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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>\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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"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": "\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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"title": "With 'Fefu and Her Friends,' ACT Throws an Exhilarating, Challenging Affair",
"headTitle": "With ‘Fefu and Her Friends,’ ACT Throws an Exhilarating, Challenging Affair | KQED",
"content": "\u003cp>Parties can be quite challenging experiences depending on why you’re there and who else shows up. Some parties are emphatically casual affairs: loose assemblages of friends and acquaintances who gather periodically to reaffirm their connection over a few rounds. But some parties have higher stakes.\u003c/p>\n\u003cp>In \u003cem>Fefu and Her Friends\u003c/em>, written in 1977 by María Irene Fornés, part of the experience is determining what kind of party you’ve inadvertently stumbled into, and what, eventually, you’ll gain by being there.\u003c/p>\n\u003cfigure id=\"attachment_13911730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma (Cindy Goldfield) practices her fundraising speech for the ensemble as Fefu (Catherine Castellanos) looks on in ‘Fefu and Her Friends’ by María Irene Fornés. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In A.C.T.’s version, running through May 1 at the Strand Theater, and directed by Pam MacKinnon, the party is slow to build. Guests appear in staggered succession, wandering into Fefu’s lavishly appointed living room and helping themselves from her bar cart (scenic design by Tanya Orellana, props by Janice Garten). Fefu, played by Catherine Castellanos, busies herself with fidgety tasks, from arranging flowers to fixing her toilet.\u003c/p>\n\u003cp>Fefu is the kind of host who can make or break a party just by being herself. Her energy is at turns nervous and imperious. She keeps her guests on edge by acting unpredictably and dominating the conversation even as she confesses privately, in a moment of unexpected fragility, that she is in “constant pain.” Her outfit—a riot of clashing patterns designed by Sarita Fellow—underscores the unquiet machinery of her mind. She seems always two steps ahead of her guests, who scramble to keep up even as they might recoil from her methods.\u003c/p>\n\u003cp>It takes breaking the audience and the ensemble up into smaller groups who literally disperse themselves throughout the building to break free from the magnetic pull of Fefu’s dominance. From the intimate confines of the top floor Rueff performance space to the ground floor lobby, the action and the audience travel from room to room, eavesdropping on the conversations that occur between Fefu’s guests when she’s out of earshot and cannot judge their words.\u003c/p>\n\u003cfigure id=\"attachment_13911729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Ikeda and Sarita Ocón read quietly in the Rueff performance space during ‘Fefu and Her Friends’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading together in a quiet room, Cindy (Jennifer Ikeda) and Christina (Sarita Ocón) discuss the world’s dangers, of which Fefu is just one. In the kitchen, Paula (Stacy Ross) and Sue (Leontyne Mbele-Mbong) parse out an elaborate equation for failed love, a conversation unexpectedly disrupted by the entrance of Paula’s former lover Cecilia (Marga Gomez), all rakish charm and self-possession.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, alone in a dim bedroom, Julia (Lisa Anne Porter) converses alone with the violent hallucinations that threaten her sanity. Visibly traumatized by her visions, she speaks ominously of the heaviness of her own entrails, and the impossible standards of womanhood as determined by men.\u003c/p>\n\u003cp>Of all the guests, Julia is both the biggest threat to Fefu’s need to control her environment, as well as the most affected. When Julia declares her hallucinations to be “contagious” Fefu unexpectedly agrees with her, and even appears to suffer a hallucination involving Julia on her own. If Castellanos as Fefu embodies the crackling energy of a “live wire,” Porter as Julia represents an actual hazard—both as a sufferer and as a conduit. In her solo scene she lies on her bed surrounded by a circle of watchful audience, as if on display. Resembling, in effect, a precious work of art—or a corpse.\u003c/p>\n\u003cfigure id=\"attachment_13911731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911731 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches a scene from ‘Fefu and Her Friends.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Producing this little-staged classic of experimental theater gives A.C.T. a chance to stretch its artistic muscles in some exhilarating directions, interrogating the feminine experience directly through the entrails, the genitals, and all of the messy, complicated, “revolting” bits that would normally remain unnoticed or at least unremarked upon. At the same time, it’s a production that reveals the layers of artifice typical to the stage and lays them out in the open.\u003c/p>\n\u003cp>As an attempt at experiential theater goes, A.C.T.’s \u003cem>Fefu \u003c/em>is not without some stylistic missteps and dropped beats. But the overall ambience is very much that of a party full of big personalities impossible to tear your attention away from, even as you wait quietly in the corner to witness their inevitable meltdowns.\u003c/p>\n\u003cp>A.C.T.’s \u003cem>Fefu and Her Friends\u003c/em> invites its audience to consider the intricacies of how society is mirrored through even the most banal social interactions—a reminder of the ways in which we live within a complex Venn diagram of overlapping worlds and contradictory norms. This won’t be the kind of party you walk away from with a new best friend, or even a plate of leftovers for the road. But with its powerhouse cast (and a superlative playlist compiled by sound designer Jake Rodriguez) it’s a party you won’t soon forget. Despite—or perhaps because of—the discomfort it provokes.\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>‘Fefu and Her Friends’ plays through May 1 at the Strand Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/20202122-season/fefu-and-her-friends/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Parties can be quite challenging experiences depending on why you’re there and who else shows up. Some parties are emphatically casual affairs: loose assemblages of friends and acquaintances who gather periodically to reaffirm their connection over a few rounds. But some parties have higher stakes.\u003c/p>\n\u003cp>In \u003cem>Fefu and Her Friends\u003c/em>, written in 1977 by María Irene Fornés, part of the experience is determining what kind of party you’ve inadvertently stumbled into, and what, eventually, you’ll gain by being there.