan.org/sfos-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> / \u003ca href=\"https://eastbayopenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Open Studios\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Locations TBD. (Check \u003ca href=\"https://www.artspan.org/visit-sf-open-studios/navigating-sfos\" target=\"_blank\" rel=\"noopener noreferrer\">SFOS\u003c/a> and \u003ca href=\"https://eastbayopenstudios.com/2022-event-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">EBOS\u003c/a> websites for directories.)\u003c/em>\u003cbr>\n\u003cem>San Francisco: Oct. 23-Nov. 13\u003cbr>\nEast Bay: Nov. 5-13\u003c/em>\u003c/p>\n\u003cp>Whether you approach them as casual neighborhood strolls or regimented exercises complete with maps and schedules, the Open Studios events on both sides of the Bay are worthy of your attention. Taking place across four weekends in San Francisco and two in the East Bay, Open Studios is a chance to get to know the artists in your area, support them and see some truly great work. (There’s usually a surprising amount of free cookies involved too…)\u003c/p>\n\u003cp>Wandering between home studios, artist collective spaces, back yards and garages doesn’t just feel like a treasure hunt—it also offers a glimpse into how Bay Area artists live and survive. It’s inspiring to witness not just the eclectic array of talent on display, but the resourcefulness of many of our local creators. And if you can’t make it out to meet them in person, the SFOS website offers \u003ca href=\"https://www.artspan.org/vast\" target=\"_blank\" rel=\"noopener noreferrer\">virtual tours of selected artists’ studios\u003c/a>.\u003c/p>\n\u003cp>While the Open Studios events themselves are free, don’t expect to come home empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13917656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png\" alt=\"A woman in her twenties with black hair, wearing midriff-baring punky clothes, throws her arms above her head and sticks her tongue out in a rebellious gesture.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Livia Gomes Demarchi as Beatrice in San Francisco Shakespeare Festival’s 40th Anniversary production of ‘Much Ado About Nothing.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfshakes.org/?fbclid=IwAR3OD5c8Cx3CbwJ02gSUOBcfQYf8GDYCLFp5fKvmK-wulGkee84ucXcZF_c\" target=\"_blank\" rel=\"noopener noreferrer\">Shakespeare in the Park\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jerry Garcia Amphitheater, MacLaren Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 3-11, 2pm\u003c/em>\u003c/p>\n\u003cp>\u003cem>Much Ado About Nothing\u003c/em> can be quite the challenging prospect for modern audiences—particularly the women watching. After all, it’s difficult to glean much enjoyment from watching female characters getting treated terribly by the men in their midst for 160 minutes, only to have everything wrapped up in a neat little bow in the end.\u003c/p>\n\u003cp>This year’s production by the San Francisco Shakespeare Festival however, promises to be a more palatable take on a dated classic. With a distinctly ’90s aesthetic, a run time of just 90 minutes (no intermission) and modernized versions of familiar characters, this \u003cem>Much Ado\u003c/em> promises something a little different from more traditional productions. Think: Beatrice in lip-liner and a dog collar, a grunge rendition of “Sigh No More” and Benedick out participating in protest marches. No, really.\u003c/p>\n\u003cp>If you missed this \u003cem>Much Ado About Nothing\u003c/em> in Cupertino and Redwood City and can’t make it to McLaren Park either, don’t worry. A version of the production will be made \u003ca href=\"https://www.youtube.com/watch?v=cB1obsLLZe8\" target=\"_blank\" rel=\"noopener noreferrer\">available online\u003c/a> at a later date, complete with closed captions.\u003c/p>\n\u003cfigure id=\"attachment_13917732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png\" alt=\"Dancers - three female, one male - wearing traditional Mexican clothes smile as they perform on a small stage.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing the Jarabe Tapatío at the Solano Avenue Stroll. \u003ccite>(Courtesy of Solano Avenue Stroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.solanoavenueassn.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Avenue Stroll\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Solano Avenue, Albany and Berkeley\u003c/em>\u003cbr>\n\u003cem>Sept. 11, 10am-5pm\u003c/em>\u003c/p>\n\u003cp>Finally! The Stroll is back after a two-year absence, and it promises to be just as huge as it always was. It will still occupy an entire, fully pedestrianized mile of Solano Avenue in a colorful celebration of both Albany and Berkeley that starts with an opening ceremony and mini-parade. The day-long celebration fills the street with music, dancing and scores of local businesses, artists and makers selling their wares—including, of course, enough food booths to feed the thousands of people who usually attend.\u003c/p>\n\u003cp>Because of its scale, the Solano Avenue Stroll can be a little overwhelming at peak times, but it’s worth getting there early so you can take your time with it all. A free shuttle from North Berkeley BART will get you there without parking hassles.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown Cinema at Jerry Garcia Amphitheater at McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-sister-act-2/e405348\" target=\"_blank\" rel=\"noopener noreferrer\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Square, Crane Cove, Jerry Garcia Amphitheater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 9-Oct.21, 5pm\u003c/em>\u003c/p>\n\u003cp>The Bay Area is awash with unique little movie theaters; we are truly blessed in this regard. But for a few weeks every fall, big screens pop up around San Francisco that give even our cutest theaters a run for their money. (If you’ve ever watched a movie in Alamo Square Park with the sun setting behind the Painted Ladies, you already know what’s up.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This rest of this season’s Sundown Cinema will feature \u003cem>Raiders of the Lost Ark\u003c/em> at Alamo Square (Sept. 9), \u003cem>Shang Chi & The Legend of the Ten Rings\u003c/em> at Crane Cove (Sept. 30) and \u003cem>Addams Family Values\u003c/em> at the Jerry Garcia Amphitheater (Oct. 21). Perfect for family picnics, date night and people who love wearing their Patagonias to chilly park excursions.\u003c/p>\n\n",
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"excerpt": "Who needs free movies, art, dance, live music, parties and theater? All of us, that's who.",
