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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"content": "\u003cp>After being locked into endless Zoom rooms like so many theater companies in the past few years, \u003ca href=\"https://www.altertheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AlterTheater Ensemble\u003c/a> in San Rafael is using the summer of 2022 for a massive reboot.\u003c/p>\n\u003cp>Their production of \u003ca href=\"https://app.arts-people.com/index.php?ticketing=alter\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pure Native\u003c/em>,\u003c/a> written by Tuscarora playwright Vickie Ramirez, is the story of a prodigal son returning to his devastated upstate New York reservation with a potential remedy to the problems the land is facing. The solution includes licensing the reservation’s resources to the water conglomerate he works for, but he’s met with fierce resistance from his former community and childhood sweetheart.\u003c/p>\n\u003cp>The play, originally scheduled for Alter’s 2020 season, is now the centerpiece of some major changes for the company. The first is to shift away from an indoor space for the first time in their 17-year history, performing at California Shakespeare Theater in Orinda from July 15–24, then moving to Boyd Park in San Rafael from July 29–Aug. 7.\u003c/p>\n\u003cp>The second change is one that will carry a legacy long after the show closes: a five-day sleepaway camp where Native youth in grades seven through 12 will have the chance to take master classes from professional artists. The \u003ca href=\"https://www.altertheater.org/arts-learning-project-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Learning Project for Native Youth\u003c/a> began online during the pandemic. The first in-person gathering took place on the University of Nevada, Reno campus in 2021, and it’s coming to the UC Berkeley campus at the end of July.\u003c/p>\n\u003cfigure id=\"attachment_13916137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916137\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_9907-800x910.jpg\" alt=\"\" width=\"800\" height=\"910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_9907-800x910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_9907-160x182.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_9907-768x874.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_9907.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Riatta Palmer, Fort McDermitt Paiute and Shoshone, works on a monologue during AlterTheater’s first sleep away summer camp for Native youth, held on the campus of University of Nevada, Reno in July 2021. \u003ccite>(Teresa Melendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alter’s artistic director and co-founder Jeanette Harrison is ecstatic about what the youth will absorb over their time in the East Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the exciting things about this camp is that we’re bringing in students who have very little, if any, exposure to the performing arts,” says Harrison, who is of Onondaga descent and a strong proponent and developer of Native new works regionally and nationwide. “We’re also bringing in students who’ve had lots of exposure to the performing arts. However, it’s been in spaces where they are the only Native person in the room. For the youth to come in and do something they’ve been doing, but doing it in an all-Native space that’s culturally competent and supporting their full selves, is going to be a powerful thing.”\u003c/p>\n\u003cfigure id=\"attachment_13916139\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Harrison_Jeanette-800x1200.jpeg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Harrison_Jeanette-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Harrison_Jeanette-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Harrison_Jeanette-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Harrison_Jeanette.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AlterTheater’s artistic director Jeanette Harrison. \u003ccite>(Paul Gregory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The camp prioritizes youth on reservations but has fortunately been able to accept all applicants. Most students come from California and Nevada, and the rest hail from the Northwest, the Seneca Nation in New York, Louisiana and the Navajo Nation. One of the goals of the camp is to expose them to writing for and by Native people.\u003c/p>\n\u003cp>“One of my personal frustrations is that there’s a lot of misrepresentation and stereotypes, lots of writing about Natives by non-Native people that’s very one dimensional,” says Harrison. “But when you have work actually written by Natives, it’s funny and multi-dimensional, complicated and complex. The play we’re working on now delves into the nuances of some very complicated issues in Indian country.”\u003c/p>\n\u003cp>Terry Jones is an enrolled member of the Seneca Nation of Indians, located about 40 miles south of Niagara Falls. He’s also a performer in \u003cem>Pure Native\u003c/em> and an instructor for the camp. Jones is particularly thrilled about the opportunity to have conversations about lives and futures, and to address the obstacles that have been culturally and historically placed upon Indigenous peoples.\u003c/p>\n\u003cp>“A lot of times, especially in big universities, you can be the only Indigenous person in the class, and in a lot of ways, you end up being the representation of all Indigenous people,” says Jones, who is also a filmmaker and founder of \u003ca href=\"https://www.tornjerseymedia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TornJersey Media\u003c/a>, an independent Indigenous media production company. “With this program, what I bring is my experience—this is what you can expect if you want to pursue higher education, or when you go into the arts.”\u003c/p>\n\u003cfigure id=\"attachment_13916138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Terry-Jones-Headshot-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Terry Jones is an instructor at the Arts Learning Project for Native Youth. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harrison emphasizes that higher education is a critical focus for the students in the program. “It’s bringing students from the reservation to different communities and helping them connect with Native staff members, Native faculty, Native support services, Native student services, Native student associations and all the support infrastructure that can exist at a college campus,” she says.\u003c/p>\n\u003cp>For Jones, the opportunity to share his trajectory with the next generation of Native artists is a joy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This program is a great opportunity for me to pass the baton to the future Native leaders of tomorrow,” says Jones. “I think the biggest thing for the students to realize is that you can expand beyond survival mode and actually prosper and flourish as an artist, and hopefully we’re good examples of that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After being locked into endless Zoom rooms like so many theater companies in the past few years, \u003ca href=\"https://www.altertheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AlterTheater Ensemble\u003c/a> in San Rafael is using the summer of 2022 for a massive reboot.\u003c/p>\n\u003cp>Their production of \u003ca href=\"https://app.arts-people.com/index.php?ticketing=alter\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pure Native\u003c/em>,\u003c/a> written by Tuscarora playwright Vickie Ramirez, is the story of a prodigal son returning to his devastated upstate New York reservation with a potential remedy to the problems the land is facing. The solution includes licensing the reservation’s resources to the water conglomerate he works for, but he’s met with fierce resistance from his former community and childhood sweetheart.\u003c/p>\n\u003cp>The play, originally scheduled for Alter’s 2020 season, is now the centerpiece of some major changes for the company. The first is to shift away from an indoor space for the first time in their 17-year history, performing at California Shakespeare Theater in Orinda from July 15–24, then moving to Boyd Park in San Rafael from July 29–Aug. 7.\u003c/p>\n\u003cp>The second change is one that will carry a legacy long after the show closes: a five-day sleepaway camp where Native youth in grades seven through 12 will have the chance to take master classes from professional artists. The \u003ca href=\"https://www.altertheater.org/arts-learning-project-fund\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Learning Project for Native Youth\u003c/a> began online during the pandemic. The first in-person gathering took place on the University of Nevada, Reno campus in 2021, and it’s coming to the UC Berkeley campus at the end of July.\u003c/p>\n\u003cfigure id=\"attachment_13916137\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916137\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_9907-800x910.jpg\" alt=\"\" width=\"800\" height=\"910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_9907-800x910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_9907-160x182.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_9907-768x874.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_9907.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Riatta Palmer, Fort McDermitt Paiute and Shoshone, works on a monologue during AlterTheater’s first sleep away summer camp for Native youth, held on the campus of University of Nevada, Reno in July 2021. \u003ccite>(Teresa Melendez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alter’s artistic director and co-founder Jeanette Harrison is ecstatic about what the youth will absorb over their time in the East Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the exciting things about this camp is that we’re bringing in students who have very little, if any, exposure to the performing arts,” says Harrison, who is of Onondaga descent and a strong proponent and developer of Native new works regionally and nationwide. “We’re also bringing in students who’ve had lots of exposure to the performing arts. However, it’s been in spaces where they are the only Native person in the room. For the youth to come in and do something they’ve been doing, but doing it in an all-Native space that’s culturally competent and supporting their full selves, is going to be a powerful thing.”\u003c/p>\n\u003cfigure id=\"attachment_13916139\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Harrison_Jeanette-800x1200.jpeg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Harrison_Jeanette-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Harrison_Jeanette-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Harrison_Jeanette-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Harrison_Jeanette.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AlterTheater’s artistic director Jeanette Harrison. \u003ccite>(Paul Gregory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The camp prioritizes youth on reservations but has fortunately been able to accept all applicants. Most students come from California and Nevada, and the rest hail from the Northwest, the Seneca Nation in New York, Louisiana and the Navajo Nation. One of the goals of the camp is to expose them to writing for and by Native people.\u003c/p>\n\u003cp>“One of my personal frustrations is that there’s a lot of misrepresentation and stereotypes, lots of writing about Natives by non-Native people that’s very one dimensional,” says Harrison. “But when you have work actually written by Natives, it’s funny and multi-dimensional, complicated and complex. The play we’re working on now delves into the nuances of some very complicated issues in Indian country.”\u003c/p>\n\u003cp>Terry Jones is an enrolled member of the Seneca Nation of Indians, located about 40 miles south of Niagara Falls. He’s also a performer in \u003cem>Pure Native\u003c/em> and an instructor for the camp. Jones is particularly thrilled about the opportunity to have conversations about lives and futures, and to address the obstacles that have been culturally and historically placed upon Indigenous peoples.\u003c/p>\n\u003cp>“A lot of times, especially in big universities, you can be the only Indigenous person in the class, and in a lot of ways, you end up being the representation of all Indigenous people,” says Jones, who is also a filmmaker and founder of \u003ca href=\"https://www.tornjerseymedia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">TornJersey Media\u003c/a>, an independent Indigenous media production company. “With this program, what I bring is my experience—this is what you can expect if you want to pursue higher education, or when you go into the arts.”\u003c/p>\n\u003cfigure id=\"attachment_13916138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Terry-Jones-Headshot-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Terry-Jones-Headshot.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Terry Jones is an instructor at the Arts Learning Project for Native Youth. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harrison emphasizes that higher education is a critical focus for the students in the program. “It’s bringing students from the reservation to different communities and helping them connect with Native staff members, Native faculty, Native support services, Native student services, Native student associations and all the support infrastructure that can exist at a college campus,” she says.\u003c/p>\n\u003cp>For Jones, the opportunity to share his trajectory with the next generation of Native artists is a joy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This program is a great opportunity for me to pass the baton to the future Native leaders of tomorrow,” says Jones. “I think the biggest thing for the students to realize is that you can expand beyond survival mode and actually prosper and flourish as an artist, and hopefully we’re good examples of that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Theater Helped Him Feel Free at San Quentin—Now He’s Paying it Forward",