\u003c/p>\n\u003cfigure id=\"attachment_13911730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_LivingRoom_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma (Cindy Goldfield) practices her fundraising speech for the ensemble as Fefu (Catherine Castellanos) looks on in ‘Fefu and Her Friends’ by María Irene Fornés. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In A.C.T.’s version, running through May 1 at the Strand Theater, and directed by Pam MacKinnon, the party is slow to build. Guests appear in staggered succession, wandering into Fefu’s lavishly appointed living room and helping themselves from her bar cart (scenic design by Tanya Orellana, props by Janice Garten). Fefu, played by Catherine Castellanos, busies herself with fidgety tasks, from arranging flowers to fixing her toilet.\u003c/p>\n\u003cp>Fefu is the kind of host who can make or break a party just by being herself. Her energy is at turns nervous and imperious. She keeps her guests on edge by acting unpredictably and dominating the conversation even as she confesses privately, in a moment of unexpected fragility, that she is in “constant pain.” Her outfit—a riot of clashing patterns designed by Sarita Fellow—underscores the unquiet machinery of her mind. She seems always two steps ahead of her guests, who scramble to keep up even as they might recoil from her methods.\u003c/p>\n\u003cp>It takes breaking the audience and the ensemble up into smaller groups who literally disperse themselves throughout the building to break free from the magnetic pull of Fefu’s dominance. From the intimate confines of the top floor Rueff performance space to the ground floor lobby, the action and the audience travel from room to room, eavesdropping on the conversations that occur between Fefu’s guests when she’s out of earshot and cannot judge their words.\u003c/p>\n\u003cfigure id=\"attachment_13911729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_SaritaOcon_JenniferIkeda_photocredit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Ikeda and Sarita Ocón read quietly in the Rueff performance space during ‘Fefu and Her Friends’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reading together in a quiet room, Cindy (Jennifer Ikeda) and Christina (Sarita Ocón) discuss the world’s dangers, of which Fefu is just one. In the kitchen, Paula (Stacy Ross) and Sue (Leontyne Mbele-Mbong) parse out an elaborate equation for failed love, a conversation unexpectedly disrupted by the entrance of Paula’s former lover Cecilia (Marga Gomez), all rakish charm and self-possession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, alone in a dim bedroom, Julia (Lisa Anne Porter) converses alone with the violent hallucinations that threaten her sanity. Visibly traumatized by her visions, she speaks ominously of the heaviness of her own entrails, and the impossible standards of womanhood as determined by men.\u003c/p>\n\u003cp>Of all the guests, Julia is both the biggest threat to Fefu’s need to control her environment, as well as the most affected. When Julia declares her hallucinations to be “contagious” Fefu unexpectedly agrees with her, and even appears to suffer a hallucination involving Julia on her own. If Castellanos as Fefu embodies the crackling energy of a “live wire,” Porter as Julia represents an actual hazard—both as a sufferer and as a conduit. In her solo scene she lies on her bed surrounded by a circle of watchful audience, as if on display. Resembling, in effect, a precious work of art—or a corpse.\u003c/p>\n\u003cfigure id=\"attachment_13911731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13911731 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FefuAndHerFriends_GardenScene_photocredit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The audience watches a scene from ‘Fefu and Her Friends.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Producing this little-staged classic of experimental theater gives A.C.T. a chance to stretch its artistic muscles in some exhilarating directions, interrogating the feminine experience directly through the entrails, the genitals, and all of the messy, complicated, “revolting” bits that would normally remain unnoticed or at least unremarked upon. At the same time, it’s a production that reveals the layers of artifice typical to the stage and lays them out in the open.\u003c/p>\n\u003cp>As an attempt at experiential theater goes, A.C.T.’s \u003cem>Fefu \u003c/em>is not without some stylistic missteps and dropped beats. But the overall ambience is very much that of a party full of big personalities impossible to tear your attention away from, even as you wait quietly in the corner to witness their inevitable meltdowns.\u003c/p>\n\u003cp>A.C.T.’s \u003cem>Fefu and Her Friends\u003c/em> invites its audience to consider the intricacies of how society is mirrored through even the most banal social interactions—a reminder of the ways in which we live within a complex Venn diagram of overlapping worlds and contradictory norms. This won’t be the kind of party you walk away from with a new best friend, or even a plate of leftovers for the road. But with its powerhouse cast (and a superlative playlist compiled by sound designer Jake Rodriguez) it’s a party you won’t soon forget. Despite—or perhaps because of—the discomfort it provokes.\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>‘Fefu and Her Friends’ plays through May 1 at the Strand Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/20202122-season/fefu-and-her-friends/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Otto Frank,' Roger Guenveur Smith Compares the Incomparable",
"headTitle": "In ‘Otto Frank,’ Roger Guenveur Smith Compares the Incomparable | KQED",
"content": "\u003cp>In a 1967 article entitled “\u003ca href=\"https://archive.nytimes.com/www.nytimes.com/books/98/03/29/specials/baldwin-antisem.html?_r=2\" rel=\"noopener noreferrer\" target=\"_blank\">Negroes are Anti-Semitic Because They’re Anti-White\u003c/a>,” James Baldwin cautioned against loosely comparing trauma: “One does not wish to be told by an American Jew that his suffering is as great as the American Negro’s suffering. It isn’t, and one knows that it isn’t from the very tone in which he assures you that it is.” \u003c/p>\n\u003cp>Despite Baldwin’s caution, the desire to compare Black and Jewish experiences has resulted in a litany of dramatic explorations. Peaking in the late 1980s and early ’90s, when so-called “Black-Jewish relations” became strained, these works have had uneven legacies. Some—like Alfred Uhry’s \u003cem>Driving Miss Daisy\u003c/em>—were outright offensive in their tokenism and stereotype; others—like Anna Deavere Smith’s \u003cem>\u003ca href=\"https://www.signaturetheatre.org/shows-and-events/Productions/2019-2020/Fires-in-the-Mirror.aspx\" rel=\"noopener noreferrer\" target=\"_blank\">Fires in the Mirror\u003c/a>\u003c/em>—have endured for their innovative exploration of dramatic form. \u003c/p>\n\u003cp>The latest iteration of this comparative impulse is Roger Guenveur Smith’s one-man show, \u003cem>Otto Frank\u003c/em>, playing at the Magic Theater in San Francisco through March 29. Smith, well-known from his roles in Spike Lee’s films, is also one of our era’s great solo performers. Having previously embodied Frederick Douglass, Huey P. Newton, and \u003ca href=\"https://www.netflix.com/title/80128715\" rel=\"noopener noreferrer\" target=\"_blank\">Rodney King\u003c/a>, Smith teams up here with longtime collaborator Marc Anthony Thompson—better known as \u003ca href=\"https://www.npr.org/artists/15675197/chocolate-genius\" rel=\"noopener noreferrer\" target=\"_blank\">Chocolate Genius Inc.