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"title": "Fun on a Budget: 8 Free Fall Events in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Gas prices. Sky-high inflation. The Millennial inability to stop buying lattes and avocado toast. (\u003cem>I kid!\u003c/em>)\u003c/p>\n\u003cp>The year 2022 has been rough on wallets across the country, and our wallets also happen to be sitting (half-empty) in one of its most expensive regions. (San Francisco, Oakland and San Jose all made the list of top-10 most expensive American cities.)\u003c/p>\n\u003cp>What does that mean? It means we all need as much free stuff as possible. And luckily for us, there are a lot of great events coming up that won’t cost you a dime to attend. Movies, art, dance, live music, parties, theater—we’ve got you covered. Bay Area rents may break the bank, but there’s a wealth of fun things to do that won’t.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13917591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png\" alt=\"A Black dancer in open black shirt and tight black shorts, lays on a wooden platform, arms outstretched dramatically, with one leg kicked upwards and pointed out. Crowds watch on from the sidelines.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM.png 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer strikes a pose at 2021’s Open To All Ball at Lake Merritt Amphitheater. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/events/1198327271019474/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Hyphy Ball\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003cbr>\n\u003cem>Sept. 10, 1pm–7pm\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The follow-up to 2021’s dazzling \u003ca href=\"https://www.kqed.org/arts/13902915/photos-lgbtq-oakland-shows-out-at-the-open-to-all-vogue-ball\" target=\"_blank\" rel=\"noopener noreferrer\">Open to All Ball\u003c/a> is set to transform the shores of Lake Merritt once more into ballroom bliss. This year’s ball carries the same ethos as the last one: everyone—and they do mean absolutely everyone—is welcome. The 2022 theme, however, is brand new, and hella Oakland: hyphy. That will influence every category in this year’s contests, from performance soundtracks to the all-important runway fashions.\u003c/p>\n\u003cp>As usual, there are big prizes to be won, including $1,000 cash awards for categories including Realness, Face and Runway, and a $4,000 prize for the Tag Team performance. This year’s grand finale promises to be next-level thanks to the caveat that teams must include at least one hyphy move in their presentation. So … serve and turf?\u003c/p>\n\u003cfigure id=\"attachment_13917640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-2.29.48-PM-1-800x517.png\" alt=\"A Black woman in black and white striped dress, sits on a stool with her feet up, laughing as she holds an acoustic guitar on her lap.\" width=\"800\" height=\"517\">\u003cfigcaption class=\"wp-caption-text\">Meklit, an Ethiopia-born, Bay Area-dwelling singer, blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. And she’s on the Hardly Strictly lineup this year. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 30-Oct. 2\u003c/em>\u003c/p>\n\u003cp>After a two-year absence from Golden Gate Park, Hardly Strictly is set for a triumphant return this October with a lineup that offers something for nearly every mood and taste.\u003c/p>\n\u003cp>Festival veterans like Emmylou Harris (in her 22nd HSB appearance!) and Buddy Miller (in his 17th!) will be present, accounted for and offering warm fuzzy feelings to fend off the fog. Marcus Mumford and Talking Heads’ Jerry Harrison and Adrian Belew check the mainstream-appeal boxes. And local flavor comes in the form of Tré Burt (Sacramento), Meklit (San Francisco), Brothers Comatose (North Bay) and A.J. Lee and Blue Summit (South Bay).\u003c/p>\n\u003cp>But as usual, HSB will also be serving up fantastic artists from around the country. So far, this year’s must-not-miss list includes: the heart-wrenching but always uplifting Allison Russell, the retro-soul stylings of Lucius and the bluegrass-rooted Afrofuturism of Jake Blount. In a lineup that has long been proud to stray beyond the confines of traditional bluegrass, Blount is a one-man example of why it’s so exciting to do just that.\u003c/p>\n\u003cfigure id=\"attachment_13917608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.08.11-PM-800x542.png\" alt=\"A father and son walk hand-in-hand towards a group of parents and children playing with bubbles. Behind them, various stalls can be seen lining the street.\" width=\"800\" height=\"542\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s 20th Street Block Party will take place on Valencia St. this year. \u003ccite>(Instagram/ @noisepop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop’s 20th Street Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Valencia Street between 18th and 21st Streets, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 15, 12pm-6pm\u003c/em>\u003c/p>\n\u003cp>This family-friendly free-for-all will take over three whole blocks of Valencia Street to bring live music, food, local arts and crafts, and a whole lot of fun, to the Mission. The location may be slightly different in 2022, but the vibe will remain the same as the prior eight years: a love letter to the diversity and creativity of the Mission District.\u003c/p>\n\u003cp>Proceeds collected at this year’s community gathering will assist two great nonprofits in continuing their work in the neighborhood. \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">826 Valencia\u003c/a> (a.k.a. the Pirate Supply Store) will use all donations to further their mission of making sure under-resourced kids get a tutoring boost so they can become great writers. And \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a> will keep working toward equity in business ownership, providing mentorship and affordable kitchen space to female and BIPOC entrepreneurs.\u003c/p>\n\u003cfigure id=\"attachment_13917609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.37.26-PM-800x486.png\" alt=\"Three South Asian women sitting in a row laughing.\" width=\"800\" height=\"486\">\u003cfigcaption class=\"wp-caption-text\">Attendees taking in a show at Cupertino’s Diwali: Festival of Lights. \u003ccite>(Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/bayareadiwalifestival\" target=\"_blank\" rel=\"noopener noreferrer\">Diwali Festival of Lights\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Memorial Park, Cupertino\u003c/em>\u003cbr>\n\u003cem>Oct. 8, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Sure, this festival is happening a full 15 days before Diwali’s five-day celebration even starts, but it’s never too soon to get excited about light triumphing over darkness.\u003c/p>\n\u003cp>Beyond honoring the holiday itself, Cupertino’s Festival of Lights is a celebration of all things Desi. The plethora of colorful dance displays—a journey through classical \u003ca href=\"https://en.wikipedia.org/wiki/Bharatanatyam\" target=\"_blank\" rel=\"noopener noreferrer\">Bharatanatyam\u003c/a> to modern \u003ca href=\"https://en.wikipedia.org/wiki/Bhangra_(dance)#Bhangra_today\" target=\"_blank\" rel=\"noopener noreferrer\">Bhangra\u003c/a>—are worth the journey alone. But the spicy and aromatic street food on hand also satisfies rumbling stomachs, the stalls have plenty to keep dedicated shoppers busy and the \u003ca href=\"https://en.wikipedia.org/wiki/Rangoli\" target=\"_blank\" rel=\"noopener noreferrer\">Rangoli\u003c/a> art displays are just mesmerizing. Plus, there’s even a Kids Zone that usually includes some pretty ridiculous physical challenges. (If you’ve ever wanted to stick your child in a giant hamster ball, this is the place to do it.)\u003c/p>\n\u003cp>To cap it all, there’s even free parking. Just head to De Anza College’s A and B lots.\u003c/p>\n\u003cfigure id=\"attachment_13917731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.07.55-PM-800x601.png\" alt=\"A grid of 12 squares showing different styles of paintings and crafts.