"headTitle": "Theater Helped Him Feel Free at San Quentin—Now He’s Paying it Forward | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In 2020, Juan Meza thought he was going to die just a few months before he was due to be released from San Quentin State Prison after 24 total years of incarceration.\u003c/p>\n\u003cp>His neck and back were aching, he had an out-of-control fever and his blood pressure was skyrocketing. Meza had COVID during the first wave of the pandemic and, as he sat in his cell, he lamented losing one of the few things that brought him joy in prison—the acting program he participated in with Marin Shakespeare Company. [pullquote size='medium' align='right' citation='Juan Meza, an actor who was formerly incarcerated at San Quentin']‘I was able to show that I am a director, that I am a choreographer, that I am an actor, that I am a set designer, that I am essentially an artist.’[/pullquote]\u003c/p>\n\u003cp>“Acting, performing—doing these things were a release, a very lethargic process of getting stuff out that we needed to and everything. We didn’t have that avenue anymore and we didn’t know if we were going to get it back,” Meza says. “I think that was what was most disconcerting. It was just something that was devastating. Here’s something that we had worked towards, and now we couldn’t do anything again.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.marinshakespeare.org/shakespeare-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">Marin Shakespeare Company\u003c/a> had been running programming in San Quentin—providing a vital creative, emotional and social outlet for those inside—for 17 years uninterrupted until the pandemic hit.\u003c/p>\n\u003cp>The non-profit theater group has been working with incarcerated people since 2003. Today, they provide drama therapy-inspired acting classes to men, women and youth in 14 different California state prisons with the goal of fostering “self-reflection, self-expression, cooperation, compassion, and goal-setting” among class participants, according to their website.\u003c/p>\n\u003cfigure id=\"attachment_13915618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-800x240.jpg\" alt=\"\" width=\"800\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-800x240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-1020x306.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-768x230.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-1536x461.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since getting out of San Quentin State Prison in 2020, Colusa resident Juan Meza works in construction by day while continuing to pursue his passion for theater at Marin Shakespeare Company. \u003ccite>(Fred Greaves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lesley Currier, Marin Shakespeare’s managing director, says the men in San Quentin draw “a lot of positive benefits” from her organization’s affiliation with the prison. Among them are “people rediscovering their own creativity; rediscovering their own sense of play,” she says.\u003c/p>\n\u003cp>“We hear so often: ‘Over the two and a half hours that I spent in the group, I felt like I was free. I didn’t feel like I was in prison,’” Currier says. “Doing something outside the box is really powerful, particularly for people who’ve been labeled, you know, ‘You are not someone who’s going to succeed. You’re a criminal.’ To do something else—to play, to have different roles—really makes you believe that you can do things that you hadn’t thought of doing before.” [aside postID=\"arts_13913890\"]\u003c/p>\n\u003cp>Meza, who goes by the stage name Losdini, attests that the acting program helped him reveal another side of himself. He got involved with Marin Shakespeare when he transferred to San Quentin after 16 years at another facility. “If I had never stepped into that first class in San Quentin with Marin Shakespeare Company, I would not have been able to reveal my humanity,” he says. “In that I was able to show that I am a director, that I am a choreographer, that I am an actor, that I am a set designer, that I am essentially an artist.”\u003c/p>\n\u003cfigure id=\"attachment_13915621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915621\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148.jpg 1667w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juan Meza plays bass at home in Colusa, California on June 21, 2022. \u003ccite>(Fred Greaves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when COVID hit, Meza’s artistry was put on hold and Marin Shakespeare Company had to pivot their classes since their instructors were no longer allowed to visit the prison. First, they recorded a production of \u003cem>Romeo and Juliet\u003c/em>, put on by some of the formerly incarcerated actors who had been through their program, and sent them to the men in San Quentin.\u003c/p>\n\u003cp>When the prison prohibited them from sending more videos, the theater company distributed packets with writing exercises to stimulate the men’s creative skills. The prompts had Shakespearean themes that were also relevant to daily life during COVID, like plague, friendship, loyalty and self-care. After receiving the writing packages back, Marin Shakespeare posted the men’s writing to their website and even had some formerly incarcerated actors do dramatic readings of the writing that came from inside.\u003c/p>\n\u003cfigure id=\"attachment_13915622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juan Meza smokes a cigarette outside his home in Colusa, California June 21, 2022. \u003ccite>(Fred Greaves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even this makeshift programming wasn’t enough to distract from the hellish conditions inside San Quentin at the height of the pandemic. San Quentin had the worst COVID outbreak of any prison in California. Over 2,000 inmates were infected and 29 people died from the outbreak, which was caused by a \u003ca href=\"https://www.latimes.com/opinion/story/2022-01-28/covid-prison-san-quentin-ruling\" target=\"_blank\" rel=\"noopener noreferrer\">botched transfer of sick prisoners from Southern California\u003c/a>. The situation was then exacerbated by a lack of personal protective equipment in the prison and overcrowding, which made social distancing impossible.\u003c/p>\n\u003cp>According to Meza, “there was a lot of fear, there was a lot of anxiety, there’s a lot of unknowns, there was a lot of misinformation going around,” he says. “In a matter of two weeks, we were now locked in a cell again, unable to move, scared, frightened.” [aside postID=\"arts_13913947\"]\u003c/p>\n\u003cp>Currier says when the Marin Shakespeare Company was finally able to come back to San Quentin in June 2021, they spent their first couple of classes talking about what the men had experienced during quarantine. Currier says COVID was “really scary for the men” since “everyone knew someone who had died or who had yelled ‘man down,’” the phrase spoken to alert prison personnel that someone needed immediate medical attention.\u003c/p>\n\u003cp>Even today Currier says COVID continues to be used “as an excuse” to take away privileges from the men of San Quentin. Despite this, Marin Shakespeare Company was able to stage three performances in front of a live audience in December 2021 with the men of San Quentin, with a production of \u003cem>Henry IV\u003c/em> to come in August.\u003c/p>\n\u003cfigure id=\"attachment_13915509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GettyImages-1322090464-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Shakespeare at San Quentin along with Marin Shakespeare Company’s and Director Suraya Keating (second from bottom on right) gather backstage before they perform “Twelfth Night” at San Quentin State Prison on Friday, August 5, 2011 in San Quentin, Calif. \u003ccite>(Lea Suzuki/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Marin Shakespeare Company returned to San Quentin, Meza had been paroled. Today, he is continuing his passion for acting and directing (he \u003ca href=\"https://www.youtube.com/watch?v=2-dF_hTiEE4\" target=\"_blank\" rel=\"noopener noreferrer\">co-directed his first production in May\u003c/a>) with Marin Shakespeare as part of their \u003ca href=\"https://www.marinshakespeare.org/returned-citizens-theatre-troupe/#:~:text=The%20mission%20of%20the%20Returned,understanding%20and%20communication%20through%20theatre.\" target=\"_blank\" rel=\"noopener noreferrer\">Returned Citizens Theater Troupe\u003c/a>, a program Currier says gets at the essence of the importance of MSC’s work in prisons.\u003c/p>\n\u003cp>“For the last seven years, we have been hiring actors who have been able to get out of prison to tell their stories through theater,” Currier says. “Some of the conversations after those performances have been amazing as many people say to me, ‘Well, it’s just really changed my attitude about criminal justice in this country,’ because the goal is we need to change hearts and minds so that we can change our laws.” [aside postID=\"arts_13914030\"]\u003c/p>\n\u003cp>Meza says his reasoning for returning to Marin Shakespeare Company post-incarceration is to pay forward what they did for him to the next person.\u003c/p>\n\u003cp>“Now that I’m not incarcerated in prison anymore, I still want to go back to the humans that are inside to sit with them and say, ‘Look, we can do this,’” Meza says. “There’s a niche that I can be in where I understand, like no volunteer will, what it means to be incarcerated. … I have that knowledge, I have that experience. Where other people can only sympathize, I can empathize.”\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>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A survivor of San Quentin's brutal COVID outbreak, Marin Shakespeare actor Juan Meza wants to help those still inside.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In 2020, Juan Meza thought he was going to die just a few months before he was due to be released from San Quentin State Prison after 24 total years of incarceration.\u003c/p>\n\u003cp>His neck and back were aching, he had an out-of-control fever and his blood pressure was skyrocketing. Meza had COVID during the first wave of the pandemic and, as he sat in his cell, he lamented losing one of the few things that brought him joy in prison—the acting program he participated in with Marin Shakespeare Company. \u003c/p>\u003c/div>",