\u003c/a>—to produce an hour of intimate, yet emotionally monotone, theater.\u003c/p>\n\u003cfigure id=\"attachment_13910668\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/OttoFrank.inlineShh.jpg\" alt=\"An African American man makes a 'shhhh' gesture into a microphone\" width=\"600\" height=\"900\" class=\"size-full wp-image-13910668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.inlineShh.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.inlineShh-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Roger Guenveur Smith in ‘Otto Frank’ at Magic Theatre in San Francisco. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Smith’s other plays, Otto Frank is both history lesson and eulogy. Smith portrays Otto, sole survivor of the Frank family and publisher of his daughter’s famed diary, as haunted by guilt and sorrow. The staging in this thrust theater is beautifully minimalist, populated only by a single desk, chair, and microphone. We are both, it seems, inside the Franks’ “secret annexe,” at the table that Anne fought to claim as writing space in her July 13, 1943 entry, but also in some kind of Beckettian bardo state. Frank speaks to his daughter from beyond the grave, narrating the circumstances of his life, bearing witness to her death, and lamenting the state of the world since his own passing in 1980. \u003c/p>\n\u003cp>Smith’s portrayal brims with intensity. He sits with monk-like meditativeness for an hour, arms outstretched and eyes wide open. I can count on one finger the number of times I noticed him blink. The resonant overtones of Thompson’s glassy accompaniment shake the walls and interrupt the oration. In these musical interludes, Smith pauses the history lesson and breaks out into puppet-like gestures, melodious song, and one final, chilling scream. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But unlike Smith’s other work, \u003cem>Otto Frank\u003c/em> gives us very little of the emotional truth behind the facts. His attempt to critique a rigid masculinity that dares not to cry, even in private, ultimately produces its own rigidity. The oration stays mainly in one vocal register, and the language is constrained by clichés. When Smith counts up slowly from one to six, for instance, and then that six becomes six million, the delivery is supposed to translate the gravity of mass death. But it doesn’t, and not because that gravity can’t be felt, but—echoing Baldwin—because of the very tone in which he assures us that it can.\u003c/p>\n\u003cfigure id=\"attachment_13910667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/OttoFrank.point_-800x533.jpg\" alt=\"An African American man at a desk points his finger aloft to make a dramatic point\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13910667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Guenveur Smith in ‘Otto Frank’ at Magic Theatre in San Francisco. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This may be the most noticeable gap between the page and the stage: Smith never quite conveys the emotional nuance—the tragedy and the levity—that Anne Frank’s own diary conveys. There were times when the generationally and racially diverse crowd on opening night did react viscerally, as when he scoffs at the very idea of an Anne Frank gift shop. But these moments were few and far between. I’m left thinking: given one last chance to reach out, would a father ever speak to his daughter in this way? \u003c/p>\n\u003cp>\u003cem>Otto Frank\u003c/em> does raise a series of other important questions: what does it mean for a Holocaust survivor to bear witness to anti-Semitism today? Are we too focused on the dead at the expense of the living? Is it necessary, or obscene, to forgive the oppressor? But the play never stays with these questions long enough to have us thinking critically about them. Smith is constantly comparing European anti-Semitism to other genocidal histories: the Middle Passage, Wounded Knee, even la migra. But in its desire to be comprehensive, the play ultimately feels incoherent. \u003c/p>\n\u003cp>[aside postID='arts_13898099']The speed with which it moves between these comparisons also ends up solidifying the very categories of “Black” and “Jew” that Smith’s cross-racial portrayal of Otto Frank could have complicated. Because Smith is African-American and because Otto Frank was a white, European Jew, I kept asking myself: how do mixed-race, Black Jews navigate the overlapping legacies of the Holocaust and trans-Atlantic slavery? If the figure of Otto Frank must be a vehicle to explore the contemporary, as the whole premise of the play suggests it must, unpacking that question \u003cem>could\u003c/em> have pulled the play out of the nineties and into the twenty-first century.\u003c/p>\n\u003cp>It is important to make comparisons between genocidal impulses, historical atrocities, and diasporic communities across time and space. But the point is not to flatten but to sharpen the differences. That is one of the Baldwin essay’s more lasting truths, one that Smith’s play fails to heed. Baldwin is not telling us to stop comparing, but to compare \u003cem>more carefully\u003c/em>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Otto Frank’ runs through March 27 at Magic Theatre in San Francisco. \u003ca href=\"https://www.magictheatre.org/season/otto-frank\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "An intense portrayal of Anne Frank's father compares Black and Jewish experiences, but offers little emotional truth behind the facts.",
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"title": "Review: 'Otto Frank' at Magic Theatre in San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a 1967 article entitled “\u003ca href=\"https://archive.nytimes.com/www.nytimes.com/books/98/03/29/specials/baldwin-antisem.html?