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">A tiny portion of the artists showing at San Francisco Open Studios. \u003ccite>(Courtesy of SFOS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artspan.org/sfos-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> / \u003ca href=\"https://eastbayopenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Open Studios\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Locations TBD. (Check \u003ca href=\"https://www.artspan.org/visit-sf-open-studios/navigating-sfos\" target=\"_blank\" rel=\"noopener noreferrer\">SFOS\u003c/a> and \u003ca href=\"https://eastbayopenstudios.com/2022-event-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">EBOS\u003c/a> websites for directories.)\u003c/em>\u003cbr>\n\u003cem>San Francisco: Oct. 23-Nov. 13\u003cbr>\nEast Bay: Nov. 5-13\u003c/em>\u003c/p>\n\u003cp>Whether you approach them as casual neighborhood strolls or regimented exercises complete with maps and schedules, the Open Studios events on both sides of the Bay are worthy of your attention. Taking place across four weekends in San Francisco and two in the East Bay, Open Studios is a chance to get to know the artists in your area, support them and see some truly great work. (There’s usually a surprising amount of free cookies involved too…)\u003c/p>\n\u003cp>Wandering between home studios, artist collective spaces, back yards and garages doesn’t just feel like a treasure hunt—it also offers a glimpse into how Bay Area artists live and survive. It’s inspiring to witness not just the eclectic array of talent on display, but the resourcefulness of many of our local creators. And if you can’t make it out to meet them in person, the SFOS website offers \u003ca href=\"https://www.artspan.org/vast\" target=\"_blank\" rel=\"noopener noreferrer\">virtual tours of selected artists’ studios\u003c/a>.\u003c/p>\n\u003cp>While the Open Studios events themselves are free, don’t expect to come home empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13917656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png\" alt=\"A woman in her twenties with black hair, wearing midriff-baring punky clothes, throws her arms above her head and sticks her tongue out in a rebellious gesture.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Livia Gomes Demarchi as Beatrice in San Francisco Shakespeare Festival’s 40th Anniversary production of ‘Much Ado About Nothing.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfshakes.org/?fbclid=IwAR3OD5c8Cx3CbwJ02gSUOBcfQYf8GDYCLFp5fKvmK-wulGkee84ucXcZF_c\" target=\"_blank\" rel=\"noopener noreferrer\">Shakespeare in the Park\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jerry Garcia Amphitheater, MacLaren Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 3-11, 2pm\u003c/em>\u003c/p>\n\u003cp>\u003cem>Much Ado About Nothing\u003c/em> can be quite the challenging prospect for modern audiences—particularly the women watching. After all, it’s difficult to glean much enjoyment from watching female characters getting treated terribly by the men in their midst for 160 minutes, only to have everything wrapped up in a neat little bow in the end.\u003c/p>\n\u003cp>This year’s production by the San Francisco Shakespeare Festival however, promises to be a more palatable take on a dated classic. With a distinctly ’90s aesthetic, a run time of just 90 minutes (no intermission) and modernized versions of familiar characters, this \u003cem>Much Ado\u003c/em> promises something a little different from more traditional productions. Think: Beatrice in lip-liner and a dog collar, a grunge rendition of “Sigh No More” and Benedick out participating in protest marches. No, really.\u003c/p>\n\u003cp>If you missed this \u003cem>Much Ado About Nothing\u003c/em> in Cupertino and Redwood City and can’t make it to McLaren Park either, don’t worry. A version of the production will be made \u003ca href=\"https://www.youtube.com/watch?v=cB1obsLLZe8\" target=\"_blank\" rel=\"noopener noreferrer\">available online\u003c/a> at a later date, complete with closed captions.\u003c/p>\n\u003cfigure id=\"attachment_13917732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png\" alt=\"Dancers - three female, one male - wearing traditional Mexican clothes smile as they perform on a small stage.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing the Jarabe Tapatío at the Solano Avenue Stroll. \u003ccite>(Courtesy of Solano Avenue Stroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.solanoavenueassn.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Avenue Stroll\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Solano Avenue, Albany and Berkeley\u003c/em>\u003cbr>\n\u003cem>Sept. 11, 10am-5pm\u003c/em>\u003c/p>\n\u003cp>Finally! The Stroll is back after a two-year absence, and it promises to be just as huge as it always was. It will still occupy an entire, fully pedestrianized mile of Solano Avenue in a colorful celebration of both Albany and Berkeley that starts with an opening ceremony and mini-parade. The day-long celebration fills the street with music, dancing and scores of local businesses, artists and makers selling their wares—including, of course, enough food booths to feed the thousands of people who usually attend.\u003c/p>\n\u003cp>Because of its scale, the Solano Avenue Stroll can be a little overwhelming at peak times, but it’s worth getting there early so you can take your time with it all. A free shuttle from North Berkeley BART will get you there without parking hassles.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown Cinema at Jerry Garcia Amphitheater at McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-sister-act-2/e405348\" target=\"_blank\" rel=\"noopener noreferrer\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Square, Crane Cove, Jerry Garcia Amphitheater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 9-Oct.21, 5pm\u003c/em>\u003c/p>\n\u003cp>The Bay Area is awash with unique little movie theaters; we are truly blessed in this regard. But for a few weeks every fall, big screens pop up around San Francisco that give even our cutest theaters a run for their money. (If you’ve ever watched a movie in Alamo Square Park with the sun setting behind the Painted Ladies, you already know what’s up.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This rest of this season’s Sundown Cinema will feature \u003cem>Raiders of the Lost Ark\u003c/em> at Alamo Square (Sept. 9), \u003cem>Shang Chi & The Legend of the Ten Rings\u003c/em> at Crane Cove (Sept. 30) and \u003cem>Addams Family Values\u003c/em> at the Jerry Garcia Amphitheater (Oct. 21). Perfect for family picnics, date night and people who love wearing their Patagonias to chilly park excursions.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Spirit of Joseph James' Shines a Light on the Lost Black Stories of Marin City",
"headTitle": "‘The Spirit of Joseph James’ Shines a Light on the Lost Black Stories of Marin City | KQED",