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"content": "‘I was able to show that I am a director, that I am a choreographer, that I am an actor, that I am a set designer, that I am essentially an artist.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Acting, performing—doing these things were a release, a very lethargic process of getting stuff out that we needed to and everything. We didn’t have that avenue anymore and we didn’t know if we were going to get it back,” Meza says. “I think that was what was most disconcerting. It was just something that was devastating. Here’s something that we had worked towards, and now we couldn’t do anything again.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.marinshakespeare.org/shakespeare-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">Marin Shakespeare Company\u003c/a> had been running programming in San Quentin—providing a vital creative, emotional and social outlet for those inside—for 17 years uninterrupted until the pandemic hit.\u003c/p>\n\u003cp>The non-profit theater group has been working with incarcerated people since 2003. Today, they provide drama therapy-inspired acting classes to men, women and youth in 14 different California state prisons with the goal of fostering “self-reflection, self-expression, cooperation, compassion, and goal-setting” among class participants, according to their website.\u003c/p>\n\u003cfigure id=\"attachment_13915618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-800x240.jpg\" alt=\"\" width=\"800\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-800x240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-1020x306.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-768x230.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves-1536x461.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/juan-meza-composite-fred-greaves.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Since getting out of San Quentin State Prison in 2020, Colusa resident Juan Meza works in construction by day while continuing to pursue his passion for theater at Marin Shakespeare Company. \u003ccite>(Fred Greaves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lesley Currier, Marin Shakespeare’s managing director, says the men in San Quentin draw “a lot of positive benefits” from her organization’s affiliation with the prison. Among them are “people rediscovering their own creativity; rediscovering their own sense of play,” she says.\u003c/p>\n\u003cp>“We hear so often: ‘Over the two and a half hours that I spent in the group, I felt like I was free. I didn’t feel like I was in prison,’” Currier says. “Doing something outside the box is really powerful, particularly for people who’ve been labeled, you know, ‘You are not someone who’s going to succeed. You’re a criminal.’ To do something else—to play, to have different roles—really makes you believe that you can do things that you hadn’t thought of doing before.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meza, who goes by the stage name Losdini, attests that the acting program helped him reveal another side of himself. He got involved with Marin Shakespeare when he transferred to San Quentin after 16 years at another facility. “If I had never stepped into that first class in San Quentin with Marin Shakespeare Company, I would not have been able to reveal my humanity,” he says. “In that I was able to show that I am a director, that I am a choreographer, that I am an actor, that I am a set designer, that I am essentially an artist.”\u003c/p>\n\u003cfigure id=\"attachment_13915621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915621\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1148.jpg 1667w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juan Meza plays bass at home in Colusa, California on June 21, 2022. \u003ccite>(Fred Greaves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when COVID hit, Meza’s artistry was put on hold and Marin Shakespeare Company had to pivot their classes since their instructors were no longer allowed to visit the prison. First, they recorded a production of \u003cem>Romeo and Juliet\u003c/em>, put on by some of the formerly incarcerated actors who had been through their program, and sent them to the men in San Quentin.\u003c/p>\n\u003cp>When the prison prohibited them from sending more videos, the theater company distributed packets with writing exercises to stimulate the men’s creative skills. The prompts had Shakespearean themes that were also relevant to daily life during COVID, like plague, friendship, loyalty and self-care. After receiving the writing packages back, Marin Shakespeare posted the men’s writing to their website and even had some formerly incarcerated actors do dramatic readings of the writing that came from inside.\u003c/p>\n\u003cfigure id=\"attachment_13915622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/fg_san-quentin-theatre_2022_06_21_R5B1105-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juan Meza smokes a cigarette outside his home in Colusa, California June 21, 2022. \u003ccite>(Fred Greaves)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even this makeshift programming wasn’t enough to distract from the hellish conditions inside San Quentin at the height of the pandemic. San Quentin had the worst COVID outbreak of any prison in California. Over 2,000 inmates were infected and 29 people died from the outbreak, which was caused by a \u003ca href=\"https://www.latimes.com/opinion/story/2022-01-28/covid-prison-san-quentin-ruling\" target=\"_blank\" rel=\"noopener noreferrer\">botched transfer of sick prisoners from Southern California\u003c/a>. The situation was then exacerbated by a lack of personal protective equipment in the prison and overcrowding, which made social distancing impossible.\u003c/p>\n\u003cp>According to Meza, “there was a lot of fear, there was a lot of anxiety, there’s a lot of unknowns, there was a lot of misinformation going around,” he says. “In a matter of two weeks, we were now locked in a cell again, unable to move, scared, frightened.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currier says when the Marin Shakespeare Company was finally able to come back to San Quentin in June 2021, they spent their first couple of classes talking about what the men had experienced during quarantine. Currier says COVID was “really scary for the men” since “everyone knew someone who had died or who had yelled ‘man down,’” the phrase spoken to alert prison personnel that someone needed immediate medical attention.\u003c/p>\n\u003cp>Even today Currier says COVID continues to be used “as an excuse” to take away privileges from the men of San Quentin. Despite this, Marin Shakespeare Company was able to stage three performances in front of a live audience in December 2021 with the men of San Quentin, with a production of \u003cem>Henry IV\u003c/em> to come in August.\u003c/p>\n\u003cfigure id=\"attachment_13915509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GettyImages-1322090464-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GettyImages-1322090464.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Shakespeare at San Quentin along with Marin Shakespeare Company’s and Director Suraya Keating (second from bottom on right) gather backstage before they perform “Twelfth Night” at San Quentin State Prison on Friday, August 5, 2011 in San Quentin, Calif. \u003ccite>(Lea Suzuki/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Marin Shakespeare Company returned to San Quentin, Meza had been paroled. Today, he is continuing his passion for acting and directing (he \u003ca href=\"https://www.youtube.com/watch?v=2-dF_hTiEE4\" target=\"_blank\" rel=\"noopener noreferrer\">co-directed his first production in May\u003c/a>) with Marin Shakespeare as part of their \u003ca href=\"https://www.marinshakespeare.org/returned-citizens-theatre-troupe/#:~:text=The%20mission%20of%20the%20Returned,understanding%20and%20communication%20through%20theatre.\" target=\"_blank\" rel=\"noopener noreferrer\">Returned Citizens Theater Troupe\u003c/a>, a program Currier says gets at the essence of the importance of MSC’s work in prisons.\u003c/p>\n\u003cp>“For the last seven years, we have been hiring actors who have been able to get out of prison to tell their stories through theater,” Currier says. “Some of the conversations after those performances have been amazing as many people say to me, ‘Well, it’s just really changed my attitude about criminal justice in this country,’ because the goal is we need to change hearts and minds so that we can change our laws.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meza says his reasoning for returning to Marin Shakespeare Company post-incarceration is to pay forward what they did for him to the next person.\u003c/p>\n\u003cp>“Now that I’m not incarcerated in prison anymore, I still want to go back to the humans that are inside to sit with them and say, ‘Look, we can do this,’” Meza says. “There’s a niche that I can be in where I understand, like no volunteer will, what it means to be incarcerated. … I have that knowledge, I have that experience. Where other people can only sympathize, I can empathize.”\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>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Aimee Suzara Imagines ‘The Real Sappho,’ Shifting an Ancient Life to Present Day",
"headTitle": "Aimee Suzara Imagines ‘The Real Sappho,’ Shifting an Ancient Life to Present Day | KQED",
"content": "\u003cp>Like many figures from the classical era, the lyric poet Sappho is only known to us through fragments and conjecture. What seems certain is that she was a poet of great renown, referred to by Plato as the “Tenth Muse.” We know she was born on the Greek island of Lesbos. We know she had at least one daughter. And we know her poetry frequently centers around love: in celebration of marriage, and of romantic, same-sex longing for women.\u003c/p>\n\u003cp>For Oakland-based poet and playwright Aimee Suzara, integrating the story of Sappho into the present day has been a years-long process, instigated and facilitated by Cutting Ball Theater in San Francisco. Now it’s finally coming to fruition in online performances of \u003ca href=\"https://cuttingball.com/productions/the-real-sappho\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Real Sappho\u003c/i>\u003c/a> on June 24 and 25.[aside postID='arts_13914823,arts_13914750']\u003c/p>\n\u003cp>One of a number of commissioned works (the first, \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Free for All\u003c/em>\u003c/a> by Megan Cohen, debuted in 2019), Suzara’s \u003cem>The Real Sappho\u003c/em> was originally conceived as an adaptation of Estelle Lewis’ 1868 play \u003cem>Sappho of Lesbos\u003c/em>. But Suzara quickly found herself less drawn to Lewis’ tragedian take on the elusive poet and more to Sappho’s own writing.\u003c/p>\n\u003cp>“Here’s a female figure whose little fragments of work survived over centuries,” Suzara says. “We analyze it because it’s poetry and it’s about a life and a person that we can only imagine … [and then] we get these mythologies that were written about her … that take the place of her actual poetry.” But Suzara asserts that Sappho’s surviving poetry, as fragmented as it is, paints a much more down-to-earth portrait than the mythologies often do.\u003c/p>\n\u003cp>“The idea of her jumping off a cliff because she fell in love with a shepherd boy … was actually a myth that was written by male writers after she died,” she notes. “And the version of the story that went in Estelle Lewis’ [play] definitely followed a lot of that for the sake of it being very dramatic and tragic and high stakes. But I was reading it going, ‘Wait a second, where’s her daughter? Where are her female lovers?’ Aging is mentioned, her hair changing color … You know this happens to mothers, and she talks about it in her poetry. I connected with that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in order to create a Sappho that felt true to the source material Suzara found that mythology still had its place. Reflecting on Sappho’s poems for Aphrodite, Suzara wanted to keep that relationship to the divine as a theme in her play. Additionally she aimed to reconfigure Sappho’s island home into a place that felt closer to her own experience. To that end she invented “Oak-Island,” a fictionalized ode to her current hometown melded with inspiration drawn from time spent in Cuba, where her husband Einar Leliebre Nuñez (the composer for \u003cem>The Real Sappho\u003c/em>) currently lives.\u003c/p>\n\u003cp>“It’s not like Oak-Island \u003cem>is\u003c/em> Cuba, but … [it’s] a place where it’s normal to be in a community setting that includes cultural expression that may include spiritual elements.” The spiritual elements she refers to appear in her play as a chorus embodying the goddess Oshun, an Orisha figure important to Cuban Santería.