_r=2\" rel=\"noopener noreferrer\" target=\"_blank\">Negroes are Anti-Semitic Because They’re Anti-White\u003c/a>,” James Baldwin cautioned against loosely comparing trauma: “One does not wish to be told by an American Jew that his suffering is as great as the American Negro’s suffering. It isn’t, and one knows that it isn’t from the very tone in which he assures you that it is.” \u003c/p>\n\u003cp>Despite Baldwin’s caution, the desire to compare Black and Jewish experiences has resulted in a litany of dramatic explorations. Peaking in the late 1980s and early ’90s, when so-called “Black-Jewish relations” became strained, these works have had uneven legacies. Some—like Alfred Uhry’s \u003cem>Driving Miss Daisy\u003c/em>—were outright offensive in their tokenism and stereotype; others—like Anna Deavere Smith’s \u003cem>\u003ca href=\"https://www.signaturetheatre.org/shows-and-events/Productions/2019-2020/Fires-in-the-Mirror.aspx\" rel=\"noopener noreferrer\" target=\"_blank\">Fires in the Mirror\u003c/a>\u003c/em>—have endured for their innovative exploration of dramatic form. \u003c/p>\n\u003cp>The latest iteration of this comparative impulse is Roger Guenveur Smith’s one-man show, \u003cem>Otto Frank\u003c/em>, playing at the Magic Theater in San Francisco through March 29. Smith, well-known from his roles in Spike Lee’s films, is also one of our era’s great solo performers. Having previously embodied Frederick Douglass, Huey P. Newton, and \u003ca href=\"https://www.netflix.com/title/80128715\" rel=\"noopener noreferrer\" target=\"_blank\">Rodney King\u003c/a>, Smith teams up here with longtime collaborator Marc Anthony Thompson—better known as \u003ca href=\"https://www.npr.org/artists/15675197/chocolate-genius\" rel=\"noopener noreferrer\" target=\"_blank\">Chocolate Genius Inc.\u003c/a>—to produce an hour of intimate, yet emotionally monotone, theater.\u003c/p>\n\u003cfigure id=\"attachment_13910668\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/OttoFrank.inlineShh.jpg\" alt=\"An African American man makes a 'shhhh' gesture into a microphone\" width=\"600\" height=\"900\" class=\"size-full wp-image-13910668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.inlineShh.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.inlineShh-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Roger Guenveur Smith in ‘Otto Frank’ at Magic Theatre in San Francisco. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Smith’s other plays, Otto Frank is both history lesson and eulogy. Smith portrays Otto, sole survivor of the Frank family and publisher of his daughter’s famed diary, as haunted by guilt and sorrow. The staging in this thrust theater is beautifully minimalist, populated only by a single desk, chair, and microphone. We are both, it seems, inside the Franks’ “secret annexe,” at the table that Anne fought to claim as writing space in her July 13, 1943 entry, but also in some kind of Beckettian bardo state. Frank speaks to his daughter from beyond the grave, narrating the circumstances of his life, bearing witness to her death, and lamenting the state of the world since his own passing in 1980. \u003c/p>\n\u003cp>Smith’s portrayal brims with intensity. He sits with monk-like meditativeness for an hour, arms outstretched and eyes wide open. I can count on one finger the number of times I noticed him blink. The resonant overtones of Thompson’s glassy accompaniment shake the walls and interrupt the oration. In these musical interludes, Smith pauses the history lesson and breaks out into puppet-like gestures, melodious song, and one final, chilling scream. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But unlike Smith’s other work, \u003cem>Otto Frank\u003c/em> gives us very little of the emotional truth behind the facts. His attempt to critique a rigid masculinity that dares not to cry, even in private, ultimately produces its own rigidity. The oration stays mainly in one vocal register, and the language is constrained by clichés. When Smith counts up slowly from one to six, for instance, and then that six becomes six million, the delivery is supposed to translate the gravity of mass death. But it doesn’t, and not because that gravity can’t be felt, but—echoing Baldwin—because of the very tone in which he assures us that it can.\u003c/p>\n\u003cfigure id=\"attachment_13910667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/OttoFrank.point_-800x533.jpg\" alt=\"An African American man at a desk points his finger aloft to make a dramatic point\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13910667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/OttoFrank.point_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Guenveur Smith in ‘Otto Frank’ at Magic Theatre in San Francisco. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This may be the most noticeable gap between the page and the stage: Smith never quite conveys the emotional nuance—the tragedy and the levity—that Anne Frank’s own diary conveys. There were times when the generationally and racially diverse crowd on opening night did react viscerally, as when he scoffs at the very idea of an Anne Frank gift shop. But these moments were few and far between. I’m left thinking: given one last chance to reach out, would a father ever speak to his daughter in this way? \u003c/p>\n\u003cp>\u003cem>Otto Frank\u003c/em> does raise a series of other important questions: what does it mean for a Holocaust survivor to bear witness to anti-Semitism today? Are we too focused on the dead at the expense of the living? Is it necessary, or obscene, to forgive the oppressor? But the play never stays with these questions long enough to have us thinking critically about them. Smith is constantly comparing European anti-Semitism to other genocidal histories: the Middle Passage, Wounded Knee, even la migra. But in its desire to be comprehensive, the play ultimately feels incoherent. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The speed with which it moves between these comparisons also ends up solidifying the very categories of “Black” and “Jew” that Smith’s cross-racial portrayal of Otto Frank could have complicated. Because Smith is African-American and because Otto Frank was a white, European Jew, I kept asking myself: how do mixed-race, Black Jews navigate the overlapping legacies of the Holocaust and trans-Atlantic slavery? If the figure of Otto Frank must be a vehicle to explore the contemporary, as the whole premise of the play suggests it must, unpacking that question \u003cem>could\u003c/em> have pulled the play out of the nineties and into the twenty-first century.\u003c/p>\n\u003cp>It is important to make comparisons between genocidal impulses, historical atrocities, and diasporic communities across time and space. But the point is not to flatten but to sharpen the differences. That is one of the Baldwin essay’s more lasting truths, one that Smith’s play fails to heed. Baldwin is not telling us to stop comparing, but to compare \u003cem>more carefully\u003c/em>. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Otto Frank’ runs through March 27 at Magic Theatre in San Francisco. \u003ca href=\"https://www.magictheatre.org/season/otto-frank\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Reworked 'Harry Potter and the Cursed Child' Brings Its Magic Back to the Curran",
"headTitle": "A Reworked ‘Harry Potter and the Cursed Child’ Brings Its Magic Back to the Curran | KQED",
