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"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
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"bio": "\u003cspan style=\"font-weight: 400;\">Samuel Getachew is an 18-year-old poet and writer from Oakland, California. He is the 2019 Oakland Youth Poet Laureate, a 2020 Finalist for National Youth Poet Laureate, and a 4-time YoungArts Winner. His writing has been published in Teen Vogue, the New York Times, the Washington Post, and more. He will attend Yale University in the fall of 2021.\u003c/span>",
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"title": "What's Reopened in the Bay Area? Your Updated Guide to Movies, Art, Music and More",
"headTitle": "What’s Reopened in the Bay Area? Your Updated Guide to Movies, Art, Music and More | KQED",
"content": "\u003cp>With vaccinations rolling along and Bay Area counties moving out of restrictive tiers, we’re seeing more and more reopenings of movie theaters, museums, attractions and even live music.\u003c/p>\n\u003cp>Below is a regularly updated list of what we know is open. Check back for updates to guide your weekend planning, and as always, adhere to your county’s mandates and guidance for COVID-19.\u003c/p>\n\u003cp>\u003cem>Note: Hours and policies may be different than what you were used to pre-pandemic. Some venues may require \u003ca href=\"https://www.kqed.org/news/11867934/covid-vaccine-passports-how-they-could-work-when-you-might-need-one\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccine\u003c/a>. It’s advisable to follow the links to each venue’s website for more details. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: As of June 15, we will no longer be adding to this list. With California’s COVID restrictions mostly lifted, it is now more newsworthy if something is closed than if it’s reopened. Even live music and theatre are starting to trickle back. Congratulations to us all for making it through the long, lonely arts dry spell.—Ed. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jump To\u003c/strong>: \u003cstrong>\u003ca href=\"#museums\">Museums\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#music\">Live Music\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#movies\">Movie Theaters\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#theatre\">Live Theatre\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#sports\">Sports\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#other\">Other\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[hearken id=”8284″ src=”https://modules.wearehearken.com/kqed/embed/8284.js”]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"museums\">\u003c/a>\u003c/p>\n\u003ch1>Museums and Art Centers\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\n\u003ca href=\"https://www.bedfordgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bedford Gallery, Walnut Creek\u003c/a>\u003cbr>\n\u003ca href=\"https://www.berkeleyartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center and the Anderson Collection\u003c/a>, Stanford University\u003cbr>\n\u003ca href=\"https://schulzmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles M. Schulz Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.calacademy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Academy of Sciences\u003c/a>\u003cbr>\n\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003cbr>\n\u003ca href=\"https://conservatoryofflowers.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Conservatory of Flowers, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">di Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Legion of Honor\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a> (reservation required)\u003cbr>\n\u003ca href=\"https://www.numulosgatos.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum Los Gatos\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center\" rel=\"noopener noreferrer\" target=\"_blank\">Palo Alto Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>\u003cbr>\n\u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Richmond Museum of History & Culture\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\n\u003ca href=\"https://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Museum of Quilts & Textiles\u003c/a>\u003cbr>\n\u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a>\u003cbr>\n\u003ca href=\"https://svma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Valley Museum of Art\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a> – opening June 18\u003cbr>\n\u003ca href=\"https://www.exploratorium.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> – opening July 1\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"music\">\u003c/a>\u003c/p>\n\u003ch1>Live Music\u003c/h1>\n\u003cp>\u003cem>Most live music is currently outdoors; we’re noticing a general return to large indoor concerts starting in August–September. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.audium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Audium\u003c/a>\u003cbr>\n\u003ca href=\"https://backroommusic.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">The Back Room\u003c/a> in Berkeley – Outdoor live music\u003cbr>\n\u003ca href=\"https://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Napa\u003c/a> – Concerts being held outdoors starting in May at Charles Krug Winery\u003cbr>\n\u003ca href=\"https://thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a> – Outdoor shows with dinner\u003cbr>\n\u003ca href=\"https://www.feinsteinssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Feinstein’s at the Nikko\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/livemusic\" target=\"_blank\" rel=\"noopener noreferrer\">Hopmonk Tavern\u003c/a> – Outdoor music in Sebastopol, Sonoma and Novato\u003cbr>\n\u003ca href=\"https://mrtipplessf.com/calendar/\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Tipple’s Jazz Studio\u003c/a> – Live jazz Thursday-Saturday\u003cbr>\n\u003ca href=\"https://www.kqed.org/arts/13896318/sf-symphony-returns-to-in-person-concerts-in-may\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/twin-oaks\" target=\"_blank\" rel=\"noopener noreferrer\">Twin Oaks Roadhouse\u003c/a> – Outdoor music in Penngrove\u003cbr>\n\u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Theatre\u003c/a> – Outdoor music every Friday and Saturday night\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a> – returning June 20 for summer 2021; lineup announced soon\u003cbr>\n\u003ca href=\"https://secondskyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Porter Robinson’s Second Sky Festival\u003c/a> – returning Sept. 18 and 19 in Berkeley\u003cbr>\n\u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> – Opening Oct. 15\u003cbr>\n\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a> – Returns Sept. 30\u003cbr>\n\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> – returning Halloween weekend; tickets sold out\u003cbr>\n\u003ca href=\"https://www.oxbowriverstage.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oxbow Riverstage\u003c/a>, Downtown Napa – Shows resume Aug. 14\u003cbr>\n\u003ca href=\"https://live.stanford.edu/venues/frost-amphitheater\" target=\"_blank\" rel=\"noopener noreferrer\">Frost Amphitheater\u003c/a> – live performances resume July 1\u003cbr>\n\u003ca href=\"https://yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a> – club is reopening for live music starting July 9 \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs4-800x137.jpg\" alt=\"\" width=\"800\" height=\"137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-800x137.