\u003c/p>\n\u003cp>“Orisha-honoring is a part of the fabric of everyday life,” Suzara explains. “It’s very common to see altars, and to have to participate in celebrations that are religious—or to at least see it or be around it.” With input from Nuñez (a Santería practitioner) she was able to infuse her exploration of divine connection with an Afro-Cuban perspective that felt more authentic to the play’s Oak-Island setting.\u003c/p>\n\u003cfigure id=\"attachment_13915041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/TheRealSappho_Jeune%CC%81eSimon_photocredit_EstelaHernandez-800x533.jpg\" alt=\"A Black woman with short hair sitting on outdoor stone steps\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon as Sappho in Cutting Ball Theater’s production of Aimee Suzara’s ‘The Real Sappho.’ \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of equal importance to Suzara’s Sappho (played in the Cutting Ball production by Jeunée Simon) are her other key relationships. She teaches her poetry students not only the art of the written word but that of embodiment, through dance, ritual and frank eroticism. We see her relationships to her daughter Cleis (played by Tierra Allen), and to her lovers: men and women, past and present.\u003c/p>\n\u003cp>It may be no coincidence that all of these fragments of Suzara’s Sappho also seem to correlate to aspects of Suzara’s own identities. She too is a poet. An instructor. A queer woman whose loves are not confined to one gender. She is a maturing mother steeped in the art of creation, and in the creation of art. This last facet of Sappho’s identity felt especially important because of, as Suzara points out, an endemic inability to see mothers as artists, or even as whole human beings.\u003c/p>\n\u003cp>“There’s a line in the play where (Sappho) says ‘I was a mother, and the father, and everything raising her daughter and … I almost let my dreams go to the wayside like women always do,’” Suzara describes. “And the real threat that I constantly feel is that I could easily just say, ‘You know what? I can’t do this anymore.’ … [But] actually as a mom, I have so much to express now and so much wisdom and knowledge. I feel like I’ve become a whole other person.”\u003c/p>\n\u003cp>One could even say she’s become like Sappho, even though—as she points out in our interview—we can’t know yet what mythologies will be built around her present-day legacy. “What would it be like if my work was found in hundreds of years?” she wonders aloud. “What would I want to be carried along?”\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 Real Sappho,’ written by Aimee Suzara, directed by Nailah Harper-Malveaux, produced by Cutting Ball Theater, plays virtually June 24 and 25. \u003ca href=\"https://cuttingball.com/productions/the-real-sappho\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many figures from the classical era, the lyric poet Sappho is only known to us through fragments and conjecture. What seems certain is that she was a poet of great renown, referred to by Plato as the “Tenth Muse.” We know she was born on the Greek island of Lesbos. We know she had at least one daughter. And we know her poetry frequently centers around love: in celebration of marriage, and of romantic, same-sex longing for women.\u003c/p>\n\u003cp>For Oakland-based poet and playwright Aimee Suzara, integrating the story of Sappho into the present day has been a years-long process, instigated and facilitated by Cutting Ball Theater in San Francisco. Now it’s finally coming to fruition in online performances of \u003ca href=\"https://cuttingball.com/productions/the-real-sappho\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Real Sappho\u003c/i>\u003c/a> on June 24 and 25.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of a number of commissioned works (the first, \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Free for All\u003c/em>\u003c/a> by Megan Cohen, debuted in 2019), Suzara’s \u003cem>The Real Sappho\u003c/em> was originally conceived as an adaptation of Estelle Lewis’ 1868 play \u003cem>Sappho of Lesbos\u003c/em>. But Suzara quickly found herself less drawn to Lewis’ tragedian take on the elusive poet and more to Sappho’s own writing.\u003c/p>\n\u003cp>“Here’s a female figure whose little fragments of work survived over centuries,” Suzara says. “We analyze it because it’s poetry and it’s about a life and a person that we can only imagine … [and then] we get these mythologies that were written about her … that take the place of her actual poetry.” But Suzara asserts that Sappho’s surviving poetry, as fragmented as it is, paints a much more down-to-earth portrait than the mythologies often do.\u003c/p>\n\u003cp>“The idea of her jumping off a cliff because she fell in love with a shepherd boy … was actually a myth that was written by male writers after she died,” she notes. “And the version of the story that went in Estelle Lewis’ [play] definitely followed a lot of that for the sake of it being very dramatic and tragic and high stakes. But I was reading it going, ‘Wait a second, where’s her daughter? Where are her female lovers?’ Aging is mentioned, her hair changing color … You know this happens to mothers, and she talks about it in her poetry. I connected with that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in order to create a Sappho that felt true to the source material Suzara found that mythology still had its place. Reflecting on Sappho’s poems for Aphrodite, Suzara wanted to keep that relationship to the divine as a theme in her play. Additionally she aimed to reconfigure Sappho’s island home into a place that felt closer to her own experience. To that end she invented “Oak-Island,” a fictionalized ode to her current hometown melded with inspiration drawn from time spent in Cuba, where her husband Einar Leliebre Nuñez (the composer for \u003cem>The Real Sappho\u003c/em>) currently lives.\u003c/p>\n\u003cp>“It’s not like Oak-Island \u003cem>is\u003c/em> Cuba, but … [it’s] a place where it’s normal to be in a community setting that includes cultural expression that may include spiritual elements.” The spiritual elements she refers to appear in her play as a chorus embodying the goddess Oshun, an Orisha figure important to Cuban Santería.\u003c/p>\n\u003cp>“Orisha-honoring is a part of the fabric of everyday life,” Suzara explains. “It’s very common to see altars, and to have to participate in celebrations that are religious—or to at least see it or be around it.” With input from Nuñez (a Santería practitioner) she was able to infuse her exploration of divine connection with an Afro-Cuban perspective that felt more authentic to the play’s Oak-Island setting.\u003c/p>\n\u003cfigure id=\"attachment_13915041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/TheRealSappho_Jeune%CC%81eSimon_photocredit_EstelaHernandez-800x533.jpg\" alt=\"A Black woman with short hair sitting on outdoor stone steps\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/TheRealSappho_JeunéeSimon_photocredit_EstelaHernandez.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon as Sappho in Cutting Ball Theater’s production of Aimee Suzara’s ‘The Real Sappho.’ \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of equal importance to Suzara’s Sappho (played in the Cutting Ball production by Jeunée Simon) are her other key relationships. She teaches her poetry students not only the art of the written word but that of embodiment, through dance, ritual and frank eroticism. We see her relationships to her daughter Cleis (played by Tierra Allen), and to her lovers: men and women, past and present.\u003c/p>\n\u003cp>It may be no coincidence that all of these fragments of Suzara’s Sappho also seem to correlate to aspects of Suzara’s own identities. She too is a poet. An instructor. A queer woman whose loves are not confined to one gender. She is a maturing mother steeped in the art of creation, and in the creation of art. This last facet of Sappho’s identity felt especially important because of, as Suzara points out, an endemic inability to see mothers as artists, or even as whole human beings.\u003c/p>\n\u003cp>“There’s a line in the play where (Sappho) says ‘I was a mother, and the father, and everything raising her daughter and … I almost let my dreams go to the wayside like women always do,’” Suzara describes. “And the real threat that I constantly feel is that I could easily just say, ‘You know what? I can’t do this anymore.’ … [But] actually as a mom, I have so much to express now and so much wisdom and knowledge. I feel like I’ve become a whole other person.”\u003c/p>\n\u003cp>One could even say she’s become like Sappho, even though—as she points out in our interview—we can’t know yet what mythologies will be built around her present-day legacy. “What would it be like if my work was found in hundreds of years?” she wonders aloud. “What would I want to be carried along?”\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 Real Sappho,’ written by Aimee Suzara, directed by Nailah Harper-Malveaux, produced by Cutting Ball Theater, plays virtually June 24 and 25. \u003ca href=\"https://cuttingball.com/productions/the-real-sappho\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Haunting Ventriloquism of ‘Dana H.’ Asks Us to Listen Differently",
"headTitle": "The Haunting Ventriloquism of ‘Dana H.’ Asks Us to Listen Differently | KQED",
"content": "\u003cp>In the last scene of \u003cem>A Doll’s House\u003c/em>, Henrik Ibsen’s classic 1879 play, the protagonist, Nora, famously walks out on her family. There’s no point in continuing, she tells her husband, unless the “most wonderful thing of all were to happen,” which means “both you and I would transform ourselves.” \u003c/p>\n\u003cp>In \u003cem>A Doll’s House: Part 2\u003c/em>—Lucas Hnath’s 2017 humorous and inventive sequel—Nora explains how she survived after walking out all those years ago. She took a vow of silence and lived in an abandoned shack “until I no longer heard a voice in my head other than my voice … It’s really hard to hear your own voice.”\u003c/p>\n\u003cp>In making self-transformation a matter of finding one’s own voice, Hnath solved Nora’s problem of living within patriarchy by relying on another one: the false faith that we are all self-reliant, independent beings. Like Ibsen’s critique of bourgeois capitalism before him, Hnath diagnoses this neoliberal fantasy but offers us little vision of what a world beyond these conditions look like.\u003c/p>\n\u003cp>In his latest play, \u003cem>\u003ca href=\"https://www.berkeleyrep.org/shows/dana-h/\" rel=\"noopener noreferrer\" target=\"_blank\">Dana H.\u003c/a>\u003c/em> (now playing at Berkeley Rep through July 10) Hnath’s societal critique moves outside the mahogany of the drawing room, just shy of the Thoreauvian woods, and into the storied motel rooms that haunt working class, white America. Though we are given no vision of a utopian future, this tour de force of a play pushes us beyond the clichés of “finding” your own voice and teaches us how to listen to others—especially the most vulnerable—anew.\u003c/p>\n\u003cfigure id=\"attachment_13914826\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/dh3_1200.jpg\" alt=\"Woman in red sweater sits on a motel-like set\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Baker in ‘Dana H.’ \u003ccite>(Calvin Ngu/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review you read of this play is light on details, and understandably so. \u003cem>Dana H.\u003c/em> is a solo monologue that tells the story of Hnath’s mother—Dana Higginbotham, here played by the captivating Jordan Baker—who served as a chaplain in Florida hospitals in the late ’90s. After going through an abrupt divorce and the loss of her job \u003cem>because of that divorce\u003c/em>, Higginbotham was kidnapped in 1997 by a former patient. Despite suffering five months of horrifying abuse and deliberate police neglect, she eventually escaped. But it wasn’t until 2013 that she began to face–and voice–the past, speaking her story into a manuscript and then a recorded interview, from which Hnath wrote the play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s always great risk in aestheticizing trauma, but \u003cem>Dana H.