"content": "\u003cp>Joseph James is a common name. If you Google it, you’ll have to comb through nearly five pages of results before stumbling across the story of the Black actor and \u003ca href=\"https://www.kqed.org/arts/13905367/rapping-about-the-wwii-black-shipyard-workers-in-marin\">shipyard worker\u003c/a> who exposed the discriminatory practices of the International Brotherhood of Boilermakers, Iron Shipbuilders and Helpers of America to the California Supreme Court in 1944.\u003c/p>\n\u003cp>This weekend, Oakland artist and writer Jahi helps amplify \u003cem>that\u003c/em> James’ story with \u003cem>The Spirit of Joseph James\u003c/em>, a play that details the formative moments of the actor-activist’s adolescence, his fight against racist union practices during World War II and his later efforts in striving for a more just world.\u003c/p>\n\u003cp>The production is part of \u003ca href=\"https://marincity80.com/\">Marin City 80\u003c/a>, a yearlong celebration of the Black art, culture and history that have shaped Marin City since its founding in 1942. James, like several other Black folks who migrated to the area during this period, “helped to establish the Black presence in the Bay Area,” says Jahi. His tale is one of many “lost stories” that are often forgotten or overlooked, says the artist, when peering deeper into the history of Black communities living in the Bay Area.\u003c/p>\n\u003cp>The play features an all-Black cast, with actors from Marin City and Oakland, including Khari Hayes and Adimu Madyun. The performers have been pivotal in bringing Jahi’s vision to life: he credits them with transforming his words into vibrant and dynamic motion.\u003c/p>\n\u003cp>“My hope is people walk away feeling informed, inspired and attached to the struggle for freedom, justice and equality [that took place] 80 years ago,” says Jahi. For him, the play is an “opportunity to shine light and show how Black communities can be celebrated, remembered and preserved.”\u003c/p>\n\u003cp>[ad fullwidth]\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 Spirit of Joseph James’ runs Aug. 27-28 at the Marin Center Showcase Theater in San Rafael. Tickets are $20; \u003ca href=\"https://tickets.marincenter.org/\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joseph James is a common name. If you Google it, you’ll have to comb through nearly five pages of results before stumbling across the story of the Black actor and \u003ca href=\"https://www.kqed.org/arts/13905367/rapping-about-the-wwii-black-shipyard-workers-in-marin\">shipyard worker\u003c/a> who exposed the discriminatory practices of the International Brotherhood of Boilermakers, Iron Shipbuilders and Helpers of America to the California Supreme Court in 1944.\u003c/p>\n\u003cp>This weekend, Oakland artist and writer Jahi helps amplify \u003cem>that\u003c/em> James’ story with \u003cem>The Spirit of Joseph James\u003c/em>, a play that details the formative moments of the actor-activist’s adolescence, his fight against racist union practices during World War II and his later efforts in striving for a more just world.\u003c/p>\n\u003cp>The production is part of \u003ca href=\"https://marincity80.com/\">Marin City 80\u003c/a>, a yearlong celebration of the Black art, culture and history that have shaped Marin City since its founding in 1942. James, like several other Black folks who migrated to the area during this period, “helped to establish the Black presence in the Bay Area,” says Jahi. His tale is one of many “lost stories” that are often forgotten or overlooked, says the artist, when peering deeper into the history of Black communities living in the Bay Area.\u003c/p>\n\u003cp>The play features an all-Black cast, with actors from Marin City and Oakland, including Khari Hayes and Adimu Madyun. The performers have been pivotal in bringing Jahi’s vision to life: he credits them with transforming his words into vibrant and dynamic motion.\u003c/p>\n\u003cp>“My hope is people walk away feeling informed, inspired and attached to the struggle for freedom, justice and equality [that took place] 80 years ago,” says Jahi. For him, the play is an “opportunity to shine light and show how Black communities can be celebrated, remembered and preserved.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Spirit of Joseph James’ runs Aug. 27-28 at the Marin Center Showcase Theater in San Rafael. Tickets are $20; \u003ca href=\"https://tickets.marincenter.org/\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new \u003cem>Oklahoma!\u003c/em> that’s in San Francisco now is more than just OK. It’s a captivating spin on the Rodgers and Hammerstein classic that pulls off a rare parlor trick: Without changing any of the 70-year-old musical’s lyrics or dialogue, it feels like it could have been written last month.\u003c/p>\n\u003cp>Some of this is because of the diverse, multi-racial casting, but tell your uncle at the next family get-together to save the “Wokelahoma” jokes, because this staging isn’t the finger-wagging lecture in identity that he thinks it is.\u003c/p>\n\u003cp>Instead, this \u003cem>Oklahoma!\u003c/em> gets downright avant-garde. A dancer (Jordan Wynn) performs to a jagged, angular medley as cowboy boots inexplicably fall to the stage. Entire scenes unfold in the dark. Songs you know as jubilant are sung through pained tears.\u003c/p>\n\u003cfigure id=\"attachment_13917830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Oklahoma.Sis_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sis in the touring production of ‘Oklahoma!’ \u003ccite>(Matthew Murphy and Evan Zimmerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why does it work? Accompanied by an on-stage bluegrass combo, the songs, obviously, are great. (A rousing “I Cain’t Say No” sung by the Black trans actor Sis manages to out-camp the original, bringing the house down.) But the direction by Daniel Fish is what matters here: it leans unflinchingly into the original story’s dark corners, even past the hokum of the main courting-ritual narrative between Curly and Laurey (Sean Grandillo and Sasha Hutchings).\u003c/p>\n\u003cp>A balance of the old and the new is hard to strike, especially with a bona fide classic of American musical theater. This new \u003cem>Oklahoma!\u003c/em> is a fever dream in the best possible way, and one that should resonate with first-timers as well as longtime fans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oklahoma!’ runs through Sept. 11 at the Golden Gate Theatre in San Francisco. \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new \u003cem>Oklahoma!\u003c/em> that’s in San Francisco now is more than just OK. It’s a captivating spin on the Rodgers and Hammerstein classic that pulls off a rare parlor trick: Without changing any of the 70-year-old musical’s lyrics or dialogue, it feels like it could have been written last month.\u003c/p>\n\u003cp>Some of this is because of the diverse, multi-racial casting, but tell your uncle at the next family get-together to save the “Wokelahoma” jokes, because this staging isn’t the finger-wagging lecture in identity that he thinks it is.\u003c/p>\n\u003cp>Instead, this \u003cem>Oklahoma!\u003c/em> gets downright avant-garde. A dancer (Jordan Wynn) performs to a jagged, angular medley as cowboy boots inexplicably fall to the stage. Entire scenes unfold in the dark. Songs you know as jubilant are sung through pained tears.\u003c/p>\n\u003cfigure id=\"attachment_13917830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Oklahoma.Sis_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oklahoma.Sis_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sis in the touring production of ‘Oklahoma!’ \u003ccite>(Matthew Murphy and Evan Zimmerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why does it work? Accompanied by an on-stage bluegrass combo, the songs, obviously, are great. (A rousing “I Cain’t Say No” sung by the Black trans actor Sis manages to out-camp the original, bringing the house down.) But the direction by Daniel Fish is what matters here: it leans unflinchingly into the original story’s dark corners, even past the hokum of the main courting-ritual narrative between Curly and Laurey (Sean Grandillo and Sasha Hutchings).\u003c/p>\n\u003cp>A balance of the old and the new is hard to strike, especially with a bona fide classic of American musical theater. This new \u003cem>Oklahoma!\u003c/em> is a fever dream in the best possible way, and one that should resonate with first-timers as well as longtime fans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Going to a Club or Festival? Monkeypox Risk In Crowds is Relatively Low, Experts Say",