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-1020x175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-768x131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"movies\">\u003c/a>\u003c/p>\n\u003ch1>Movie Theaters\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003cstrong>San Francisco\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-kabuki-8\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Kabuki 8 in Japantown, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-metreon-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Metreon 16, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemasf.com/balboa\" target=\"_blank\" rel=\"noopener noreferrer\">Balboa Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-francisco/century-san-francisco-centre-9-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century San Francisco Centre 9\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-daly-city/century-20-daly-city-and-xd-and-imax\" target=\"_blank\" rel=\"noopener noreferrer\">Century 20 Daly City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema in San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>East Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/oakland/amc-bay-street-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Bay Street 16, Emeryville\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-at-hayward\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-leandro/century-16-bayfair-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century 16 Bayfair Mall\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-southland-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century Southland Mall in Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-union-city/century-25-union-landing-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century 25 Union Landing in Union City\u003c/a>\u003cbr>\n\u003ca href=\"http://www.renaissancerialto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Grand Lake Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Livermore 13 Cinema\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/solano\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Solano Drive-In in Concord\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Veranda Luxe Cinema in Concord\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>South Bay/Penninsula\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-newpark-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC NewPark 12, Newark\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-mercado-20\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Mercado 20, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-dine-in-sunnyvale-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Dine-In Sunnyvale 12, Sunnyvale\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-saratoga-14\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Saratoga 14, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-eastridge-15\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Eastridge 15, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-mateo/century-12-san-mateo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 12 San Mateo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-redwood-city/redwood-downtown-20-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood Downtown 20 in Redwood City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-bruno/century-at-tanforan-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Tanforan in San Bruno\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/capitol\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In in San Jose\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>North Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boulevard 14 Cinemas in Petaluma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/roxy-14\" target=\"_blank\" rel=\"noopener noreferrer\">Roxy Stadium 14 in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sebastianitheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sebastiani Theatre in Sonoma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/summerfield\" target=\"_blank\" rel=\"noopener noreferrer\">Summerfield Cinemas in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-novato/century-rowland-plaza\" target=\"_blank\" rel=\"noopener noreferrer\">Century Rowland Plaza in Novato\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-rafael/century-northgate\" target=\"_blank\" rel=\"noopener noreferrer\">Century Northgate in San Rafael\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-vallejo/century-14-vallejo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 14 Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Napa Valley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.readingcinemasus.com/rohnertpark\" target=\"_blank\" rel=\"noopener noreferrer\">Reading Cinemas Rohnert Park\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-jack-london/1808#/buy-tickets-by-cinema?in-cinema=1808&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Jack London\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-ua-berkeley/1172#/buy-tickets-by-cinema?in-cinema=1172&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal UA Berkeley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-stonestown-galleria-screenx-4dx-rpx/1464#/buy-tickets-by-cinema?in-cinema=1464&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Stonestown\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=elmwood\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Elmwood\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Sebastopol\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs3-800x130.jpg\" alt=\"\" width=\"800\" height=\"130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-800x130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-1020x166.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-160x26.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-768x125.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"theatre\">\u003c/a>\u003c/p>\n\u003ch1>Live Theatre\u003c/h1>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Gate Theatre\u003c/a> – in-person performances resume Oct. 13 with \u003cem>Jesus Christ Superstar\u003c/em>\u003cbr>\n\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Orpheum Theatre\u003c/a> – in-person performances resume Nov. 3 with \u003cem>My Fair Lady\u003c/em>\u003cbr>\n\u003ca href=\"https://www.sfplayhouse.org/sfph/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Playhouse\u003c/a> – in-person performances resume June 8 with \u003cem>Hold These Truths\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"sports\">\u003c/a>\u003c/p>\n\u003ch1>Sports\u003c/h1>\n\u003cp>\u003cstrong>Available Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.nba.com/warriors/tickets/single\" target=\"_blank\" rel=\"noopener noreferrer\">Golden State Warriors \u003c/a>– Single-game tickets available now; negative test result or proof of vaccination required for entry\u003cbr>\n\u003ca href=\"https://www.mlb.com/athletics/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland A’s\u003c/a> – Regular single-game tickets on sale now\u003cbr>\n\u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Roots\u003c/a> – Home games start in June, \u003ca href=\"https://www.oaklandrootssc.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">tickets sold in membership groups\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mlb.com/giants/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Giants\u003c/a> – Regular single-game tickets on sale now (\u003ca href=\"https://www.mlb.com/giants/fans/safety\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination or negative test result\u003c/a> no longer required for entry)\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://santacruz.gleague.nba.