"content": "\u003cp>I need to start with a disclaimer: I am a \u003cem>Harry Potter\u003c/em> fanatic. Not a casual “I watched the movies” kind of fan, either. I have two \u003cem>Harry Potter\u003c/em> tattoos, my email address includes the word “potter,” and—you guessed it—I own my own wand.\u003c/p>\n\u003cp>So, when offered the opportunity to see \u003cem>Harry Potter and the Cursed Child\u003c/em>, which reopened last week at the Curran Theatre in San Francisco, I didn’t hesitate. I had read the play and admittedly wasn’t crazy about the story. It was long, too—and enduring six hours of the lesser \u003cem>Potter\u003c/em> didn’t particularly appeal to me.\u003c/p>\n\u003cp>But now, after a redesign from its original, two-separate-performances form (read the \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">KQED review here\u003c/a>), \u003cem>The Cursed Child\u003c/em> has been shortened to just one three-hour play. And maybe it’s the nostalgia of the 20-year anniversary special on HBO, or the release of the new \u003cem>Fantastic Beasts and Where to Find Them\u003c/em>, but seeing my favorite trio back in action, I was not disappointed.\u003c/p>\n\u003cfigure id=\"attachment_13870730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg\" alt=\"An epic battle against darkness in 'Harry Potter and the Cursed Child' at the Curran Theatre.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13870730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An epic battle against darkness in ‘Harry Potter and the Cursed Child’ at the Curran Theatre. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately, the audience is transported to where the series left off in the epilogue of \u003cem>Deathly Hallows\u003c/em>. Standing at Platform 9¾ is Harry, Ron, and Hermione, and soon we’re introduced to Albus Severus Potter, the timid and unsure son of the “Boy Who Lived.”\u003c/p>\n\u003cp>I don’t want to give too much away story-wise, but I can say what had me mesmerized was, simply put, the magic. Swooshing capes, flying Dementors soaring over the audience, duels to rival those that occurred in the Ministry of Magic—and I believed every second of it. My eyes twinkled in awe, consumed with the sheer magnitude of the production. I had almost forgotten how \u003cem>much\u003c/em> I loved these characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re one of the millions of Potter fans like me, I can tell you: It was that first-book feeling, when you feel energized by this world of wizards, witches, centaurs and most importantly: magic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Happy Potter and the Cursed Child’ runs for eight performances each week at the Curran Theatre in San Francisco. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I need to start with a disclaimer: I am a \u003cem>Harry Potter\u003c/em> fanatic. Not a casual “I watched the movies” kind of fan, either. I have two \u003cem>Harry Potter\u003c/em> tattoos, my email address includes the word “potter,” and—you guessed it—I own my own wand.\u003c/p>\n\u003cp>So, when offered the opportunity to see \u003cem>Harry Potter and the Cursed Child\u003c/em>, which reopened last week at the Curran Theatre in San Francisco, I didn’t hesitate. I had read the play and admittedly wasn’t crazy about the story. It was long, too—and enduring six hours of the lesser \u003cem>Potter\u003c/em> didn’t particularly appeal to me.\u003c/p>\n\u003cp>But now, after a redesign from its original, two-separate-performances form (read the \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" rel=\"noopener noreferrer\" target=\"_blank\">KQED review here\u003c/a>), \u003cem>The Cursed Child\u003c/em> has been shortened to just one three-hour play. And maybe it’s the nostalgia of the 20-year anniversary special on HBO, or the release of the new \u003cem>Fantastic Beasts and Where to Find Them\u003c/em>, but seeing my favorite trio back in action, I was not disappointed.\u003c/p>\n\u003cfigure id=\"attachment_13870730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg\" alt=\"An epic battle against darkness in 'Harry Potter and the Cursed Child' at the Curran Theatre.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13870730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An epic battle against darkness in ‘Harry Potter and the Cursed Child’ at the Curran Theatre. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Immediately, the audience is transported to where the series left off in the epilogue of \u003cem>Deathly Hallows\u003c/em>. Standing at Platform 9¾ is Harry, Ron, and Hermione, and soon we’re introduced to Albus Severus Potter, the timid and unsure son of the “Boy Who Lived.”\u003c/p>\n\u003cp>I don’t want to give too much away story-wise, but I can say what had me mesmerized was, simply put, the magic. Swooshing capes, flying Dementors soaring over the audience, duels to rival those that occurred in the Ministry of Magic—and I believed every second of it. My eyes twinkled in awe, consumed with the sheer magnitude of the production. I had almost forgotten how \u003cem>much\u003c/em> I loved these characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re one of the millions of Potter fans like me, I can tell you: It was that first-book feeling, when you feel energized by this world of wizards, witches, centaurs and most importantly: magic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Happy Potter and the Cursed Child’ runs for eight performances each week at the Curran Theatre in San Francisco. \u003ca href=\"https://sf.harrypottertheplay.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Colman Domingo Wants to Spend Valentine’s Day With You",
"headTitle": "Colman Domingo Wants to Spend Valentine’s Day With You | KQED",
"content": "\u003cp>Colman Domingo met the love of his life in the Bay Area. Back in 2005, while starring in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4626728\" target=\"_blank\" rel=\"noopener noreferrer\">a Berkeley Rep production of \u003cem>The People’s Temple\u003c/em>\u003c/a>, he and his husband Raúl first locked eyes inside a Berkeley Walgreens. Domingo was on the phone with someone, and Raúl got dragged away by a friend before the two could strike up a conversation. This being the aughts, however, the couple later located one another (and arranged to have their first date in San Francisco) via Craigslist’s Missed Connections. Meet cutes don’t get more Bay Area than that.\u003c/p>\n\u003cp>Needless to say, Colman Domingo doesn’t at all mind spending this Valentine’s Day back in the city. And this time, he wants you to join him. The much-lauded actor—as famous for his TV roles in \u003ca href=\"https://www.youtube.com/watch?v=xuC45mIq4kY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Euphoria\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=TZenq94Gkyc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fear the Walking Dead\u003c/em>\u003c/a>, as he is for his movie parts in the likes of \u003ca href=\"https://www.youtube.com/watch?v=24KbaKlCDDI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zola\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=x6t7vVTxaic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selma\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=2UJc5yef4fc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ma Rainey’s Black Bottom\u003c/em>\u003c/a>—will be spending Feb. 14 on stage at the Strand Theater. And though Domingo’s theater pedigree is impressive, for once he won’t be there to act. Instead, the former Mission District resident will be in conversation with his best friend, Sean San José—artistic director of the \u003ca href=\"http://magictheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Theatre\u003c/a>. Domingo is also on Magic’s board of directors, and conceived this event to raise money and publicity for the organization.