\u003c/em> treads skillfully. The play is “verbatim theater,” meaning the words are taken directly from Higginbotham’s interview. But Hnath takes it a step further: Higginbotham’s recorded voice is played over the loudspeakers, while Baker, wearing headphones, masterfully lip-syncs every word, every cough, every shake of the wrist we hear on the tape recording. \u003c/p>\n\u003cp>In one moment, Baker slaps the chair to a resonating bass boom—or did she? I almost fell out of my seat. In another, director Les Waters fills taped silence with Baker slowly stretching her leg—a simple movement that powerfully channels the score Higginbotham’s body has long kept. This is one way we’re taught to listen differently: what we might usually dismiss as noise or silence suddenly becomes meaningful sound and gesture. \u003c/p>\n\u003cp>But the play doesn’t solely rely on this haunting ventriloquism. Scenic designer Andrew Boyce places us in the shadowy, cold interior of a generic motel upstage, and simultaneously within the intimate space of a couched interview downstage. The effect is that we are not just witnessing her harrowing tale as a passive audience: we are inside a traumatic memory, exposed to the non-linear and sudden eruption of a violent past. \u003c/p>\n\u003cfigure id=\"attachment_13914825\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/dh2_1200.jpg\" alt=\"Woman in red sweater sits with hands on knee, headphones in\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Baker in ‘Dana H.’ \u003ccite>(Calvin Ngu/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staging also powerfully merges theme and form. Dana describes how the patients she counsels transition from this world to the next: “They’re in between two worlds … I put a voice to what I believe their concerns are. I give you a voice.” Who is the “you” here? We are the eavesdropping audience, but we are also the interviewer, the patient, even the perpetrator. We must constantly shift our positions of listening. We must become agile listeners.\u003c/p>\n\u003cp>[aside postID='arts_13914750,arts_13914643']Much of \u003cem>Dana H.\u003c/em> was difficult to witness. I was reminded of Patty Jenkins’ 2003 film \u003cem>Monster\u003c/em>, which similarly reveals what’s under the wallpaper of Florida motel life. Yet while the aesthetics of that film turned on making Charlize Theron’s face unrecognizable, \u003cem>Dana H.\u003c/em> turns on making Baker’s voice inaudible. The effect created is what Bertholt Brecht famously called “estrangement”: a constant shuttling in and out of the illusion that this play is both very “true” and also highly mediated. Done well, Brecht believed this inside-outside experience would help develop a critical consciousness, urging the audience to change the social conditions of their own world. \u003c/p>\n\u003cp>Alone, the lip-sync of \u003cem>Dana H.\u003c/em> could code as gimmick, but combined with its inventive staging, the play shook me in that Brechtian way. \u003cem>Dana H.\u003c/em> is not the story of a woman who, like Ibsen’s Nora, refuses to choose between suicide and the social death of a loveless marriage and instead leaves her family. Nor is it the story of a woman who, like Hnath’s Nora, seeks self-transformation on the outskirts of society. No. \u003cem>Dana H.\u003c/em> is about a woman for whom every societal institution—marriage, family, religion, psychotherapy, the police state—has failed. \u003c/p>\n\u003cp>Many may not need the testimony of this particular survivor on stage to remind them that this kind of abuse and neglect is all too common in our society. But I heard the call. Let us bear witness. Let us listen. But let us not wait for another testimonial to abolish the oppressive conditions that make this story even possible. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dana H.’ is at Berkeley Rep through July 10. \u003ca href=\"https://www.berkeleyrep.org/shows/dana-h/\" rel=\"noopener noreferrer\" target=\"_blank\">Details and tickets here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the last scene of \u003cem>A Doll’s House\u003c/em>, Henrik Ibsen’s classic 1879 play, the protagonist, Nora, famously walks out on her family. There’s no point in continuing, she tells her husband, unless the “most wonderful thing of all were to happen,” which means “both you and I would transform ourselves.” \u003c/p>\n\u003cp>In \u003cem>A Doll’s House: Part 2\u003c/em>—Lucas Hnath’s 2017 humorous and inventive sequel—Nora explains how she survived after walking out all those years ago. She took a vow of silence and lived in an abandoned shack “until I no longer heard a voice in my head other than my voice … It’s really hard to hear your own voice.”\u003c/p>\n\u003cp>In making self-transformation a matter of finding one’s own voice, Hnath solved Nora’s problem of living within patriarchy by relying on another one: the false faith that we are all self-reliant, independent beings. Like Ibsen’s critique of bourgeois capitalism before him, Hnath diagnoses this neoliberal fantasy but offers us little vision of what a world beyond these conditions look like.\u003c/p>\n\u003cp>In his latest play, \u003cem>\u003ca href=\"https://www.berkeleyrep.org/shows/dana-h/\" rel=\"noopener noreferrer\" target=\"_blank\">Dana H.\u003c/a>\u003c/em> (now playing at Berkeley Rep through July 10) Hnath’s societal critique moves outside the mahogany of the drawing room, just shy of the Thoreauvian woods, and into the storied motel rooms that haunt working class, white America. Though we are given no vision of a utopian future, this tour de force of a play pushes us beyond the clichés of “finding” your own voice and teaches us how to listen to others—especially the most vulnerable—anew.\u003c/p>\n\u003cfigure id=\"attachment_13914826\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/dh3_1200.jpg\" alt=\"Woman in red sweater sits on a motel-like set\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh3_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Baker in ‘Dana H.’ \u003ccite>(Calvin Ngu/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Any review you read of this play is light on details, and understandably so. \u003cem>Dana H.\u003c/em> is a solo monologue that tells the story of Hnath’s mother—Dana Higginbotham, here played by the captivating Jordan Baker—who served as a chaplain in Florida hospitals in the late ’90s. After going through an abrupt divorce and the loss of her job \u003cem>because of that divorce\u003c/em>, Higginbotham was kidnapped in 1997 by a former patient. Despite suffering five months of horrifying abuse and deliberate police neglect, she eventually escaped. But it wasn’t until 2013 that she began to face–and voice–the past, speaking her story into a manuscript and then a recorded interview, from which Hnath wrote the play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s always great risk in aestheticizing trauma, but \u003cem>Dana H.\u003c/em> treads skillfully. The play is “verbatim theater,” meaning the words are taken directly from Higginbotham’s interview. But Hnath takes it a step further: Higginbotham’s recorded voice is played over the loudspeakers, while Baker, wearing headphones, masterfully lip-syncs every word, every cough, every shake of the wrist we hear on the tape recording. \u003c/p>\n\u003cp>In one moment, Baker slaps the chair to a resonating bass boom—or did she? I almost fell out of my seat. In another, director Les Waters fills taped silence with Baker slowly stretching her leg—a simple movement that powerfully channels the score Higginbotham’s body has long kept. This is one way we’re taught to listen differently: what we might usually dismiss as noise or silence suddenly becomes meaningful sound and gesture. \u003c/p>\n\u003cp>But the play doesn’t solely rely on this haunting ventriloquism. Scenic designer Andrew Boyce places us in the shadowy, cold interior of a generic motel upstage, and simultaneously within the intimate space of a couched interview downstage. The effect is that we are not just witnessing her harrowing tale as a passive audience: we are inside a traumatic memory, exposed to the non-linear and sudden eruption of a violent past. \u003c/p>\n\u003cfigure id=\"attachment_13914825\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/dh2_1200.jpg\" alt=\"Woman in red sweater sits with hands on knee, headphones in\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13914825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/dh2_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jordan Baker in ‘Dana H.’ \u003ccite>(Calvin Ngu/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staging also powerfully merges theme and form. Dana describes how the patients she counsels transition from this world to the next: “They’re in between two worlds … I put a voice to what I believe their concerns are. I give you a voice.” Who is the “you” here? We are the eavesdropping audience, but we are also the interviewer, the patient, even the perpetrator. We must constantly shift our positions of listening. We must become agile listeners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>Dana H.\u003c/em> was difficult to witness. I was reminded of Patty Jenkins’ 2003 film \u003cem>Monster\u003c/em>, which similarly reveals what’s under the wallpaper of Florida motel life. Yet while the aesthetics of that film turned on making Charlize Theron’s face unrecognizable, \u003cem>Dana H.\u003c/em> turns on making Baker’s voice inaudible. The effect created is what Bertholt Brecht famously called “estrangement”: a constant shuttling in and out of the illusion that this play is both very “true” and also highly mediated. Done well, Brecht believed this inside-outside experience would help develop a critical consciousness, urging the audience to change the social conditions of their own world. \u003c/p>\n\u003cp>Alone, the lip-sync of \u003cem>Dana H.\u003c/em> could code as gimmick, but combined with its inventive staging, the play shook me in that Brechtian way. \u003cem>Dana H.\u003c/em> is not the story of a woman who, like Ibsen’s Nora, refuses to choose between suicide and the social death of a loveless marriage and instead leaves her family. Nor is it the story of a woman who, like Hnath’s Nora, seeks self-transformation on the outskirts of society. No. \u003cem>Dana H.\u003c/em> is about a woman for whom every societal institution—marriage, family, religion, psychotherapy, the police state—has failed. \u003c/p>\n\u003cp>Many may not need the testimony of this particular survivor on stage to remind them that this kind of abuse and neglect is all too common in our society. But I heard the call. Let us bear witness. Let us listen. But let us not wait for another testimonial to abolish the oppressive conditions that make this story even possible. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Dana H.’ is at Berkeley Rep through July 10. \u003ca href=\"https://www.berkeleyrep.org/shows/dana-h/\" rel=\"noopener noreferrer\" target=\"_blank\">Details and tickets here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In San Jose, 'Dear Evan Hansen' Captures Social Media Anxiety On Stage",