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Warriors\u003c/a> – Single-game ticket info coming soon\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"other\">\u003c/a>\u003c/p>\n\u003ch1>Other\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://bayareadiscoverymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Discovery Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Discovery Museum of San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland\u003cbr>\n\u003ca href=\"https://www.gilroygardens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gilroy Gardens\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cagreatamerica.com\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a> in Santa Clara\u003cbr>\n\u003ca href=\"https://happyhollow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Hollow Park and Zoo\u003c/a> in San Jose\u003cbr>\n\u003ca href=\"https://www.montereybayaquarium.org/visit/welcome-back\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Bay Aquarium\u003c/a>\u003cbr>\n\u003ca href=\"https://www.oaklandzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.facebook.com/queerfirstfridays/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer First Fridays\u003c/a>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Main Branch, Chinatown Branch, Mission Bay Branch\u003cbr>\n\u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://beachboardwalk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Beach Boardwalk\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sixflags.com/discoverykingdom/attractions/marine-world-experience\" target=\"_blank\" rel=\"noopener noreferrer\">Six Flags Discovery Kingdom in Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.skystarwheel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SkyStar Wheel\u003c/a> in Golden Gate Park\u003cbr>\n\u003ca href=\"https://www.smuinballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SMUIN Ballet\u003c/a> – Outdoor performances start May 14\u003cbr>\n\u003ca href=\"https://www.stagecoachgreens.com/cms/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach Greens\u003c/a> – Outdoor mini golf\u003cbr>\n\u003ca href=\"http://www.subparminigolf.com/booking2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Subpar\u003c/a> – Indoor mini golf\u003cbr>\n\u003ca href=\"https://www.thetech.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Tech Interactive\u003c/a>\u003cbr>\n\u003ca href=\"https://www.urbanputt.com/location/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Putt\u003c/a> – Indoor mini golf and dining\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Ortega, Richmond, Visitacion Valley (June 21); Excelsior (June 22)\u003cbr>\n\u003ca href=\"https://comedyday.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Comedy Day\u003c/a> in Golden Gate Park – Scheduled for Sept. 12\u003cbr>\n\u003ca href=\"https://oaklandballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Ballet\u003c/a> – Opening Oct. 29\u003cbr>\n\u003ca href=\"https://www.sanmateocountyfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Mateo County Fair\u003c/a> – Returning June 5-13\u003c/p>\n\n",
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"excerpt": "See our updated list of the Bay Area's reopened arts, events and cultural experiences.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With vaccinations rolling along and Bay Area counties moving out of restrictive tiers, we’re seeing more and more reopenings of movie theaters, museums, attractions and even live music.\u003c/p>\n\u003cp>Below is a regularly updated list of what we know is open. Check back for updates to guide your weekend planning, and as always, adhere to your county’s mandates and guidance for COVID-19.\u003c/p>\n\u003cp>\u003cem>Note: Hours and policies may be different than what you were used to pre-pandemic. Some venues may require \u003ca href=\"https://www.kqed.org/news/11867934/covid-vaccine-passports-how-they-could-work-when-you-might-need-one\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccine\u003c/a>. It’s advisable to follow the links to each venue’s website for more details. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: As of June 15, we will no longer be adding to this list. With California’s COVID restrictions mostly lifted, it is now more newsworthy if something is closed than if it’s reopened. Even live music and theatre are starting to trickle back. Congratulations to us all for making it through the long, lonely arts dry spell.—Ed. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jump To\u003c/strong>: \u003cstrong>\u003ca href=\"#museums\">Museums\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#music\">Live Music\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#movies\">Movie Theaters\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#theatre\">Live Theatre\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#sports\">Sports\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#other\">Other\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"museums\">\u003c/a>\u003c/p>\n\u003ch1>Museums and Art Centers\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\n\u003ca href=\"https://www.bedfordgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bedford Gallery, Walnut Creek\u003c/a>\u003cbr>\n\u003ca href=\"https://www.berkeleyartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center and the Anderson Collection\u003c/a>, Stanford University\u003cbr>\n\u003ca href=\"https://schulzmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles M. Schulz Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.calacademy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Academy of Sciences\u003c/a>\u003cbr>\n\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003cbr>\n\u003ca href=\"https://conservatoryofflowers.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Conservatory of Flowers, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">di Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Legion of Honor\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a> (reservation required)\u003cbr>\n\u003ca href=\"https://www.numulosgatos.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum Los Gatos\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center\" rel=\"noopener noreferrer\" target=\"_blank\">Palo Alto Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>\u003cbr>\n\u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Richmond Museum of History & Culture\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\n\u003ca href=\"https://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Museum of Quilts & Textiles\u003c/a>\u003cbr>\n\u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a>\u003cbr>\n\u003ca href=\"https://svma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Valley Museum of Art\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a> – opening June 18\u003cbr>\n\u003ca href=\"https://www.exploratorium.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> – opening July 1\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"music\">\u003c/a>\u003c/p>\n\u003ch1>Live Music\u003c/h1>\n\u003cp>\u003cem>Most live music is currently outdoors; we’re noticing a general return to large indoor concerts starting in August–September. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.audium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Audium\u003c/a>\u003cbr>\n\u003ca href=\"https://backroommusic.