\u003c/p>\n\u003cp>KQED Arts & Culture caught up with Domingo on the phone a week before the big event.\u003c/p>\n\u003cp>\u003cstrong>What was the idea behind this Valentine’s Day event?\u003c/strong>\u003c/p>\n\u003cp>I believe board members should be responsible to the theater in very specific ways that call on their superpowers. So I thought “What is the thing that I can do to raise funds, to create some buzz, to introduce people to Sean and to his leadership?” I said “Why don’t we do a conversation?” If it brings fans from the \u003cem>Fear the Walking Dead\u003c/em> universe or from \u003cem>Euphoria\u003c/em> to the Magic Theater, so be it. It’ll be wonderful. For me, it’s about moving along others’ work. Valentine’s Day just seemed like the time to do it. It’s about love. Love of the theater, love for community and bringing us together. It’s my love for San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>You lived in San Francisco when you were starting out, didn’t you? \u003c/strong>\u003c/p>\n\u003cp>I lived there between 1991 and 2001. I moved there [from Philadelphia] to become an actor. I really owe a lot to my Bay Area years because I was in my 20s—that’s when you become who you’re going to become. My closest friends and comrades who I still create with are there. Like Sean, who I met at \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Rep\u003c/a> while we were doing youth theater. We did a touring production of \u003cem>The Yellow Boat\u003c/em> and he became my best friend. To this day, we’re on the phone at least a couple of times a week. I have deep roots in the Bay Area. San Francisco is truly one of my artistic homes. It’s never left me.\u003c/p>\n\u003cp>\u003cstrong>Is there a stage role from your time living here that you look back as a turning point in your career?\u003c/strong>\u003c/p>\n\u003cp>One was \u003ca href=\"https://www.paloaltoonline.com/weekly/morgue/listings/1997_Sep_12.3RDART12.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blues For an Alabama Sky\u003c/em>\u003c/a> [at TheatreWorks in 1997]. I got so much attention for that and people started to understand what I did. That was a turning point. And I came back to Berkeley Rep to do \u003ca href=\"https://www.kqed.org/arts/11742/passing_strange\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Passing Strange\u003c/em> in 2006\u003c/a>, and it was the little show that changed my life. It offered me my Broadway debut. I had lost my mother a month before we started rehearsals and it was like a calling that I had to be back in the Bay Area. It’s where I did a lot of my healing … and it changed my entire career.\u003c/p>\n\u003cp>\u003cstrong>I’d like to talk about your role in \u003cem>Euphoria\u003c/em>. You play Ali, the sponsor of 17-year-old Rue (played by Zendaya) who’s struggling with drug addiction. Whenever you two are together, it’s like a battle between the disillusionment of youth and the wisdom that comes with age and experience. \u003c/strong>\u003c/p>\n\u003cp>That’s a great way to put it. That’s exactly it. I think there’s something about Ali that [\u003cem>Euphoria\u003c/em> creator] Sam [Levinson] is very intentional about. Ali is an anchor. Because the narrator for the show, Rue, cannot be depended on. You can’t depend on her because she is struggling.\u003c/p>\n\u003cp>\u003cstrong>I think the special episode you and Zendaya did between Seasons 1 and 2—just the two of you talking in a diner—was probably the most powerful piece of television from 2020. \u003c/strong>\u003c/p>\n\u003cp>When we were about to start Season 2 of \u003cem>Euphoria\u003c/em>, we had a table read, it was wonderful, then the pandemic happened and we were shut down. In the second season, there were fragments of that conversation with Zendaya spread throughout the season. And so Sam had the brilliant idea of actually making that a more intimate experience and not spreading it out. I think honestly, the reason that episode is so powerful is because it was the end of the first year of this pandemic. This script felt like a prayer, it felt like a meditation on the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=skQMztq7oRI&t=50s\u003c/p>\n\u003cp>\u003cstrong>How did the two of you prepare for such raw scenes? How do you make it so real?\u003c/strong>\u003c/p>\n\u003cp>I put my entire soul into that because it was touching on everything that I care about. Revolutions, and inhumanity, and people being able to come back into society, and the disease of addiction which takes so many forms. So I put myself through at least 120 hours of rehearsal. I come from theater, so a 40-hour rehearsal week is not anything for me. I decided that the work needed that attention. I rehearsed it in a way to be available. I wanted to understand not only the characters, but the moments and the things that they’re wrestling with. I didn’t want that to look like work. I didn’t want you to see the work. I wanted it to just be breath, and living, and experiencing. And I think Zendaya put herself through the same process. I look at that [episode] and I recognize it as some of my best work.\u003c/p>\n\u003cp>\u003cstrong>Do you find that \u003cem>Euphoria\u003c/em> is what people most recognize you for now?\u003c/strong>\u003c/p>\n\u003cp>Right now, it’s \u003cem>Euphoria\u003c/em>—it seems like \u003cem>Euphoria\u003c/em> has taken on a mind of its own. But my fan base is all walks of life. Usually these days, I can tell who my fan base is just by looking at them. I like to guess where they know me from. Usually, you can tell who the \u003cem>Euphoria\u003c/em> base is because they all look like they’re in \u003cem>Euphoria\u003c/em>! Black people know me from every historical Black film I’ve done. But I also have a queer fanbase that knows me from when I did sketch comedy on \u003cem>The Big Gay Sketch Show\u003c/em> with Kate McKinnon. I also have a rabid, voracious, \u003cem>Walking Dead\u003c/em> universe fan base.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LbwEfU4Cn80\u003c/p>\n\u003cp>\u003cstrong>Do the \u003cem>Fear the Walking Dead\u003c/em> fans hate you since your character, Strand, went full villain in Season 7?\u003c/strong>\u003c/p>\n\u003cp>Oh yeah, they completely hate me (laughs). But I love it because a good show should be polarizing. People are complicated. I enjoy that he’s not just … to the middle.\u003c/p>\n\u003cp>\u003cstrong>In the first season of \u003cem>Fear the Walking Dead\u003c/em>, Strand was trying to help a teen addict survive the apocalypse. I can’t help but see parallels of that role in what Ali is doing in \u003cem>Euphoria\u003c/em> now with Rue.