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"content": "\u003cp>Everyone knows that social media causes anxiety. \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7364393/\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5904786/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> has proved it, and in late 2021, \u003ca href=\"https://www.npr.org/2021/09/30/1041864356/instagram-kids-safety-congress-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">Senate hearings addressed it\u003c/a>.\u003c/p>\n\u003cp>Conveying this modern reality through art isn’t an easy task. And while the movie adaptation of \u003cem>Dear Evan Hansen\u003c/em> was poorly made, overlong and \u003ca href=\"https://www.rottentomatoes.com/m/dear_evan_hansen\" target=\"_blank\" rel=\"noopener noreferrer\">terribly reviewed\u003c/a>, the musical of \u003cem>Dear Evan Hansen\u003c/em> (which runs June 8–19 in San Jose) captures it perfectly.\u003c/p>\n\u003cp>Social media is a constant, ambient presence in the modern world, surrounding its users and informing their every move. In the stage set of \u003cem>Dear Evan Hansen\u003c/em>, this is made literal: social media feeds are projected upon giant pillars, towering over the action on stage. The posts and tweets are both the cause and commentariat of the story unfolding below, a ceaseless threat upon the musical’s high school-age characters.\u003c/p>\n\u003cp>And it’s no wonder that the main character, Evan Hansen, has extreme anxiety.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Dear Evan Hansen\u003c/em>‘s script is not without its flaws. I am not the first to point out the finale’s lack of comeuppance, or that some of the play’s online references are already obsolete and need updating. But for anyone who’s tried to coexist with social media and found it to be at first fascinating, then addicting, then boring, and ultimately paralyzing, the show captures the experience really, really well.\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>\u003cem>‘Dear Evan Hansen’ runs through June 19 at the San Jose Center for the Performing Arts. \u003ca href=\"https://broadwaysanjose.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everyone knows that social media causes anxiety. \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7364393/\" target=\"_blank\" rel=\"noopener noreferrer\">Study\u003c/a> after \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5904786/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> has proved it, and in late 2021, \u003ca href=\"https://www.npr.org/2021/09/30/1041864356/instagram-kids-safety-congress-hearing\" target=\"_blank\" rel=\"noopener noreferrer\">Senate hearings addressed it\u003c/a>.\u003c/p>\n\u003cp>Conveying this modern reality through art isn’t an easy task. And while the movie adaptation of \u003cem>Dear Evan Hansen\u003c/em> was poorly made, overlong and \u003ca href=\"https://www.rottentomatoes.com/m/dear_evan_hansen\" target=\"_blank\" rel=\"noopener noreferrer\">terribly reviewed\u003c/a>, the musical of \u003cem>Dear Evan Hansen\u003c/em> (which runs June 8–19 in San Jose) captures it perfectly.\u003c/p>\n\u003cp>Social media is a constant, ambient presence in the modern world, surrounding its users and informing their every move. In the stage set of \u003cem>Dear Evan Hansen\u003c/em>, this is made literal: social media feeds are projected upon giant pillars, towering over the action on stage. The posts and tweets are both the cause and commentariat of the story unfolding below, a ceaseless threat upon the musical’s high school-age characters.\u003c/p>\n\u003cp>And it’s no wonder that the main character, Evan Hansen, has extreme anxiety.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dear Evan Hansen\u003c/em>‘s script is not without its flaws. I am not the first to point out the finale’s lack of comeuppance, or that some of the play’s online references are already obsolete and need updating. But for anyone who’s tried to coexist with social media and found it to be at first fascinating, then addicting, then boring, and ultimately paralyzing, the show captures the experience really, really well.\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>\u003cem>‘Dear Evan Hansen’ runs through June 19 at the San Jose Center for the Performing Arts. \u003ca href=\"https://broadwaysanjose.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "In the Imaginists' 'Someone Dies Again,' the Pain of Gun Violence is Ever-Present",
"headTitle": "In the Imaginists’ ‘Someone Dies Again,’ the Pain of Gun Violence is Ever-Present | KQED",
"content": "\u003cp>It was 2019 when I \u003ca href=\"https://www.theatrebayarea.org/news/435111/Keep-An-Eye-On-The-Imaginists-Find-Success-in-Embracing-the-Unknown.htm\">first covered the Imaginists’ artistic collaboration with Hungarian director Árpád Schilling\u003c/a>—a then-unwritten work examining American gun violence. \u003c/p>\n\u003cp>A lot has changed since that different, pre-COVID time. Yet as I write this review, \u003ca href=\"https://www.kqed.org/forum/2010101889325/country-grieves-for-victims-and-survivors-of-uvalde-texas-school-massacre\">in the wake of yet another mass shooting of schoolchildren\u003c/a>, the topic is as painfully timely as when the Imaginists first conceived the production. The theater company first invited Schilling to Santa Rosa in 2015, whereupon the internationally acclaimed director learned about the \u003ca href=\"https://www.kqed.org/news/116116/sonomy-county-sheriff-who-shot-andy-lopez-identified\">fatal shooting of 13-year-old Andy Lopez by a Sheriff’s deputy\u003c/a>—a devastating moment for Santa Rosa, where the Imaginists have created theater for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13914180\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg\" alt=\"To women sit on a couch facing each other, a man watches them from a table set on the other side of the stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gena (Amy Pinto, left) and Maddy (Emma Atwood) struggle to understand each other’s points of view in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Schilling and [his partner] Lilla Sárosdi were absolutely horrified that the police would actually use their guns against citizens,” Imaginists co-founder Amy Pinto told me in 2019. Known for co-creating generative work with a social justice component, Schilling understood that, as a European, his “outsider” approach to this quintessentially American topic would be artistically fertile and potentially revelatory.\u003c/p>\n\u003cp>The resultant production is \u003cem>Someone Dies Again\u003c/em>, which, after nearly two years of pandemic-related delays, premiered May 20 at Z Space in San Francisco, and opens a Santa Rosa run on Thursday, June 2.\u003c/p>\n\u003cp>\u003cem>Someone Dies Again\u003c/em> simmers with the effects of one real-life catastrophe after another—but after setbacks, public health crises and heartbreaks, it emerges from the wreckage filled with purpose. The production examines our fraught relationship to guns and gun ownership, along with structures of white supremacy and American exceptionalism. Infused with uncomfortable rawness, and juxtaposed against skillfully choreographed theatricality, \u003cem>Someone Dies Again\u003c/em> not only invites its audience in but bars the door behind them, underscoring societal complicity with what plays out onstage.\u003c/p>\n\u003cfigure id=\"attachment_13914178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg\" alt=\"A man sits in a cluttered room with duct tape over his mouth\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Imaginists’ ‘Someone Dies Again,’ Larry (David Roby) sits in his room, with his mouth taped shut, after an encounter with his brother. \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gun is brought into immediate play during the first scene, when family patriarch Marty (G. Brent Lindsay) discovers it in his brother Larry’s (David Roby) possession. Larry’s been staying in the spare room ever since his trailer burned down in an electrical fire, keeping the handgun under his pillow as a good luck charm and sleeping aid. Its presence initiates an undercurrent of unease that permeates the rest of the piece. The implied threat of violence hangs over even such quotidian activities as a family birthday celebration and a trip to the grocery store.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This, Schilling seems to imply, is what it feels like every day in America. We go about our daily routines while somehow compartmentalizing the danger that casual access to guns poses to even the sleepiest of communities. The production leans heavily into these quiet moments, drawing them out like rubber bands that feel like they’ll snap but often don’t. Bodies curl into themselves, not in repose, but in tense stasis. Conversations circle around pain and grief without naming them out loud.\u003c/p>\n\u003cp>[aside postID='arts_10834881']The emotion that does reveal itself, early and often, is anger. Marty and Larry are angry at their deceased, vindictive father, who appears in Marty’s photography studio as a corporeal vision full of ham-fisted vitriol. Marty’s college-going daughter Maddie (Emma Attwood) is angry at his insistence on reopening old wounds, which are not his alone to bear. Marty’s wife Gena (Amy Pinto) seems hardly able to emote at all, but she, too, carries a reserve of rage that seeps out of her like toxic waste. As they roil in their discomfort, all of their palpable grief and rage obfuscates the charged reality of what’s gradually revealed: their son and brother Miles, who died six years ago, may have not been a victim at all, but an instigator.\u003c/p>\n\u003cp>This struggle between this family’s need to “know the truth” clashes with their need to be “right.” It’s a struggle that frequently manifests itself bodily. In one scene, Marty clambers onto a table and stretches outward, reaching for a memory of his son as superimposed on the body of a stranger. In another, the querulous apparition of his dead father (John Craven) crawls under the table and begins bucking it up and down like a petulant poltergeist. A lawyer (John Most) with his own agenda stands on a chair, asserting a quiet dominance. The neighborhood grocer (Yareny Fuentes) shuts down all but the most cursory of small talk, keeping her face pointedly averted, shielding herself from her customers’ desperate need for validation.\u003c/p>\n\u003cfigure id=\"attachment_13914179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg\" alt=\"Two men, one shorter, white, with long hair, pushes the chest of the taller Black man\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty (G. Brent Lindsay, left) pushes Ken (Stephen K. Patterson) away in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the piece fumbles is in its 11th hour attempt to shoehorn cautionary commentary about social media and reality television into the already sprawling work. While it certainly fits into the characters’ positioning of themselves in the center of a narrative of which they are not the heroes, the turn feels underdeveloped—more distraction than direction. As Marty spirals out of control in a seething microcosm of what Maddy’s professor (Tessa Rissacher) might call “white supremacist delusion,” the fact that he can’t help simultaneously gloating over “likes” feels a little too on the nose.\u003c/p>\n\u003cp>The piece succeeds best by revealing the dichotomy of the “good guy with a gun/bad guy with a gun” as the banal mythology it is, leaving unanswered the inevitable question: where do we go from here?\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>\n\u003cp>\u003cem>‘Someone Dies Again’ runs June 2–11 at the Imaginists Theater, 461 Sebastopol Ave., Santa Rosa. \u003ca href=\"http://theimaginists.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The collaboration with Hungarian director Árpád Schilling is, sadly, more timely than ever.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 2019 when I \u003ca href=\"https://www.theatrebayarea.org/news/435111/Keep-An-Eye-On-The-Imaginists-Find-Success-in-Embracing-the-Unknown.htm\">first covered the Imaginists’ artistic collaboration with Hungarian director Árpád Schilling\u003c/a>—a then-unwritten work examining American gun violence. \u003c/p>\n\u003cp>A lot has changed since that different, pre-COVID time. Yet as I write this review, \u003ca href=\"https://www.kqed.org/forum/2010101889325/country-grieves-for-victims-and-survivors-of-uvalde-texas-school-massacre\">in the wake of yet another mass shooting of schoolchildren\u003c/a>, the topic is as painfully timely as when the Imaginists first conceived the production. The theater company first invited Schilling to Santa Rosa in 2015, whereupon the internationally acclaimed director learned about the \u003ca href=\"https://www.kqed.org/news/116116/sonomy-county-sheriff-who-shot-andy-lopez-identified\">fatal shooting of 13-year-old Andy Lopez by a Sheriff’s deputy\u003c/a>—a devastating moment for Santa Rosa, where the Imaginists have created theater for 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13914180\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg\" alt=\"To women sit on a couch facing each other, a man watches them from a table set on the other side of the stage\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-the-Imaginists-A9_03158.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gena (Amy Pinto, left) and Maddy (Emma Atwood) struggle to understand each other’s points of view in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Schilling and [his partner] Lilla Sárosdi were absolutely horrified that the police would actually use their guns against citizens,” Imaginists co-founder Amy Pinto told me in 2019. Known for co-creating generative work with a social justice component, Schilling understood that, as a European, his “outsider” approach to this quintessentially American topic would be artistically fertile and potentially revelatory.\u003c/p>\n\u003cp>The resultant production is \u003cem>Someone Dies Again\u003c/em>, which, after nearly two years of pandemic-related delays, premiered May 20 at Z Space in San Francisco, and opens a Santa Rosa run on Thursday, June 2.