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">The Back Room\u003c/a> in Berkeley – Outdoor live music\u003cbr>\n\u003ca href=\"https://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Napa\u003c/a> – Concerts being held outdoors starting in May at Charles Krug Winery\u003cbr>\n\u003ca href=\"https://thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a> – Outdoor shows with dinner\u003cbr>\n\u003ca href=\"https://www.feinsteinssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Feinstein’s at the Nikko\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/livemusic\" target=\"_blank\" rel=\"noopener noreferrer\">Hopmonk Tavern\u003c/a> – Outdoor music in Sebastopol, Sonoma and Novato\u003cbr>\n\u003ca href=\"https://mrtipplessf.com/calendar/\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Tipple’s Jazz Studio\u003c/a> – Live jazz Thursday-Saturday\u003cbr>\n\u003ca href=\"https://www.kqed.org/arts/13896318/sf-symphony-returns-to-in-person-concerts-in-may\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/twin-oaks\" target=\"_blank\" rel=\"noopener noreferrer\">Twin Oaks Roadhouse\u003c/a> – Outdoor music in Penngrove\u003cbr>\n\u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Theatre\u003c/a> – Outdoor music every Friday and Saturday night\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a> – returning June 20 for summer 2021; lineup announced soon\u003cbr>\n\u003ca href=\"https://secondskyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Porter Robinson’s Second Sky Festival\u003c/a> – returning Sept. 18 and 19 in Berkeley\u003cbr>\n\u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> – Opening Oct. 15\u003cbr>\n\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a> – Returns Sept. 30\u003cbr>\n\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> – returning Halloween weekend; tickets sold out\u003cbr>\n\u003ca href=\"https://www.oxbowriverstage.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oxbow Riverstage\u003c/a>, Downtown Napa – Shows resume Aug. 14\u003cbr>\n\u003ca href=\"https://live.stanford.edu/venues/frost-amphitheater\" target=\"_blank\" rel=\"noopener noreferrer\">Frost Amphitheater\u003c/a> – live performances resume July 1\u003cbr>\n\u003ca href=\"https://yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a> – club is reopening for live music starting July 9 \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs4-800x137.jpg\" alt=\"\" width=\"800\" height=\"137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-800x137.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-1020x175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-768x131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"movies\">\u003c/a>\u003c/p>\n\u003ch1>Movie Theaters\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003cstrong>San Francisco\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-kabuki-8\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Kabuki 8 in Japantown, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-metreon-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Metreon 16, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemasf.com/balboa\" target=\"_blank\" rel=\"noopener noreferrer\">Balboa Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-francisco/century-san-francisco-centre-9-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century San Francisco Centre 9\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-daly-city/century-20-daly-city-and-xd-and-imax\" target=\"_blank\" rel=\"noopener noreferrer\">Century 20 Daly City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema in San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>East Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/oakland/amc-bay-street-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Bay Street 16, Emeryville\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-at-hayward\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-leandro/century-16-bayfair-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century 16 Bayfair Mall\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-southland-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century Southland Mall in Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-union-city/century-25-union-landing-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century 25 Union Landing in Union City\u003c/a>\u003cbr>\n\u003ca href=\"http://www.renaissancerialto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Grand Lake Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Livermore 13 Cinema\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/solano\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Solano Drive-In in Concord\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Veranda Luxe Cinema in Concord\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>South Bay/Penninsula\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-newpark-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC NewPark 12, Newark\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-mercado-20\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Mercado 20, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-dine-in-sunnyvale-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Dine-In Sunnyvale 12, Sunnyvale\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-saratoga-14\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Saratoga 14, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-eastridge-15\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Eastridge 15, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-mateo/century-12-san-mateo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 12 San Mateo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-redwood-city/redwood-downtown-20-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood Downtown 20 in Redwood City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-bruno/century-at-tanforan-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Tanforan in San Bruno\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/capitol\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In in San Jose\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>North Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boulevard 14 Cinemas in Petaluma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/roxy-14\" target=\"_blank\" rel=\"noopener noreferrer\">Roxy Stadium 14 in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sebastianitheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sebastiani Theatre in Sonoma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/summerfield\" target=\"_blank\" rel=\"noopener noreferrer\">Summerfield Cinemas in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-novato/century-rowland-plaza\" target=\"_blank\" rel=\"noopener noreferrer\">Century Rowland Plaza in Novato\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-rafael/century-northgate\" target=\"_blank\" rel=\"noopener noreferrer\">Century Northgate in San Rafael\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-vallejo/century-14-vallejo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 14 Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Napa Valley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.readingcinemasus.com/rohnertpark\" target=\"_blank\" rel=\"noopener noreferrer\">Reading Cinemas Rohnert Park\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-jack-london/1808#/buy-tickets-by-cinema?in-cinema=1808&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Jack London\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-ua-berkeley/1172#/buy-tickets-by-cinema?in-cinema=1172&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal UA Berkeley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-stonestown-galleria-screenx-4dx-rpx/1464#/buy-tickets-by-cinema?in-cinema=1464&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Stonestown\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=elmwood\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Elmwood\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Sebastopol\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs3-800x130.jpg\" alt=\"\" width=\"800\" height=\"130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-800x130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-1020x166.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-160x26.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-768x125.