"headTitle": "Going to a Club or Festival? Monkeypox Risk In Crowds is Relatively Low, Experts Say | KQED",
"content": "\u003cp>With the ongoing COVID-19 pandemic and San Francisco’s monkeypox outbreak, health risks are on the minds of Bay Area residents—including those with tickets to music festivals, concerts and other large gatherings.\u003c/p>\n\u003cp>Due to rising monkeypox cases, San Francisco Mayor London Breed announced \u003ca href=\"https://www.kqed.org/news/11920764/an-epicenter-for-the-country-san-francisco-declares-state-of-emergency-over-monkeypox-outbreak\" target=\"_blank\" rel=\"noopener noreferrer\">a state of emergency\u003c/a> on Thursday. It goes into effect Aug. 1, and empowers the mayor’s office to mobilize personnel and resources to fight the outbreak.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#monkeypoxquestions\">What questions do you have around monkeypox?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The monkeypox virus spreads primarily through close physical contact, including skin-to-skin contact where infected lesions are present, prolonged, face-to-face contact (including close conversations) via respiratory droplets, and sharing items like clothing or bedding. So far, the outbreak has disproportionately affected men and trans people who have sex with men. But monkeypox can impact anyone, and with large gatherings coming up—including the Dore Alley queer fetish fair (July 31), the Blue Note Jazz Festival in Napa Valley (July 29-31) and the Outside Lands music festival in Golden Gate Park (Aug. 5-7)—it’s important to learn the risks before you go. KQED spoke with medical experts about how to best navigate the ongoing situation. [aside postid='news_11919070']\u003c/p>\n\u003ch2>Gathering in crowds is still relatively safe\u003c/h2>\n\u003cp>Dr. Peter Chin-Hong, a professor and infectious disease physician at UCSF, says people should be aware of what he describes as the different tiers of monkeypox transmission risk. High risk includes prolonged, skin-to-skin contact, including sexual contact. Medium risk includes prolonged contact with sheets or bedding that a person with lesions may have used. Medium-to-low risk includes respiratory droplets. And low risk includes touching shared surfaces on transit, the gym and other public spaces.\u003c/p>\n\u003cp>Packing into a large crowd at a club, concert or festival “is a low risk, but it’s not a zero risk at this moment,” Chin-Hong says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At the end of the day, the most efficient way to get monkeypox isn’t going to a music event,” he explains. “It’s from skin-to-skin contact over several hours with an open sore in an intimate contact situation.”\u003c/p>\n\u003cp>San Francisco Health Officer Dr. Susan Philip says people who develop \u003ca href=\"https://www.kqed.org/news/11919070/monkeypox-in-the-bay-area-from-symptoms-to-how-to-find-a-vaccine-heres-what-we-know#monkeypoxsymptoms\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms such as unexplained rashes\u003c/a> or are feeling sick should avoid large gatherings. “Cover the areas with clothing or with bandages so that the skin [with the rash] is not exposed to other people,” she says. “And wear a mask and go see a provider for evaluation, because cases are increasing.”\u003c/p>\n\u003cp>The San Francisco Department of Public Health offers \u003ca href=\"https://sf.gov/resource/2022/monkeypox-outreach-toolkit\" target=\"_blank\" rel=\"noopener noreferrer\">an informational toolkit\u003c/a> which includes posters about monkeypox that event producers can download and display at gatherings.\u003c/p>\n\u003ch2>Masking helps reduce risk\u003c/h2>\n\u003cp>At a festival or gathering, “you’re much more likely to get COVID than monkeypox,” Chin-Hong says. Masking helps reduce risk of both. While N95, KF94 or K95 masks have proven effective in reducing COVID-19 transmission, Chin-Hong says, a surgical mask or simple cloth mask can protect you from monkeypox.\u003c/p>\n\u003cp>Even at clubs and festivals, where people tend to lean in close to talk over the music, Chin-Hong says respiratory transmission is relatively low-risk. “[Someone] must be shouting at you for hours, probably, for that to occur,” he says, adding that kissing would create a higher risk of transmission through saliva than conversation.\u003c/p>\n\u003cp>Although simply standing in a crowd creates a low risk of transmission, wearing clothes that cover the skin can be another form of protection. “If people are concerned about monkeypox, it’s good to keep some distance between them and other people in crowds,” says Philip. “To wear clothing that covers the skin is also another way to protect themselves.”\u003c/p>\n\u003ch2>The biggest risk is intimate contact\u003c/h2>\n\u003cp>While going out on the town in and of itself isn’t a high risk, intimate behaviors before or after a show can be, Chin-Hong explains. “If somebody has an open sore and you have a break in the skin, that’s probably the most efficient way to get it,” he says. “That’s why people getting together in intimate ways is so efficient, because even though it’s not always transmitted through bodily fluids and sex per se, rubbing up against somebody can cause micro abrasions, and therefore you can get exposed in that way from an open sore.”\u003c/p>\n\u003cp>Additionally, people who travel to events and stay in someone’s home or at an Airbnb should ensure the sheets have been washed properly. “Those are simple things I think people can feel some agency over,” he says.\u003c/p>\n\u003ch2>Vaccine availability will increase\u003c/h2>\n\u003cp>[aside postid='news_11920455'] The monkeypox vaccine offered in the U.S. right now is called Jynneos, which is also used to prevent smallpox. The CDC recommends that the monkeypox vaccine be given to a person within four days of the date they were exposed to monkeypox, for the best chance of preventing onset of the disease. (If a person gets the vaccine between four and 14 days of being exposed, the vaccine may reduce the symptoms of monkeypox, but may not prevent the disease altogether.)\u003c/p>\n\u003cp>San Francisco has so far received 12,000 vaccine doses, and 4,000 of those have come in the last few days. Long lines for vaccine doses have frustrated those attempting to get their shot. But Philip says more doses are on the way. “We asked as a city for 35,000 vaccines as a starting point for what we need,” Philip says. “We feel that the total number we need would be closer to 70,000. And so we’re making our need known, and the emergency declaration is going to be a way of really reinforcing that.”\u003c/p>\n\u003cp>There are currently 10 \u003ca href=\"https://sf.gov/information/monkeypox-vaccine\" target=\"_blank\" rel=\"noopener noreferrer\">vaccine sites in San Francisco\u003c/a>. Eligible people include men and trans people who have sex with men; sex workers of any orientation or gender identity; people who might have been exposed to monkeypox within the past 14 days; and laboratory staff and clinicians at risk of occupational exposure.\u003c/p>\n\u003cp>While many who’ve already endured a pandemic are fearful of another virus spreading in the community, Chin-Hong says there’s reason to be optimistic that monkeypox can be contained.