\u003c/strong>\u003c/p>\n\u003cp>It’s funny. I was such a nerdy kid. I wasn’t a troubled teen. In my family I was the youngest of three. I watched my older siblings run the streets and be a little wilder and I think my responsibility in the family was to be a good boy and not be a problem. But I could see the problem because I’m an ardent watcher of people. I think my superpower is being an empath and understanding people, and understanding things without judgment. And maybe that’s why I’m called on to play these roles because there’s something about my own story as Colman that I can bring to these characters.\u003c/p>\n\u003cp>\u003cstrong>Since you’re going to be in the Bay for Valentine’s, will you be visiting that Berkeley Walgreens where you met your husband?\u003c/strong>\u003c/p>\n\u003cp>I am bringing my husband with me! The funny thing is, it’s now not a Walgreens. It’s now a Target. But we’re making this a five-day event. We’re taking a long drive, we’ll stop at Big Sur, then on up to the Bay, get in a little early, hang out with a couple of friends, and stop by \u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Conservatory Theater\u003c/a>, which is where I got my start. That’s the first place I ever did any show. They’re actually doing my play \u003cem>\u003ca href=\"https://www.concordtheatricals.com/p/60374/dot\" target=\"_blank\" rel=\"noopener noreferrer\">Dot\u003c/a>.\u003c/em> So we’ll check in, look at the set, probably meet the cast. I used to live on 22nd and Valencia right above Valencia Cyclery. So I’m sure I’ll stop by and look up at the window. I’m a softie in that way.\u003c/p>\n\u003cp>\u003cstrong>And what food will you be running towards the fastest?\u003c/strong>\u003c/p>\n\u003cp>Oh my god! \u003ca href=\"https://slanteddoorgroup.com/sanfrancisco\" target=\"_blank\" rel=\"noopener noreferrer\">The Slanted Door\u003c/a>. It’s one of my favorite places. And I want to go to \u003ca href=\"https://tartinebakery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tartine\u003c/a>! Also, \u003ca href=\"https://sfpanchovilla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Villa\u003c/a>. They always had the best burritos. I have found that there is nowhere else in the world that makes a good burrito besides the Bay Area.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Colman Domingo will be in conversation with Sean San José at the \u003ca href=\"https://www.act-sf.org/your-visit/our-venues/the-strand-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Strand Theater\u003c/a> on Monday, Feb. 14 at 8pm. \u003ca href=\"https://app.mobilecause.com/e/rFJgow?vid=ptn4m\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The star of ‘Euphoria’ and ‘Zola’ talks about his love for the Bay and his upcoming Strand Theater appearance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Colman Domingo met the love of his life in the Bay Area. Back in 2005, while starring in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4626728\" target=\"_blank\" rel=\"noopener noreferrer\">a Berkeley Rep production of \u003cem>The People’s Temple\u003c/em>\u003c/a>, he and his husband Raúl first locked eyes inside a Berkeley Walgreens. Domingo was on the phone with someone, and Raúl got dragged away by a friend before the two could strike up a conversation. This being the aughts, however, the couple later located one another (and arranged to have their first date in San Francisco) via Craigslist’s Missed Connections. Meet cutes don’t get more Bay Area than that.\u003c/p>\n\u003cp>Needless to say, Colman Domingo doesn’t at all mind spending this Valentine’s Day back in the city. And this time, he wants you to join him. The much-lauded actor—as famous for his TV roles in \u003ca href=\"https://www.youtube.com/watch?v=xuC45mIq4kY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Euphoria\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=TZenq94Gkyc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Fear the Walking Dead\u003c/em>\u003c/a>, as he is for his movie parts in the likes of \u003ca href=\"https://www.youtube.com/watch?v=24KbaKlCDDI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zola\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=x6t7vVTxaic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Selma\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=2UJc5yef4fc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ma Rainey’s Black Bottom\u003c/em>\u003c/a>—will be spending Feb. 14 on stage at the Strand Theater. And though Domingo’s theater pedigree is impressive, for once he won’t be there to act. Instead, the former Mission District resident will be in conversation with his best friend, Sean San José—artistic director of the \u003ca href=\"http://magictheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Magic Theatre\u003c/a>. Domingo is also on Magic’s board of directors, and conceived this event to raise money and publicity for the organization.\u003c/p>\n\u003cp>KQED Arts & Culture caught up with Domingo on the phone a week before the big event.\u003c/p>\n\u003cp>\u003cstrong>What was the idea behind this Valentine’s Day event?\u003c/strong>\u003c/p>\n\u003cp>I believe board members should be responsible to the theater in very specific ways that call on their superpowers. So I thought “What is the thing that I can do to raise funds, to create some buzz, to introduce people to Sean and to his leadership?” I said “Why don’t we do a conversation?” If it brings fans from the \u003cem>Fear the Walking Dead\u003c/em> universe or from \u003cem>Euphoria\u003c/em> to the Magic Theater, so be it. It’ll be wonderful. For me, it’s about moving along others’ work. Valentine’s Day just seemed like the time to do it. It’s about love. Love of the theater, love for community and bringing us together. It’s my love for San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You lived in San Francisco when you were starting out, didn’t you? \u003c/strong>\u003c/p>\n\u003cp>I lived there between 1991 and 2001. I moved there [from Philadelphia] to become an actor. I really owe a lot to my Bay Area years because I was in my 20s—that’s when you become who you’re going to become. My closest friends and comrades who I still create with are there. Like Sean, who I met at \u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Rep\u003c/a> while we were doing youth theater. We did a touring production of \u003cem>The Yellow Boat\u003c/em> and he became my best friend. To this day, we’re on the phone at least a couple of times a week. I have deep roots in the Bay Area. San Francisco is truly one of my artistic homes. It’s never left me.\u003c/p>\n\u003cp>\u003cstrong>Is there a stage role from your time living here that you look back as a turning point in your career?\u003c/strong>\u003c/p>\n\u003cp>One was \u003ca href=\"https://www.paloaltoonline.com/weekly/morgue/listings/1997_Sep_12.3RDART12.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blues For an Alabama Sky\u003c/em>\u003c/a> [at TheatreWorks in 1997]. I got so much attention for that and people started to understand what I did. That was a turning point. And I came back to Berkeley Rep to do \u003ca href=\"https://www.kqed.org/arts/11742/passing_strange\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Passing Strange\u003c/em> in 2006\u003c/a>, and it was the little show that changed my life. It offered me my Broadway debut. I had lost my mother a month before we started rehearsals and it was like a calling that I had to be back in the Bay Area. It’s where I did a lot of my healing … and it changed my entire career.