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"theatre\">\u003c/a>\u003c/p>\n\u003ch1>Live Theatre\u003c/h1>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Gate Theatre\u003c/a> – in-person performances resume Oct. 13 with \u003cem>Jesus Christ Superstar\u003c/em>\u003cbr>\n\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Orpheum Theatre\u003c/a> – in-person performances resume Nov. 3 with \u003cem>My Fair Lady\u003c/em>\u003cbr>\n\u003ca href=\"https://www.sfplayhouse.org/sfph/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Playhouse\u003c/a> – in-person performances resume June 8 with \u003cem>Hold These Truths\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"sports\">\u003c/a>\u003c/p>\n\u003ch1>Sports\u003c/h1>\n\u003cp>\u003cstrong>Available Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.nba.com/warriors/tickets/single\" target=\"_blank\" rel=\"noopener noreferrer\">Golden State Warriors \u003c/a>– Single-game tickets available now; negative test result or proof of vaccination required for entry\u003cbr>\n\u003ca href=\"https://www.mlb.com/athletics/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland A’s\u003c/a> – Regular single-game tickets on sale now\u003cbr>\n\u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Roots\u003c/a> – Home games start in June, \u003ca href=\"https://www.oaklandrootssc.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">tickets sold in membership groups\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mlb.com/giants/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Giants\u003c/a> – Regular single-game tickets on sale now (\u003ca href=\"https://www.mlb.com/giants/fans/safety\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination or negative test result\u003c/a> no longer required for entry)\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://santacruz.gleague.nba.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Warriors\u003c/a> – Single-game ticket info coming soon\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"other\">\u003c/a>\u003c/p>\n\u003ch1>Other\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://bayareadiscoverymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Discovery Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Discovery Museum of San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland\u003cbr>\n\u003ca href=\"https://www.gilroygardens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gilroy Gardens\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cagreatamerica.com\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a> in Santa Clara\u003cbr>\n\u003ca href=\"https://happyhollow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Hollow Park and Zoo\u003c/a> in San Jose\u003cbr>\n\u003ca href=\"https://www.montereybayaquarium.org/visit/welcome-back\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Bay Aquarium\u003c/a>\u003cbr>\n\u003ca href=\"https://www.oaklandzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.facebook.com/queerfirstfridays/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer First Fridays\u003c/a>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Main Branch, Chinatown Branch, Mission Bay Branch\u003cbr>\n\u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://beachboardwalk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Beach Boardwalk\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sixflags.com/discoverykingdom/attractions/marine-world-experience\" target=\"_blank\" rel=\"noopener noreferrer\">Six Flags Discovery Kingdom in Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.skystarwheel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SkyStar Wheel\u003c/a> in Golden Gate Park\u003cbr>\n\u003ca href=\"https://www.smuinballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SMUIN Ballet\u003c/a> – Outdoor performances start May 14\u003cbr>\n\u003ca href=\"https://www.stagecoachgreens.com/cms/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach Greens\u003c/a> – Outdoor mini golf\u003cbr>\n\u003ca href=\"http://www.subparminigolf.com/booking2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Subpar\u003c/a> – Indoor mini golf\u003cbr>\n\u003ca href=\"https://www.thetech.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Tech Interactive\u003c/a>\u003cbr>\n\u003ca href=\"https://www.urbanputt.com/location/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Putt\u003c/a> – Indoor mini golf and dining\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Ortega, Richmond, Visitacion Valley (June 21); Excelsior (June 22)\u003cbr>\n\u003ca href=\"https://comedyday.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Comedy Day\u003c/a> in Golden Gate Park – Scheduled for Sept. 12\u003cbr>\n\u003ca href=\"https://oaklandballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Ballet\u003c/a> – Opening Oct. 29\u003cbr>\n\u003ca href=\"https://www.sanmateocountyfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Mateo County Fair\u003c/a> – Returning June 5-13\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In-Person Theater Returns with Oakland Theater Project’s 'The Waste Land'",
"headTitle": "In-Person Theater Returns with Oakland Theater Project’s ‘The Waste Land’ | KQED",
"content": "\u003cp>\u003cem>“I will show you fear in a handful of dust” –T.S. Eliot, “The Waste Land”\u003c/em>\u003c/p>\n\u003cp>A lone figure (Lisa Ramirez) runs in place, etched against a screen projecting a historical montage that begins and ends with a pandemic. As images span the 1918 Spanish Flu to present-day COVID-19, Ramirez’ face is an anguished rictus. She runs at the pace of a person who knows they cannot outrun that which threatens to overtake them. So begins Oakland Theater Project’s adaptation of T.S. Eliot’s “The Waste Land,” staged as a drive-in concept in the parking lot of the Flax art and design building in Oakland, on Martin Luther King Jr. Way.\u003c/p>\n\u003cp>A polite semi-circle of cars surrounds Ramirez’ modest square of dirt backed by a moss-covered projection screen (designed by Karla Hargrave). Windows are closed, and radios tuned into a micro-transmitted channel. As the April twilight deepens into night, so too does the unease seeping from the screen. A nervy soundscape (created by Elton Bradman) mixes \u003cem>Nevermind\u003c/em> with lounge music with radio static. Archival footage compiled by Erin Gilley flashes across the screen: soldiers and protesters, cracked earth and forest fires, police barricades and atom bombs, doctors and politicians.\u003c/p>\n\u003cfigure id=\"attachment_13896009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-800x595.jpg\" alt=\"\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1920x1428.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez as poet/prophet/people in front of a projection screen for Oakland Theater Project’s ‘The Waste Land.’ \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ramirez herself appears timeless—outside of time—dressed in a deconstructed black suit and a flat-brimmed black hat (costume design by Regina Evans). There’s a touch of Chaplin’s Tramp about her, and more than a touch of Brechtian rogue. Billed as the poet, the prophet, and the people, Ramirez portrays a legion of seekers with singular focus.\u003c/p>\n\u003cp>With the possible exception of “Macavity the Mystery Cat,” “The Waste Land” is probably Eliot’s best-known work. A touchstone of Modernist poetry, its 434 lines traverse a dark landscape of everyday cruelties and conflicting perspectives intoned by the voices of multitudes. Packed with references to mythologies and memories, archetypes and anxieties, the poem reads alternately like a crash course in the “classics” and a bitter repudiation of them. Upon first read, it can appear impenetrable—a criticism leveled at Eliot in his own time—and yet the rhythmic inflections built into the lines give it a disconcerting freshness even 99 years after publication.