\u003c/p>\n\u003cp>“This is not like the early days of COVID where we didn’t have a lot of tools,” he says. “We actually do have a PCR test, we do have a vaccine, and we’re getting more and more of it. … And we do have drugs for people who are seriously ill. So in the event that you did get exposed, all is not lost.”\u003c/p>\n\u003ch2>\u003ca id=\"monkeypoxquestions\">\u003c/a>What other questions do you have about monkeypox?\u003c/h2>\n\u003cp>Do you have a question about monkeypox and can’t find an answer in this story, \u003ca href=\"https://www.kqed.org/news/11920455/where-can-i-find-a-monkeypox-vaccine-near-me\">our guide to where to find a monkeypox vaccine near you\u003c/a>, or in \u003ca href=\"https://www.kqed.org/news/11919070/monkeypox-in-the-bay-area-from-symptoms-to-how-to-find-a-vaccine-heres-what-we-know\">our explainer on monkeypox symptoms and how the virus spreads\u003c/a>?\u003c/p>\n\u003cp>You can use the box below to submit your question. What you send us will make our reporting on monkeypox stronger, and help us decide what to cover here on our site and on KQED Public Radio.\u003c/p>\n\u003cp>Please know that we can’t reach back out directly to everyone who asks a question, and we can’t give out individual medical advice. If you’re concerned about monkeypox or another health matter, we urge you to reach out to your health care provider, or a local community clinic if you don’t have insurance. (\u003ca href=\"https://www.kqed.org/news/11920455/where-can-i-find-a-monkeypox-vaccine-near-me#wheremonkeypoxvaccinenearme\">See our list of community clinics in your county.\u003c/a>)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[hearken id=”9840″ src=”https://modules.wearehearken.com/kqed/embed/9840.js”]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the ongoing COVID-19 pandemic and San Francisco’s monkeypox outbreak, health risks are on the minds of Bay Area residents—including those with tickets to music festivals, concerts and other large gatherings.\u003c/p>\n\u003cp>Due to rising monkeypox cases, San Francisco Mayor London Breed announced \u003ca href=\"https://www.kqed.org/news/11920764/an-epicenter-for-the-country-san-francisco-declares-state-of-emergency-over-monkeypox-outbreak\" target=\"_blank\" rel=\"noopener noreferrer\">a state of emergency\u003c/a> on Thursday. It goes into effect Aug. 1, and empowers the mayor’s office to mobilize personnel and resources to fight the outbreak.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#monkeypoxquestions\">What questions do you have around monkeypox?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The monkeypox virus spreads primarily through close physical contact, including skin-to-skin contact where infected lesions are present, prolonged, face-to-face contact (including close conversations) via respiratory droplets, and sharing items like clothing or bedding. So far, the outbreak has disproportionately affected men and trans people who have sex with men. But monkeypox can impact anyone, and with large gatherings coming up—including the Dore Alley queer fetish fair (July 31), the Blue Note Jazz Festival in Napa Valley (July 29-31) and the Outside Lands music festival in Golden Gate Park (Aug. 5-7)—it’s important to learn the risks before you go. KQED spoke with medical experts about how to best navigate the ongoing situation. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Gathering in crowds is still relatively safe\u003c/h2>\n\u003cp>Dr. Peter Chin-Hong, a professor and infectious disease physician at UCSF, says people should be aware of what he describes as the different tiers of monkeypox transmission risk. High risk includes prolonged, skin-to-skin contact, including sexual contact. Medium risk includes prolonged contact with sheets or bedding that a person with lesions may have used. Medium-to-low risk includes respiratory droplets. And low risk includes touching shared surfaces on transit, the gym and other public spaces.\u003c/p>\n\u003cp>Packing into a large crowd at a club, concert or festival “is a low risk, but it’s not a zero risk at this moment,” Chin-Hong says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At the end of the day, the most efficient way to get monkeypox isn’t going to a music event,” he explains. “It’s from skin-to-skin contact over several hours with an open sore in an intimate contact situation.”\u003c/p>\n\u003cp>San Francisco Health Officer Dr. Susan Philip says people who develop \u003ca href=\"https://www.kqed.org/news/11919070/monkeypox-in-the-bay-area-from-symptoms-to-how-to-find-a-vaccine-heres-what-we-know#monkeypoxsymptoms\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms such as unexplained rashes\u003c/a> or are feeling sick should avoid large gatherings. “Cover the areas with clothing or with bandages so that the skin [with the rash] is not exposed to other people,” she says. “And wear a mask and go see a provider for evaluation, because cases are increasing.”\u003c/p>\n\u003cp>The San Francisco Department of Public Health offers \u003ca href=\"https://sf.gov/resource/2022/monkeypox-outreach-toolkit\" target=\"_blank\" rel=\"noopener noreferrer\">an informational toolkit\u003c/a> which includes posters about monkeypox that event producers can download and display at gatherings.\u003c/p>\n\u003ch2>Masking helps reduce risk\u003c/h2>\n\u003cp>At a festival or gathering, “you’re much more likely to get COVID than monkeypox,” Chin-Hong says. Masking helps reduce risk of both. While N95, KF94 or K95 masks have proven effective in reducing COVID-19 transmission, Chin-Hong says, a surgical mask or simple cloth mask can protect you from monkeypox.\u003c/p>\n\u003cp>Even at clubs and festivals, where people tend to lean in close to talk over the music, Chin-Hong says respiratory transmission is relatively low-risk. “[Someone] must be shouting at you for hours, probably, for that to occur,” he says, adding that kissing would create a higher risk of transmission through saliva than conversation.\u003c/p>\n\u003cp>Although simply standing in a crowd creates a low risk of transmission, wearing clothes that cover the skin can be another form of protection. “If people are concerned about monkeypox, it’s good to keep some distance between them and other people in crowds,” says Philip. “To wear clothing that covers the skin is also another way to protect themselves.”\u003c/p>\n\u003ch2>The biggest risk is intimate contact\u003c/h2>\n\u003cp>While going out on the town in and of itself isn’t a high risk, intimate behaviors before or after a show can be, Chin-Hong explains. “If somebody has an open sore and you have a break in the skin, that’s probably the most efficient way to get it,” he says. “That’s why people getting together in intimate ways is so efficient, because even though it’s not always transmitted through bodily fluids and sex per se, rubbing up against somebody can cause micro abrasions, and therefore you can get exposed in that way from an open sore.”\u003c/p>\n\u003cp>Additionally, people who travel to events and stay in someone’s home or at an Airbnb should ensure the sheets have been washed properly. “Those are simple things I think people can feel some agency over,” he says.\u003c/p>\n\u003ch2>Vaccine availability will increase\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> The monkeypox vaccine offered in the U.S. right now is called Jynneos, which is also used to prevent smallpox. The CDC recommends that the monkeypox vaccine be given to a person within four days of the date they were exposed to monkeypox, for the best chance of preventing onset of the disease. (If a person gets the vaccine between four and 14 days of being exposed, the vaccine may reduce the symptoms of monkeypox, but may not prevent the disease altogether.)