\u003c/p>\n\u003cp>\u003cem>Someone Dies Again\u003c/em> simmers with the effects of one real-life catastrophe after another—but after setbacks, public health crises and heartbreaks, it emerges from the wreckage filled with purpose. The production examines our fraught relationship to guns and gun ownership, along with structures of white supremacy and American exceptionalism. Infused with uncomfortable rawness, and juxtaposed against skillfully choreographed theatricality, \u003cem>Someone Dies Again\u003c/em> not only invites its audience in but bars the door behind them, underscoring societal complicity with what plays out onstage.\u003c/p>\n\u003cfigure id=\"attachment_13914178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg\" alt=\"A man sits in a cluttered room with duct tape over his mouth\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-B-_JSP5528.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In the Imaginists’ ‘Someone Dies Again,’ Larry (David Roby) sits in his room, with his mouth taped shut, after an encounter with his brother. \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gun is brought into immediate play during the first scene, when family patriarch Marty (G. Brent Lindsay) discovers it in his brother Larry’s (David Roby) possession. Larry’s been staying in the spare room ever since his trailer burned down in an electrical fire, keeping the handgun under his pillow as a good luck charm and sleeping aid. Its presence initiates an undercurrent of unease that permeates the rest of the piece. The implied threat of violence hangs over even such quotidian activities as a family birthday celebration and a trip to the grocery store.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This, Schilling seems to imply, is what it feels like every day in America. We go about our daily routines while somehow compartmentalizing the danger that casual access to guns poses to even the sleepiest of communities. The production leans heavily into these quiet moments, drawing them out like rubber bands that feel like they’ll snap but often don’t. Bodies curl into themselves, not in repose, but in tense stasis. Conversations circle around pain and grief without naming them out loud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The emotion that does reveal itself, early and often, is anger. Marty and Larry are angry at their deceased, vindictive father, who appears in Marty’s photography studio as a corporeal vision full of ham-fisted vitriol. Marty’s college-going daughter Maddie (Emma Attwood) is angry at his insistence on reopening old wounds, which are not his alone to bear. Marty’s wife Gena (Amy Pinto) seems hardly able to emote at all, but she, too, carries a reserve of rage that seeps out of her like toxic waste. As they roil in their discomfort, all of their palpable grief and rage obfuscates the charged reality of what’s gradually revealed: their son and brother Miles, who died six years ago, may have not been a victim at all, but an instigator.\u003c/p>\n\u003cp>This struggle between this family’s need to “know the truth” clashes with their need to be “right.” It’s a struggle that frequently manifests itself bodily. In one scene, Marty clambers onto a table and stretches outward, reaching for a memory of his son as superimposed on the body of a stranger. In another, the querulous apparition of his dead father (John Craven) crawls under the table and begins bucking it up and down like a petulant poltergeist. A lawyer (John Most) with his own agenda stands on a chair, asserting a quiet dominance. The neighborhood grocer (Yareny Fuentes) shuts down all but the most cursory of small talk, keeping her face pointedly averted, shielding herself from her customers’ desperate need for validation.\u003c/p>\n\u003cfigure id=\"attachment_13914179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg\" alt=\"Two men, one shorter, white, with long hair, pushes the chest of the taller Black man\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SDA-PHOTO-promo-E-_JSP5900.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty (G. Brent Lindsay, left) pushes Ken (Stephen K. Patterson) away in the Imaginists’ ‘Someone Dies Again.’ \u003ccite>(Tibidabo Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the piece fumbles is in its 11th hour attempt to shoehorn cautionary commentary about social media and reality television into the already sprawling work. While it certainly fits into the characters’ positioning of themselves in the center of a narrative of which they are not the heroes, the turn feels underdeveloped—more distraction than direction. As Marty spirals out of control in a seething microcosm of what Maddy’s professor (Tessa Rissacher) might call “white supremacist delusion,” the fact that he can’t help simultaneously gloating over “likes” feels a little too on the nose.\u003c/p>\n\u003cp>The piece succeeds best by revealing the dichotomy of the “good guy with a gun/bad guy with a gun” as the banal mythology it is, leaving unanswered the inevitable question: where do we go from here?\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>\n\u003cp>\u003cem>‘Someone Dies Again’ runs June 2–11 at the Imaginists Theater, 461 Sebastopol Ave., Santa Rosa. \u003ca href=\"http://theimaginists.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been a minute since we’ve recommended a \u003ci>Pop-Up Magazine\u003c/i> stage show. The live magazine \u003ca href=\"https://www.kqed.org/arts/13880706/pop-up-magazine-trades-stage-for-screen-and-were-all-invited\" target=\"_blank\" rel=\"noopener noreferrer\">pivoted to video\u003c/a> early in the pandemic, then produced a food-themed “Issue in a Box” in late 2020. Last year, the team created a “\u003ca href=\"https://www.popupmagazine.com/sidewalk/\" target=\"_blank\" rel=\"noopener noreferrer\">Sidewalk Issue\u003c/a>,” blending magazine, scavenger hunt and public art to create tangible (and by all accounts, delightful) experiences in San Francisco, Los Angeles and Brooklyn, before resuming in-person events for a fall 2021 tour.\u003c/p>\n\u003cp>On Tuesday, May 24, \u003ci>Pop-Up\u003c/i> returns to its familiar spot on Oakland’s Paramount Theatre stage, bringing together a group of talented people for a night of multimedia nonfiction storytelling. If you haven’t experienced a \u003ci>Pop-Up\u003c/i> show before, picture something akin to sitting down with your smartest friends and consuming a magazine, page by page and section by section, with the help of erudite narrators and live musical accompaniment (courtesy house band \u003ca href=\"http://magikmagikorchestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Magik*Magik Orchestra\u003c/a>).[aside postID='arts_13908852']\u003c/p>\n\u003cp>The “Spring 2022 Issue” includes podcaster (and one of my favorite \u003ca href=\"https://twitter.com/brokeymcpoverty\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter presences\u003c/a>) Tracy Clayton; author and illustrator Kristen Radtke; writers Chloé Cooper Jones, Brooke Jarvis and Elena Passarello; photographer Oscar Castillo; and Oakland-based filmmaker \u003ca href=\"https://adrianburrell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian L. Burrell\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Pop-Up Magazine\u003c/i> likes to keep things mysterious beforehand, but from the titles of various presenters’ pieces, I can tell you this: Clayton will be hosting a game show with the entire audience as participants, Castillo examines music and family in Venezuela’s “most notorious prison,” and Burrell is showing a film that chronicles his family’s journey from Jim Crow-era Louisiana to modern-day West Oakland. Your live event-starved senses will thank you.\u003c/p>\n\u003cp>\u003ci>‘Pop-Up Magazine’ takes place May 24, 7:30pm at Paramount Theatre. \u003ca href=\"https://www.popupmagazine.com/spring22/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Spring 2022 Issue” includes podcaster (and one of my favorite \u003ca href=\"https://twitter.com/brokeymcpoverty\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter presences\u003c/a>) Tracy Clayton; author and illustrator Kristen Radtke; writers Chloé Cooper Jones, Brooke Jarvis and Elena Passarello; photographer Oscar Castillo; and Oakland-based filmmaker \u003ca href=\"https://adrianburrell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian L. Burrell\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Pop-Up Magazine\u003c/i> likes to keep things mysterious beforehand, but from the titles of various presenters’ pieces, I can tell you this: Clayton will be hosting a game show with the entire audience as participants, Castillo examines music and family in Venezuela’s “most notorious prison,” and Burrell is showing a film that chronicles his family’s journey from Jim Crow-era Louisiana to modern-day West Oakland. Your live event-starved senses will thank you.\u003c/p>\n\u003cp>\u003ci>‘Pop-Up Magazine’ takes place May 24, 7:30pm at Paramount Theatre. \u003ca href=\"https://www.popupmagazine.com/spring22/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'A Strange Loop' Garners 11 Tony Nominations, Including Best Musical",
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"content": "\u003cp>Monday morning, nominations for the 75\u003csup>th\u003c/sup> Annual Tony Awards were announced online. For the first time since the pandemic, Broadway presented a complete season—albeit one with many postponements and hiatuses, due to the Delta and Omicron variants of COVID-19—and 34 shows were in contention for Broadway’s highest honors.\u003c/p>\n\u003cp>[aside postid='arts_13910810']Leading the pack is Michael R. Jackson’s Pulitzer Prize-winning \u003cem>A Strange Loop\u003c/em>. The show, about a Black, queer, Broadway usher writing a musical about a Black, queer, Broadway usher, received 11 nominations, including best musical and best score and book for Mr. Jackson.\u003c/p>\n\u003cp>A different Michael Jackson—the king of pop—is another big contender. \u003cem>MJ\u003c/em>, the biographical musical about superstar Michael Jackson, has 10 nominations, including best musical. Lynn Nottage, who wrote the book for the show, is also nominated for best play, for \u003cem>Clyde’s\u003c/em>.\u003c/p>\n\u003cp>Rounding out the best musical category is \u003cem>Paradise Square\u003c/em>, a look at the Black and Irish communities in New York during the Civil War, with 10 nominations; \u003cem>SIX: The Musical\u003c/em>, a pop concert about Henry VIII’s wives, with eight nominations; \u003cem>Girl from the North Country\u003c/em>, a Bob Dylan jukebox show set during the Depression, with seven nominations; and \u003cem>Mr. Saturday Night\u003c/em>, Billy Crystal’s adaptation of his own film about an older comic trying to make a comeback, with five nominations. Crystal himself is up for two awards: best actor in a musical and best book of a musical. (Click for a \u003ca href=\"https://www.npr.org/2022/05/09/1097564500/list-of-the-2022-tony-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">full list of the nominations\u003c/a>.)\u003c/p>\n\u003ch3>The best play leader is a tale of a financial empire\u003c/h3>\n\u003cfigure id=\"attachment_13913063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/211_adam-godley-simon-russell-beale-adrian-lester_photo-by-julieta-cervantes_custom-e12aed8cc1717889ed76134a84ef5f344cd13005-800x530.jpg\" alt=\"A plump white man in suit and top hat sits on filing boxes, looking satisfied. To his right a thinner, concerned looking white man sits, also wearing a top hat and suit. To his left, a Black man in smart black suit stands, hands clasped together in front of him, gazing off into the distance.\" width=\"800\" height=\"530\">\u003cfigcaption class=\"wp-caption-text\">(l) Adam Godley, Simon Russell Beale and Adrian Lester in ‘The Lehman Trilogy.’ \u003ccite>(Julieta Cervantes/The Lehman Trilogy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The front-runner for best play is Stefano Massimi’s \u003cem>The Lehman Trilogy\u003c/em>, adapted by Ben Power, which received eight nominations. The story of the Lehman Brothers, immigrants from 19\u003csup>th\u003c/sup> century Germany who built a financial empire, was a mini-epic, with three actors in a rotating glass box. It’s up for best play, and all three performers are up for best actor in a play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13911728']Other best play nominees include \u003cem>Clyde’s\u003c/em>, Lynn Nottage’s look at five formerly incarcerated people working in a sandwich shop, with five nominations; \u003cem>Hangmen\u003c/em>, Martin McDonagh’s black comedy about the last executioner in England, also with five; \u003cem>Skeleton Crew\u003c/em>, Dominique Morriseau’s look at auto workers in Detroit facing cutbacks, with three nominations; and Tracy Letts’ \u003cem>The Minutes\u003c/em>, a play about a contentious city council meeting, revealing some dark secrets.