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, Oakland Theater Project is not the first to adapt “The Waste Land” for the stage. When Ramirez—who is OTP’s Associate Artistic Director—brought up the idea of performing the poem soon after the March 2020 shutdown, she was herself inspired by actor Fiona Shaw, whose own solo performance of it premiered in 1995. Ramirez also floated the idea of staging it as a drive-in experience. A full year later, this realization of her vision is a study in resourcefulness and outside-the-black-box thinking—qualities that frequently characterize OTP’s imaginative, site-responsive presentations.\u003c/p>\n\u003cfigure id=\"attachment_13896013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cars arriving at the check-in point for Oakland Theater Project’s drive-in experience of ‘The Waste Land.’ \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to get approval from Actor’s Equity, OTP had to postpone the production twice in order to be able to meet all required criteria. And while a drive-in experience offers some of the elements of “live-ness” missing from screen-mediated production (notably, a close encounter with a live performer), it still feels like experimentation, not a permanent feature. Especially for a company whose mission is steeped in bridging socio-economic divides and access needs, the requirement to come by car is a big ask. (I, for one, do not drive.) There will be only one live-streamed performance of \u003cem>The Waste Land\u003c/em> (\u003ca href=\"https://www.stellartickets.com/o/oakland-theater-project/events/the-waste-land/occurrences/48d64cc5-a9cc-40c0-85cf-54658b5462c8\">April 29\u003c/a>), and an on-demand video will be available afterward, through May 20. \u003c/p>\n\u003cp>Still, looking ahead to the future of live theater, it’s this kind of willingness to ideate alternative modes of production that will enable companies to create multi-platform experiences with multiple entry points for future audiences.\u003c/p>\n\u003cfigure id=\"attachment_13896010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1920x1358.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez stars in Oakland Theater Project’s The Waste Land. \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this spirit of experimenting that infuses Ramirez’ performance most palpably. Directed by company co-founder Michael Socrates Moran, she slides into and sheds the skins of multiple characters as she circumnavigates the confines of her claustrophobic staging ground. Roaming in the half-light (designed by Dr. Stephanie Anne Johnson), she is at turns a poet, a clairvoyant, a humbled fisher king, a nervous lover, a garrulous bartender, a cad, and a weary traveler. She plunges her hands into a pile of soil, chanting of the fear and the dust. As Tiresias, she dons sunglasses and plucks at a mandolin, bathed in a violet light, reminiscing upon a violet hour. Exiled to an arid plain, she stumbles, crouches, and shouts, cursing the dry thunder and longing for rain.\u003c/p>\n\u003cp>There is (thankfully) little attempt on the part of Literary Manager John Wilkins to reconcile Eliot’s disintegrated vision into a neat narrative arc. In a kaleidoscopic array, each small fragment captures the spotlight for a brief moment before shifting abruptly to the next. The overall effect is not quite poetry and not quite play, but rather a portal into an existential chatter of voices, vying for significance. A voyeuristic peek into the id of an unquiet era. A handful of dust scattered wide.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oakland Theater Project’s ‘The Waste Land’ plays through May 16 (\u003ca href=\"https://www.stellartickets.com/o/oakland-theater-project/events/the-waste-land/occurrences/48d64cc5-a9cc-40c0-85cf-54658b5462c8\">livestream performance on April 29\u003c/a>). Tickets and info \u003ca href=\"https://oaklandtheaterproject.org/waste-land\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“I will show you fear in a handful of dust” –T.S. Eliot, “The Waste Land”\u003c/em>\u003c/p>\n\u003cp>A lone figure (Lisa Ramirez) runs in place, etched against a screen projecting a historical montage that begins and ends with a pandemic. As images span the 1918 Spanish Flu to present-day COVID-19, Ramirez’ face is an anguished rictus. She runs at the pace of a person who knows they cannot outrun that which threatens to overtake them. So begins Oakland Theater Project’s adaptation of T.S. Eliot’s “The Waste Land,” staged as a drive-in concept in the parking lot of the Flax art and design building in Oakland, on Martin Luther King Jr. Way.\u003c/p>\n\u003cp>A polite semi-circle of cars surrounds Ramirez’ modest square of dirt backed by a moss-covered projection screen (designed by Karla Hargrave). Windows are closed, and radios tuned into a micro-transmitted channel. As the April twilight deepens into night, so too does the unease seeping from the screen. A nervy soundscape (created by Elton Bradman) mixes \u003cem>Nevermind\u003c/em> with lounge music with radio static. Archival footage compiled by Erin Gilley flashes across the screen: soldiers and protesters, cracked earth and forest fires, police barricades and atom bombs, doctors and politicians.\u003c/p>\n\u003cfigure id=\"attachment_13896009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-800x595.jpg\" alt=\"\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1920x1428.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez as poet/prophet/people in front of a projection screen for Oakland Theater Project’s ‘The Waste Land.’ \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ramirez herself appears timeless—outside of time—dressed in a deconstructed black suit and a flat-brimmed black hat (costume design by Regina Evans). There’s a touch of Chaplin’s Tramp about her, and more than a touch of Brechtian rogue. Billed as the poet, the prophet, and the people, Ramirez portrays a legion of seekers with singular focus.\u003c/p>\n\u003cp>With the possible exception of “Macavity the Mystery Cat,” “The Waste Land” is probably Eliot’s best-known work. A touchstone of Modernist poetry, its 434 lines traverse a dark landscape of everyday cruelties and conflicting perspectives intoned by the voices of multitudes. Packed with references to mythologies and memories, archetypes and anxieties, the poem reads alternately like a crash course in the “classics” and a bitter repudiation of them. Upon first read, it can appear impenetrable—a criticism leveled at Eliot in his own time—and yet the rhythmic inflections built into the lines give it a disconcerting freshness even 99 years after publication.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, Oakland Theater Project is not the first to adapt “The Waste Land” for the stage. When Ramirez—who is OTP’s Associate Artistic Director—brought up the idea of performing the poem soon after the March 2020 shutdown, she was herself inspired by actor Fiona Shaw, whose own solo performance of it premiered in 1995. Ramirez also floated the idea of staging it as a drive-in experience. A full year later, this realization of her vision is a study in resourcefulness and outside-the-black-box thinking—qualities that frequently characterize OTP’s imaginative, site-responsive presentations.\u003c/p>\n\u003cfigure id=\"attachment_13896013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cars arriving at the check-in point for Oakland Theater Project’s drive-in experience of ‘The Waste Land.’ \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to get approval from Actor’s Equity, OTP had to postpone the production twice in order to be able to meet all required criteria. And while a drive-in experience offers some of the elements of “live-ness” missing from screen-mediated production (notably, a close encounter with a live performer), it still feels like experimentation, not a permanent feature. Especially for a company whose mission is steeped in bridging socio-economic divides and access needs, the requirement to come by car is a big ask. (I, for one, do not drive.) There will be only one live-streamed performance of \u003cem>The Waste Land\u003c/em> (\u003ca href=\"https://www.stellartickets.com/o/oakland-theater-project/events/the-waste-land/occurrences/48d64cc5-a9cc-40c0-85cf-54658b5462c8\">April 29\u003c/a>), and an on-demand video will be available afterward, through May 20. \u003c/p>\n\u003cp>Still, looking ahead to the future of live theater, it’s this kind of willingness to ideate alternative modes of production that will enable companies to create multi-platform experiences with multiple entry points for future audiences.