\u003c/p>\n\u003cp>San Francisco has so far received 12,000 vaccine doses, and 4,000 of those have come in the last few days. Long lines for vaccine doses have frustrated those attempting to get their shot. But Philip says more doses are on the way. “We asked as a city for 35,000 vaccines as a starting point for what we need,” Philip says. “We feel that the total number we need would be closer to 70,000. And so we’re making our need known, and the emergency declaration is going to be a way of really reinforcing that.”\u003c/p>\n\u003cp>There are currently 10 \u003ca href=\"https://sf.gov/information/monkeypox-vaccine\" target=\"_blank\" rel=\"noopener noreferrer\">vaccine sites in San Francisco\u003c/a>. Eligible people include men and trans people who have sex with men; sex workers of any orientation or gender identity; people who might have been exposed to monkeypox within the past 14 days; and laboratory staff and clinicians at risk of occupational exposure.\u003c/p>\n\u003cp>While many who’ve already endured a pandemic are fearful of another virus spreading in the community, Chin-Hong says there’s reason to be optimistic that monkeypox can be contained.\u003c/p>\n\u003cp>“This is not like the early days of COVID where we didn’t have a lot of tools,” he says. “We actually do have a PCR test, we do have a vaccine, and we’re getting more and more of it. … And we do have drugs for people who are seriously ill. So in the event that you did get exposed, all is not lost.”\u003c/p>\n\u003ch2>\u003ca id=\"monkeypoxquestions\">\u003c/a>What other questions do you have about monkeypox?\u003c/h2>\n\u003cp>Do you have a question about monkeypox and can’t find an answer in this story, \u003ca href=\"https://www.kqed.org/news/11920455/where-can-i-find-a-monkeypox-vaccine-near-me\">our guide to where to find a monkeypox vaccine near you\u003c/a>, or in \u003ca href=\"https://www.kqed.org/news/11919070/monkeypox-in-the-bay-area-from-symptoms-to-how-to-find-a-vaccine-heres-what-we-know\">our explainer on monkeypox symptoms and how the virus spreads\u003c/a>?\u003c/p>\n\u003cp>You can use the box below to submit your question. What you send us will make our reporting on monkeypox stronger, and help us decide what to cover here on our site and on KQED Public Radio.\u003c/p>\n\u003cp>Please know that we can’t reach back out directly to everyone who asks a question, and we can’t give out individual medical advice. If you’re concerned about monkeypox or another health matter, we urge you to reach out to your health care provider, or a local community clinic if you don’t have insurance. (\u003ca href=\"https://www.kqed.org/news/11920455/where-can-i-find-a-monkeypox-vaccine-near-me#wheremonkeypoxvaccinenearme\">See our list of community clinics in your county.\u003c/a>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Papsolutely Fabulous: ‘Nan and the Lower Body’ Brings Feminist Issues to the Stage",
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"content": "\u003cp>There is no swift way to sum up the multitudes present in \u003cem>Nan and the Lower Body. \u003c/em>The play, written by \u003ca href=\"https://www.jessicadickey.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Dickey\u003c/a>, directed by \u003ca href=\"https://www.vineyardtheatre.org/giovanna-sardelli/\" target=\"_blank\" rel=\"noopener noreferrer\">Giovanna Sardelli\u003c/a> and presented onstage in Palo Alto by \u003ca href=\"https://theatreworks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreWorks Silicon Valley\u003c/a>, is an exploration of everything it means to be a woman. It touches on the way women’s health has been traditionally neglected by the medical community. It ponders gender roles and the ways women have been sidelined by patriarchal culture. It even quietly highlights the stoicism women develop because of the pain—both physical and emotional—that is inherent to living in a female body.\u003c/p>\n\u003cp>The play, which is based on real-life events, revolves around four characters. On one side there’s Nan, a conscientious cytologist in training, and her loving husband Ted, a minister who considers himself progressive but still puts his goals before hers. On the other there’s the quirky Dr. Papanicolaou, who has just developed the life-saving Pap smear, and his wife Mache, a bold woman who loves music, ouzo and delivering zingers.\u003c/p>\n\u003cfigure id=\"attachment_13916347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916347\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-800x594.png\" alt=\"A woman in a lilac dress sits at a dining table and speaks to another seated woman, wearing grey skirt and pink shirt. To her right is a young man wearing a grey suit. To her left, an older man in a grey suit pours a drink at the table. All are wearing period clothing from the 1950s. Behind them are shelves full of books and boardgames.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-800x594.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-1536x1141.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM.png 1898w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan (Slissa Beth Stebbins) and Ted (Jeffrey Brian Adams) attend a dinner at the home of Dr. Papanicolaou (Christopher Daftsios) and Mache (Lisa Ramirez). \u003ccite>(Alessandra Mello/ Courtesy of TheatreWorks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four actors in these roles (Elissa Beth Stebbins, Jeffrey Brian Adams, Christopher Daftsios and Lisa Ramirez) have a sparkling chemistry that facilitates a surprising number of laugh-out-loud moments. That humor is key to getting \u003cem>Nan and the Lower Body\u003c/em>‘s many salient points across. (An ongoing joke about the way the word “vagina” makes certain people squirm is a particular joy.)\u003c/p>\n\u003cp>There are a number of moments in \u003cem>Nan\u003c/em> that shouldn’t work on the stage, but do: the pap smear that is performed on Nan towards the end of the play. The moment Mache angrily throws a box of slides (containing vaginal fluid) into the middle of an in-use dining table. The conversation between Dr. Papanicolaou and Ted about whether or not women are the superior sex. In the wrong hands, all would be awkward—even cringe-worthy. Instead, these scenes work because of sharp dialogue, the aforementioned cast chemistry and Sardelli’s masterful direction. It helps that the two sets—the lab where Dr. Papanicolaou and Nan work, and a multi-dimensional living room—are beautifully detailed and realistic.\u003c/p>\n\u003cfigure id=\"attachment_13916348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-800x538.png\" alt=\"A grey haired man and a young woman, both wearing white lab coats work in a lab. In front of them is a table with a microscope on it. Behind them a black board with diagrams of cells on it and shelves full of medical bottles.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM.png 1792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Papanicolaou and Nan working in the lab. \u003ccite>(Alessandra Mello/ Courtesy of TheatreWorks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot hinges on two things: whether or not Nan will sacrifice her rewarding work to put her husband’s needs first, and her desire to find out where her chronic physical pain comes from. Neither ends up being the point of the play. Rather, \u003cem>Nan and the Lower Body\u003c/em>‘s greatest concerns are about how cis women’s lives are impacted by the bodies they’re born into.