\u003c/p>\n\u003cp>Although four musicals were eligible to be nominated for best revival, only three got the nod. A revival of \u003cem>Funny Girl\u003c/em>, starring Beanie Feldstein was ignored, save for a featured actor nominee.\u003c/p>\n\u003cfigure id=\"attachment_13913064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/katrina-lenk-as-bobbie-in-company.-photo-by-matthew-murphy-scaled-1-_custom-f9ef03401085ecb0bbf45d9339420d807c82e891-800x526.jpg\" alt=\"A young woman wearing a red dress and red party hat sits behind a large birthday cake, looking quietly happy.\" width=\"800\" height=\"526\">\u003cfigcaption class=\"wp-caption-text\">Katrina Lenk in ‘Company.’ \u003ccite>(Matthew Murphy/Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gender-reversed revival of Stephen Sondheim and George Furth’s \u003cem>Company,\u003c/em> a groundbreaking 1970 musical about marriage and a 35-year-old singleton, received 9 nominations. The crowd-pleasing, sold-out revival of \u003cem>The Music Man\u003c/em>, starring Hugh Jackman and Sutton Foster, received six nominations, including for the two leads. Tony Kushner and Jeanine Tesori’s \u003cem>Caroline, or Change\u003c/em> is up for three awards.\u003c/p>\n\u003cp>Five plays are nominated for best revival. Ntozake Shange’s \u003cem>for colored girls who have considered suicide/when the rainbow is enuf \u003c/em>received seven nominations. Despite rave reviews, the 1975 choreopoem has struggled to find audiences and announced an early closing date.\u003c/p>\n\u003cfigure id=\"attachment_13913065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/68_for_colored_girls_broadway_production_photos_2022_hr_credit_marc_j_franklin_final_custom-3f50e2d8b80b250fe2aa53d697a451e16fd819c3-800x530.jpg\" alt=\"Seven women of color stands together in two rows, gesturing while singing. All are wearing brightly colored clothes.\" width=\"800\" height=\"530\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf.’ \u003ccite>(Marc J. Franklin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Greenberg’s \u003cem>Take Me Out\u003c/em>, about a baseball superstar who announces he’s gay, has four nominations, the same number as Alice Childress’ 1955 play \u003cem>Trouble in\u003c/em> \u003cem>Mind\u003c/em>, about racism in Broadway theater and David Mamet’s \u003cem>American Buffalo\u003c/em>, about three would-be thieves. Paula Vogel’s 1998 Pulitzer Prize-winning play about a girl who is sexually molested by her uncle, \u003cem>How I Learned to Drive\u003c/em>, received three nominations. Mary-Louise Parker and David Morse, reprising their roles from the original production, are both up for best acting awards.\u003c/p>\n\u003ch3>Several shows were overlooked entirely\u003c/h3>\n\u003cp>[aside postid='arts_13910614']Every year, shows and actors are snubbed. In addition to \u003cem>Funny Girl\u003c/em>, several other productions didn’t receive much love from the nominators. The musical adaptation of the film \u003cem>Mrs. Doubtfire\u003c/em> only received one nomination, for lead actor Rob McClure, while \u003cem>Flying Over Sunset\u003c/em>, the original musical about three 1950s celebrities experimenting with LSD, received four nominations but wasn’t up for best musical. Daniel Craig, who headlines a revival of \u003cem>Macbeth\u003c/em> didn’t receive a nod, though co-star Ruth Negga did. The sold-out revival of Neil Simon’s \u003cem>Plaza Suite\u003c/em> got a costume design nomination, but neither of its stars, Sarah Jessica Parker or Matthew Broderick, are up for an award. And several shows were overlooked entirely: the new plays \u003cem>Chicken & Biscuits\u003c/em>, \u003cem>Thoughts of a Colored Man\u003c/em>, \u003cem>Is This a Room\u003c/em>, \u003cem>Birthday Candles\u003c/em> and \u003cem>Pass Over\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a sign that things are returning somewhat to normal, The Tony Awards ceremony will be held at Radio City Music Hall on June 12. Ariana DeBose, the Oscar-winning actress from West Side Story, and a veteran of several Broadway shows, will be the host. At 7 p.m. ET, exclusive content will be streamed on Paramount +. From 8 to 11 p.m. ET, the awards ceremony will be broadcast on CBS.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Strange+Loop%27+garners+11+Tony+nominations%2C+including+Best+Musical&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Leading the pack is Michael R. Jackson’s Pulitzer Prize-winning \u003cem>A Strange Loop\u003c/em>. The show, about a Black, queer, Broadway usher writing a musical about a Black, queer, Broadway usher, received 11 nominations, including best musical and best score and book for Mr. Jackson.\u003c/p>\n\u003cp>A different Michael Jackson—the king of pop—is another big contender. \u003cem>MJ\u003c/em>, the biographical musical about superstar Michael Jackson, has 10 nominations, including best musical. Lynn Nottage, who wrote the book for the show, is also nominated for best play, for \u003cem>Clyde’s\u003c/em>.\u003c/p>\n\u003cp>Rounding out the best musical category is \u003cem>Paradise Square\u003c/em>, a look at the Black and Irish communities in New York during the Civil War, with 10 nominations; \u003cem>SIX: The Musical\u003c/em>, a pop concert about Henry VIII’s wives, with eight nominations; \u003cem>Girl from the North Country\u003c/em>, a Bob Dylan jukebox show set during the Depression, with seven nominations; and \u003cem>Mr. Saturday Night\u003c/em>, Billy Crystal’s adaptation of his own film about an older comic trying to make a comeback, with five nominations. Crystal himself is up for two awards: best actor in a musical and best book of a musical. (Click for a \u003ca href=\"https://www.npr.org/2022/05/09/1097564500/list-of-the-2022-tony-nominations\" target=\"_blank\" rel=\"noopener noreferrer\">full list of the nominations\u003c/a>.)\u003c/p>\n\u003ch3>The best play leader is a tale of a financial empire\u003c/h3>\n\u003cfigure id=\"attachment_13913063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/211_adam-godley-simon-russell-beale-adrian-lester_photo-by-julieta-cervantes_custom-e12aed8cc1717889ed76134a84ef5f344cd13005-800x530.jpg\" alt=\"A plump white man in suit and top hat sits on filing boxes, looking satisfied. To his right a thinner, concerned looking white man sits, also wearing a top hat and suit. To his left, a Black man in smart black suit stands, hands clasped together in front of him, gazing off into the distance.\" width=\"800\" height=\"530\">\u003cfigcaption class=\"wp-caption-text\">(l) Adam Godley, Simon Russell Beale and Adrian Lester in ‘The Lehman Trilogy.’ \u003ccite>(Julieta Cervantes/The Lehman Trilogy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The front-runner for best play is Stefano Massimi’s \u003cem>The Lehman Trilogy\u003c/em>, adapted by Ben Power, which received eight nominations. The story of the Lehman Brothers, immigrants from 19\u003csup>th\u003c/sup> century Germany who built a financial empire, was a mini-epic, with three actors in a rotating glass box. It’s up for best play, and all three performers are up for best actor in a play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other best play nominees include \u003cem>Clyde’s\u003c/em>, Lynn Nottage’s look at five formerly incarcerated people working in a sandwich shop, with five nominations; \u003cem>Hangmen\u003c/em>, Martin McDonagh’s black comedy about the last executioner in England, also with five; \u003cem>Skeleton Crew\u003c/em>, Dominique Morriseau’s look at auto workers in Detroit facing cutbacks, with three nominations; and Tracy Letts’ \u003cem>The Minutes\u003c/em>, a play about a contentious city council meeting, revealing some dark secrets.\u003c/p>\n\u003cp>Although four musicals were eligible to be nominated for best revival, only three got the nod. A revival of \u003cem>Funny Girl\u003c/em>, starring Beanie Feldstein was ignored, save for a featured actor nominee.\u003c/p>\n\u003cfigure id=\"attachment_13913064\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/katrina-lenk-as-bobbie-in-company.-photo-by-matthew-murphy-scaled-1-_custom-f9ef03401085ecb0bbf45d9339420d807c82e891-800x526.jpg\" alt=\"A young woman wearing a red dress and red party hat sits behind a large birthday cake, looking quietly happy.\" width=\"800\" height=\"526\">\u003cfigcaption class=\"wp-caption-text\">Katrina Lenk in ‘Company.’ \u003ccite>(Matthew Murphy/Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The gender-reversed revival of Stephen Sondheim and George Furth’s \u003cem>Company,\u003c/em> a groundbreaking 1970 musical about marriage and a 35-year-old singleton, received 9 nominations. The crowd-pleasing, sold-out revival of \u003cem>The Music Man\u003c/em>, starring Hugh Jackman and Sutton Foster, received six nominations, including for the two leads. Tony Kushner and Jeanine Tesori’s \u003cem>Caroline, or Change\u003c/em> is up for three awards.\u003c/p>\n\u003cp>Five plays are nominated for best revival. Ntozake Shange’s \u003cem>for colored girls who have considered suicide/when the rainbow is enuf \u003c/em>received seven nominations. Despite rave reviews, the 1975 choreopoem has struggled to find audiences and announced an early closing date.\u003c/p>\n\u003cfigure id=\"attachment_13913065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/68_for_colored_girls_broadway_production_photos_2022_hr_credit_marc_j_franklin_final_custom-3f50e2d8b80b250fe2aa53d697a451e16fd819c3-800x530.jpg\" alt=\"Seven women of color stands together in two rows, gesturing while singing. All are wearing brightly colored clothes.\" width=\"800\" height=\"530\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf.’ \u003ccite>(Marc J. Franklin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Greenberg’s \u003cem>Take Me Out\u003c/em>, about a baseball superstar who announces he’s gay, has four nominations, the same number as Alice Childress’ 1955 play \u003cem>Trouble in\u003c/em> \u003cem>Mind\u003c/em>, about racism in Broadway theater and David Mamet’s \u003cem>American Buffalo\u003c/em>, about three would-be thieves. Paula Vogel’s 1998 Pulitzer Prize-winning play about a girl who is sexually molested by her uncle, \u003cem>How I Learned to Drive\u003c/em>, received three nominations. Mary-Louise Parker and David Morse, reprising their roles from the original production, are both up for best acting awards.\u003c/p>\n\u003ch3>Several shows were overlooked entirely\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Every year, shows and actors are snubbed. In addition to \u003cem>Funny Girl\u003c/em>, several other productions didn’t receive much love from the nominators. The musical adaptation of the film \u003cem>Mrs. Doubtfire\u003c/em> only received one nomination, for lead actor Rob McClure, while \u003cem>Flying Over Sunset\u003c/em>, the original musical about three 1950s celebrities experimenting with LSD, received four nominations but wasn’t up for best musical. Daniel Craig, who headlines a revival of \u003cem>Macbeth\u003c/em> didn’t receive a nod, though co-star Ruth Negga did. The sold-out revival of Neil Simon’s \u003cem>Plaza Suite\u003c/em> got a costume design nomination, but neither of its stars, Sarah Jessica Parker or Matthew Broderick, are up for an award. And several shows were overlooked entirely: the new plays \u003cem>Chicken & Biscuits\u003c/em>, \u003cem>Thoughts of a Colored Man\u003c/em>, \u003cem>Is This a Room\u003c/em>, \u003cem>Birthday Candles\u003c/em> and \u003cem>Pass Over\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a sign that things are returning somewhat to normal, The Tony Awards ceremony will be held at Radio City Music Hall on June 12. Ariana DeBose, the Oscar-winning actress from West Side Story, and a veteran of several Broadway shows, will be the host. At 7 p.m. ET, exclusive content will be streamed on Paramount +. From 8 to 11 p.m. ET, the awards ceremony will be broadcast on CBS.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27A+Strange+Loop%27+garners+11+Tony+nominations%2C+including+Best+Musical&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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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"soldout": {
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