\u003c/p>\n\u003cfigure id=\"attachment_13896010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1920x1358.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez stars in Oakland Theater Project’s The Waste Land. \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this spirit of experimenting that infuses Ramirez’ performance most palpably. Directed by company co-founder Michael Socrates Moran, she slides into and sheds the skins of multiple characters as she circumnavigates the confines of her claustrophobic staging ground. Roaming in the half-light (designed by Dr. Stephanie Anne Johnson), she is at turns a poet, a clairvoyant, a humbled fisher king, a nervous lover, a garrulous bartender, a cad, and a weary traveler. She plunges her hands into a pile of soil, chanting of the fear and the dust. As Tiresias, she dons sunglasses and plucks at a mandolin, bathed in a violet light, reminiscing upon a violet hour. Exiled to an arid plain, she stumbles, crouches, and shouts, cursing the dry thunder and longing for rain.\u003c/p>\n\u003cp>There is (thankfully) little attempt on the part of Literary Manager John Wilkins to reconcile Eliot’s disintegrated vision into a neat narrative arc. In a kaleidoscopic array, each small fragment captures the spotlight for a brief moment before shifting abruptly to the next. The overall effect is not quite poetry and not quite play, but rather a portal into an existential chatter of voices, vying for significance. A voyeuristic peek into the id of an unquiet era. A handful of dust scattered wide.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oakland Theater Project’s ‘The Waste Land’ plays through May 16 (\u003ca href=\"https://www.stellartickets.com/o/oakland-theater-project/events/the-waste-land/occurrences/48d64cc5-a9cc-40c0-85cf-54658b5462c8\">livestream performance on April 29\u003c/a>). Tickets and info \u003ca href=\"https://oaklandtheaterproject.org/waste-land\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>[aside postID='arts_13894499']Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13895321']“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Aurora Theatre Company Turns Up the Dial with 'The Bluest Eye'",
"headTitle": "Aurora Theatre Company Turns Up the Dial with ‘The Bluest Eye’ | KQED",
"content": "\u003cp>In a curious twist on the classic, prescient Buggles tune, while video may have killed the radio star, radio has been a lifeline for theater-makers seeking platforms for their creative work during the shutdown of live performance. In fact, ever since radio’s golden age it’s been a conduit for storytellers of every genre, including family comedies, serial dramas, and edgy thrillers. While many of these migrated to television in the 1950s, the radio play continued on, with some of the most renowned playwrights and storytellers of the day writing work specifically for the medium. And since podcasting has given rise to a whole new generation of radio play lovers in the last decade, it feels only natural that theater-makers would turn to it in the absence of live performance.\u003c/p>\n\u003cp>Although Aurora Theatre optimistically announced its 2020-2021 in-person season in late March 2020—a season that was to be newly-appointed artistic director Josh Costello’s first—they were soon forced to reconsider their creative output for the year. One of the first theaters to dive into webcasting with their “Aurora Connects” interview and panel discussion series, Aurora was also one of the first to tackle the development of a new original radio play, enlisting the talents of Bay Area-based playwrights Lauren Gunderson, Cleavon Smith and Jonathan Spector to create \u003cem>The Flats\u003c/em>, a three-part series set in a sheltered-in-place Berkeley apartment building.\u003c/p>\n\u003cfigure id=\"attachment_13895574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aurora Theatre Company has turned to the radio play format as their preferred medium for pandemic producing. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally scheduled to be performed live in December 2020, in commemoration of the novel’s 50-year anniversary, Lydia R. Diamond’s award-winning adaptation of Toni Morrison’s \u003cem>The Bluest Eye\u003c/em> has instead surfaced four months late as Aurora’s latest foray into radio drama. Directed by Aurora’s associate artistic director Dawn Monique Williams, and starring Jasmine Milan Williams as youthful protagonist Pecola Breedlove, \u003cem>The Bluest Eye\u003c/em> focuses attention on the often turbulent realities of Black girlhood in 1941.\u003c/p>\n\u003cp>Narrated primarily by Pecola’s sometime foster sister Claudia (Jeunée Simon), and supported by a rotating cast of parents, peers, gossips, and seers, \u003cem>The Bluest Eye\u003c/em> tackles themes such as racism, colorism, classism, domestic violence and sexual abuse with uncompromising frankness. Despite being set in a post-Great Depression timeframe—lines read from Pecola’s \u003cem>Dick and Jane\u003c/em> primer, penny candy, a fervor for Shirley Temple—there’s much about the work, play and novel both, that speaks very directly to our present moment, as we continue to grapple with these same issues.\u003c/p>\n\u003cp>It’s no small feat to adapt a work of literature for the stage, let alone for the radio. A play written for the stage assumes that there will be actors’ bodies to describe unwritten action, design elements to set the scene, and an audience to fill the space. But a radio play must rely on its audience to create their own visuals, enhanced only by whatever description the playwright sees fit to share. Fortunately, Diamond frontloads her script with those very details: marigold seeds in unfertile ground, stacked firewood to stave off the winter cold, boisterous schoolyard encounters, and the private lives of the residents of the town—no longer private once Claudia reveals their secrets out loud. Claudia’s omniscience is not noticed by the subjects of her scrutiny, but she narrates the inner workings of small time life into existence with observant confidence.\u003c/p>\n\u003cfigure id=\"attachment_13895572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895572\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Monique Williams directs ‘The Bluest Eye’ at Aurora Theatre Company. \u003ccite>(Jordyn Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Dawn Monique Williams’ direction, an emotionally devastating tale unfolds. Pecola comes into Claudia’s loving home as a “peculiar” misfit. Looked down upon by the townsfolk and abused by her father Cholly (Michael J. Asberry), who has also just burned down their family home, Pecola dreams not of standing out but of shrinking away, of disappearing altogether. Failing that, she decides that the way to gain the respect and admiration she craves is to have blue eyes—like her celebrity crush, Shirley Temple. Her self-loathing both ages her prematurely and sets her apart, even while Claudia and her sister Frieda (Sam Jackson) include her in their games and take ownership of her socialization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Each actor plays multiple roles, the timbre of their voices shifting easily, the way that onstage they might slip on a different hat or remove a scarf. Cathleen Riddley’s dreamy recollection of falling in love flows like the gentle piano music composed by Elton Bradman that anchors it from below. A chatter of neighborhood gossips recalls a flock of summer birds. There’s a deeply ominous turn from Michael J. Asberry, who narrates Cholly’s acts of violence with steely determination. Elton Bradman’s supportive musical score and detailed sound design add weight to the structure of the play, which is built solidly upon Morrison’s facility for internal monologue.