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13916175']While even seasoned feminists will walk away from the play with new philosophies to ponder, it’s essential to note that there is a tonal shift during the play’s finale that is deeply jarring. Playwright Jessica Dickey—the granddaughter of the real-life Nan—inserts her own story into the final five minutes in a way that jarringly shifts focus. It feels unnecessary, especially since Dickey also delivers her perspective on her grandmother’s work with a moving personal essay in the play’s program. A better ending would have been simply to allow Dr. Papanicolaou’s narration to sum up what happened in the rest of the characters’ lives.\u003c/p>\n\u003cp>That’s not to say that \u003cem>Nan and the Lower Body\u003c/em> isn’t worthy of your time. The vast majority of the play is an entertaining and effective exploration of women’s issues performed in an original and compelling context. One only wishes that an editor had been on hand to keep the focus unerringly on the fascinating woman at the center of the piece, Nan Day.\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>‘Nan and the Lower Body’ is at the Lucie Stern Theatre (1305 Middlefield Road, Palo Alto) through Aug. 7. \u003ca href=\"https://theatreworks.org/season51/nan-and-the-lower-body/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is no swift way to sum up the multitudes present in \u003cem>Nan and the Lower Body. \u003c/em>The play, written by \u003ca href=\"https://www.jessicadickey.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jessica Dickey\u003c/a>, directed by \u003ca href=\"https://www.vineyardtheatre.org/giovanna-sardelli/\" target=\"_blank\" rel=\"noopener noreferrer\">Giovanna Sardelli\u003c/a> and presented onstage in Palo Alto by \u003ca href=\"https://theatreworks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreWorks Silicon Valley\u003c/a>, is an exploration of everything it means to be a woman. It touches on the way women’s health has been traditionally neglected by the medical community. It ponders gender roles and the ways women have been sidelined by patriarchal culture. It even quietly highlights the stoicism women develop because of the pain—both physical and emotional—that is inherent to living in a female body.\u003c/p>\n\u003cp>The play, which is based on real-life events, revolves around four characters. On one side there’s Nan, a conscientious cytologist in training, and her loving husband Ted, a minister who considers himself progressive but still puts his goals before hers. On the other there’s the quirky Dr. Papanicolaou, who has just developed the life-saving Pap smear, and his wife Mache, a bold woman who loves music, ouzo and delivering zingers.\u003c/p>\n\u003cfigure id=\"attachment_13916347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916347\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-800x594.png\" alt=\"A woman in a lilac dress sits at a dining table and speaks to another seated woman, wearing grey skirt and pink shirt. To her right is a young man wearing a grey suit. To her left, an older man in a grey suit pours a drink at the table. All are wearing period clothing from the 1950s. Behind them are shelves full of books and boardgames.\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-800x594.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM-1536x1141.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.37.47-PM.png 1898w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan (Slissa Beth Stebbins) and Ted (Jeffrey Brian Adams) attend a dinner at the home of Dr. Papanicolaou (Christopher Daftsios) and Mache (Lisa Ramirez). \u003ccite>(Alessandra Mello/ Courtesy of TheatreWorks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The four actors in these roles (Elissa Beth Stebbins, Jeffrey Brian Adams, Christopher Daftsios and Lisa Ramirez) have a sparkling chemistry that facilitates a surprising number of laugh-out-loud moments. That humor is key to getting \u003cem>Nan and the Lower Body\u003c/em>‘s many salient points across. (An ongoing joke about the way the word “vagina” makes certain people squirm is a particular joy.)\u003c/p>\n\u003cp>There are a number of moments in \u003cem>Nan\u003c/em> that shouldn’t work on the stage, but do: the pap smear that is performed on Nan towards the end of the play. The moment Mache angrily throws a box of slides (containing vaginal fluid) into the middle of an in-use dining table. The conversation between Dr. Papanicolaou and Ted about whether or not women are the superior sex. In the wrong hands, all would be awkward—even cringe-worthy. Instead, these scenes work because of sharp dialogue, the aforementioned cast chemistry and Sardelli’s masterful direction. It helps that the two sets—the lab where Dr. Papanicolaou and Nan work, and a multi-dimensional living room—are beautifully detailed and realistic.\u003c/p>\n\u003cfigure id=\"attachment_13916348\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916348\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-800x538.png\" alt=\"A grey haired man and a young woman, both wearing white lab coats work in a lab. In front of them is a table with a microscope on it. Behind them a black board with diagrams of cells on it and shelves full of medical bottles.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-1020x685.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM-1536x1032.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Screen-Shot-2022-07-19-at-6.51.57-PM.png 1792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Papanicolaou and Nan working in the lab. \u003ccite>(Alessandra Mello/ Courtesy of TheatreWorks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot hinges on two things: whether or not Nan will sacrifice her rewarding work to put her husband’s needs first, and her desire to find out where her chronic physical pain comes from. Neither ends up being the point of the play. Rather, \u003cem>Nan and the Lower Body\u003c/em>‘s greatest concerns are about how cis women’s lives are impacted by the bodies they’re born into.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While even seasoned feminists will walk away from the play with new philosophies to ponder, it’s essential to note that there is a tonal shift during the play’s finale that is deeply jarring. Playwright Jessica Dickey—the granddaughter of the real-life Nan—inserts her own story into the final five minutes in a way that jarringly shifts focus. It feels unnecessary, especially since Dickey also delivers her perspective on her grandmother’s work with a moving personal essay in the play’s program. A better ending would have been simply to allow Dr. Papanicolaou’s narration to sum up what happened in the rest of the characters’ lives.\u003c/p>\n\u003cp>That’s not to say that \u003cem>Nan and the Lower Body\u003c/em> isn’t worthy of your time. The vast majority of the play is an entertaining and effective exploration of women’s issues performed in an original and compelling context. One only wishes that an editor had been on hand to keep the focus unerringly on the fascinating woman at the center of the piece, Nan Day.\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>‘Nan and the Lower Body’ is at the Lucie Stern Theatre (1305 Middlefield Road, Palo Alto) through Aug. 7. \u003ca href=\"https://theatreworks.org/season51/nan-and-the-lower-body/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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