\u003c/p>\n\u003cp>\u003cstrong>I’d like to talk about your role in \u003cem>Euphoria\u003c/em>. You play Ali, the sponsor of 17-year-old Rue (played by Zendaya) who’s struggling with drug addiction. Whenever you two are together, it’s like a battle between the disillusionment of youth and the wisdom that comes with age and experience. \u003c/strong>\u003c/p>\n\u003cp>That’s a great way to put it. That’s exactly it. I think there’s something about Ali that [\u003cem>Euphoria\u003c/em> creator] Sam [Levinson] is very intentional about. Ali is an anchor. Because the narrator for the show, Rue, cannot be depended on. You can’t depend on her because she is struggling.\u003c/p>\n\u003cp>\u003cstrong>I think the special episode you and Zendaya did between Seasons 1 and 2—just the two of you talking in a diner—was probably the most powerful piece of television from 2020. \u003c/strong>\u003c/p>\n\u003cp>When we were about to start Season 2 of \u003cem>Euphoria\u003c/em>, we had a table read, it was wonderful, then the pandemic happened and we were shut down. In the second season, there were fragments of that conversation with Zendaya spread throughout the season. And so Sam had the brilliant idea of actually making that a more intimate experience and not spreading it out. I think honestly, the reason that episode is so powerful is because it was the end of the first year of this pandemic. This script felt like a prayer, it felt like a meditation on the year.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/skQMztq7oRI'\n title='//www.youtube.com/embed/skQMztq7oRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How did the two of you prepare for such raw scenes? How do you make it so real?\u003c/strong>\u003c/p>\n\u003cp>I put my entire soul into that because it was touching on everything that I care about. Revolutions, and inhumanity, and people being able to come back into society, and the disease of addiction which takes so many forms. So I put myself through at least 120 hours of rehearsal. I come from theater, so a 40-hour rehearsal week is not anything for me. I decided that the work needed that attention. I rehearsed it in a way to be available. I wanted to understand not only the characters, but the moments and the things that they’re wrestling with. I didn’t want that to look like work. I didn’t want you to see the work. I wanted it to just be breath, and living, and experiencing. And I think Zendaya put herself through the same process. I look at that [episode] and I recognize it as some of my best work.\u003c/p>\n\u003cp>\u003cstrong>Do you find that \u003cem>Euphoria\u003c/em> is what people most recognize you for now?\u003c/strong>\u003c/p>\n\u003cp>Right now, it’s \u003cem>Euphoria\u003c/em>—it seems like \u003cem>Euphoria\u003c/em> has taken on a mind of its own. But my fan base is all walks of life. Usually these days, I can tell who my fan base is just by looking at them. I like to guess where they know me from. Usually, you can tell who the \u003cem>Euphoria\u003c/em> base is because they all look like they’re in \u003cem>Euphoria\u003c/em>! Black people know me from every historical Black film I’ve done. But I also have a queer fanbase that knows me from when I did sketch comedy on \u003cem>The Big Gay Sketch Show\u003c/em> with Kate McKinnon. I also have a rabid, voracious, \u003cem>Walking Dead\u003c/em> universe fan base.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LbwEfU4Cn80'\n title='//www.youtube.com/embed/LbwEfU4Cn80'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do the \u003cem>Fear the Walking Dead\u003c/em> fans hate you since your character, Strand, went full villain in Season 7?\u003c/strong>\u003c/p>\n\u003cp>Oh yeah, they completely hate me (laughs). But I love it because a good show should be polarizing. People are complicated. I enjoy that he’s not just … to the middle.\u003c/p>\n\u003cp>\u003cstrong>In the first season of \u003cem>Fear the Walking Dead\u003c/em>, Strand was trying to help a teen addict survive the apocalypse. I can’t help but see parallels of that role in what Ali is doing in \u003cem>Euphoria\u003c/em> now with Rue.\u003c/strong>\u003c/p>\n\u003cp>It’s funny. I was such a nerdy kid. I wasn’t a troubled teen. In my family I was the youngest of three. I watched my older siblings run the streets and be a little wilder and I think my responsibility in the family was to be a good boy and not be a problem. But I could see the problem because I’m an ardent watcher of people. I think my superpower is being an empath and understanding people, and understanding things without judgment. And maybe that’s why I’m called on to play these roles because there’s something about my own story as Colman that I can bring to these characters.\u003c/p>\n\u003cp>\u003cstrong>Since you’re going to be in the Bay for Valentine’s, will you be visiting that Berkeley Walgreens where you met your husband?\u003c/strong>\u003c/p>\n\u003cp>I am bringing my husband with me! The funny thing is, it’s now not a Walgreens. It’s now a Target. But we’re making this a five-day event. We’re taking a long drive, we’ll stop at Big Sur, then on up to the Bay, get in a little early, hang out with a couple of friends, and stop by \u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Conservatory Theater\u003c/a>, which is where I got my start. That’s the first place I ever did any show. They’re actually doing my play \u003cem>\u003ca href=\"https://www.concordtheatricals.com/p/60374/dot\" target=\"_blank\" rel=\"noopener noreferrer\">Dot\u003c/a>.\u003c/em> So we’ll check in, look at the set, probably meet the cast. I used to live on 22nd and Valencia right above Valencia Cyclery. So I’m sure I’ll stop by and look up at the window. I’m a softie in that way.\u003c/p>\n\u003cp>\u003cstrong>And what food will you be running towards the fastest?\u003c/strong>\u003c/p>\n\u003cp>Oh my god! \u003ca href=\"https://slanteddoorgroup.com/sanfrancisco\" target=\"_blank\" rel=\"noopener noreferrer\">The Slanted Door\u003c/a>. It’s one of my favorite places. And I want to go to \u003ca href=\"https://tartinebakery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tartine\u003c/a>! Also, \u003ca href=\"https://sfpanchovilla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pancho Villa\u003c/a>. They always had the best burritos. I have found that there is nowhere else in the world that makes a good burrito besides the Bay Area.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Colman Domingo will be in conversation with Sean San José at the \u003ca href=\"https://www.act-sf.org/your-visit/our-venues/the-strand-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Strand Theater\u003c/a> on Monday, Feb. 14 at 8pm. \u003ca href=\"https://app.mobilecause.com/e/rFJgow?vid=ptn4m\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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