\u003c/p>\n\u003cp>While for my distractible self, audio plays do take a bit of extra work to connect with, their recent resurgence in the theater community has been one I’ve come to appreciate. When one can rely only on the voices of the actors, the richness of the language is emphasized in ways that sometimes a live onstage production can obscure. Stripped to the essence of storytelling, the strength of the radio play is in its ability to world-build without physical limitations—and in the case of \u003cem>The Bluest Eye\u003c/em>, without flinching.\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>‘The Bluest Eye’ runs through May 21, 2021. \u003ca href=\"https://www.auroratheatre.org/thebluesteye\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a curious twist on the classic, prescient Buggles tune, while video may have killed the radio star, radio has been a lifeline for theater-makers seeking platforms for their creative work during the shutdown of live performance. In fact, ever since radio’s golden age it’s been a conduit for storytellers of every genre, including family comedies, serial dramas, and edgy thrillers. While many of these migrated to television in the 1950s, the radio play continued on, with some of the most renowned playwrights and storytellers of the day writing work specifically for the medium. And since podcasting has given rise to a whole new generation of radio play lovers in the last decade, it feels only natural that theater-makers would turn to it in the absence of live performance.\u003c/p>\n\u003cp>Although Aurora Theatre optimistically announced its 2020-2021 in-person season in late March 2020—a season that was to be newly-appointed artistic director Josh Costello’s first—they were soon forced to reconsider their creative output for the year. One of the first theaters to dive into webcasting with their “Aurora Connects” interview and panel discussion series, Aurora was also one of the first to tackle the development of a new original radio play, enlisting the talents of Bay Area-based playwrights Lauren Gunderson, Cleavon Smith and Jonathan Spector to create \u003cem>The Flats\u003c/em>, a three-part series set in a sheltered-in-place Berkeley apartment building.\u003c/p>\n\u003cfigure id=\"attachment_13895574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_Aurora_Exterior_credit_DavidAllen.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aurora Theatre Company has turned to the radio play format as their preferred medium for pandemic producing. \u003ccite>(David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally scheduled to be performed live in December 2020, in commemoration of the novel’s 50-year anniversary, Lydia R. Diamond’s award-winning adaptation of Toni Morrison’s \u003cem>The Bluest Eye\u003c/em> has instead surfaced four months late as Aurora’s latest foray into radio drama. Directed by Aurora’s associate artistic director Dawn Monique Williams, and starring Jasmine Milan Williams as youthful protagonist Pecola Breedlove, \u003cem>The Bluest Eye\u003c/em> focuses attention on the often turbulent realities of Black girlhood in 1941.\u003c/p>\n\u003cp>Narrated primarily by Pecola’s sometime foster sister Claudia (Jeunée Simon), and supported by a rotating cast of parents, peers, gossips, and seers, \u003cem>The Bluest Eye\u003c/em> tackles themes such as racism, colorism, classism, domestic violence and sexual abuse with uncompromising frankness. Despite being set in a post-Great Depression timeframe—lines read from Pecola’s \u003cem>Dick and Jane\u003c/em> primer, penny candy, a fervor for Shirley Temple—there’s much about the work, play and novel both, that speaks very directly to our present moment, as we continue to grapple with these same issues.\u003c/p>\n\u003cp>It’s no small feat to adapt a work of literature for the stage, let alone for the radio. A play written for the stage assumes that there will be actors’ bodies to describe unwritten action, design elements to set the scene, and an audience to fill the space. But a radio play must rely on its audience to create their own visuals, enhanced only by whatever description the playwright sees fit to share. Fortunately, Diamond frontloads her script with those very details: marigold seeds in unfertile ground, stacked firewood to stave off the winter cold, boisterous schoolyard encounters, and the private lives of the residents of the town—no longer private once Claudia reveals their secrets out loud. Claudia’s omniscience is not noticed by the subjects of her scrutiny, but she narrates the inner workings of small time life into existence with observant confidence.\u003c/p>\n\u003cfigure id=\"attachment_13895572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895572\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheBluestEye_DawnMoniqueWilliams_credit_JordynWilliams.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Monique Williams directs ‘The Bluest Eye’ at Aurora Theatre Company. \u003ccite>(Jordyn Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Dawn Monique Williams’ direction, an emotionally devastating tale unfolds. Pecola comes into Claudia’s loving home as a “peculiar” misfit. Looked down upon by the townsfolk and abused by her father Cholly (Michael J. Asberry), who has also just burned down their family home, Pecola dreams not of standing out but of shrinking away, of disappearing altogether. Failing that, she decides that the way to gain the respect and admiration she craves is to have blue eyes—like her celebrity crush, Shirley Temple. Her self-loathing both ages her prematurely and sets her apart, even while Claudia and her sister Frieda (Sam Jackson) include her in their games and take ownership of her socialization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each actor plays multiple roles, the timbre of their voices shifting easily, the way that onstage they might slip on a different hat or remove a scarf. Cathleen Riddley’s dreamy recollection of falling in love flows like the gentle piano music composed by Elton Bradman that anchors it from below. A chatter of neighborhood gossips recalls a flock of summer birds. There’s a deeply ominous turn from Michael J. Asberry, who narrates Cholly’s acts of violence with steely determination. Elton Bradman’s supportive musical score and detailed sound design add weight to the structure of the play, which is built solidly upon Morrison’s facility for internal monologue.\u003c/p>\n\u003cp>While for my distractible self, audio plays do take a bit of extra work to connect with, their recent resurgence in the theater community has been one I’ve come to appreciate. When one can rely only on the voices of the actors, the richness of the language is emphasized in ways that sometimes a live onstage production can obscure. Stripped to the essence of storytelling, the strength of the radio play is in its ability to world-build without physical limitations—and in the case of \u003cem>The Bluest Eye\u003c/em>, without flinching.\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>‘The Bluest Eye’ runs through May 21, 2021. \u003ca href=\"https://www.auroratheatre.org/thebluesteye\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shotgun Players Kicks Off 30th Season by Going to Church in 'Feel the Spirit'",
"headTitle": "Shotgun Players Kicks Off 30th Season by Going to Church in ‘Feel the Spirit’ | KQED",
"content": "\u003cp>While it’s safe to say that the Berkeley-based Shotgun Players would have preferred to kick off their 30th anniversary season in person, their ongoing innovation has nonetheless given shape to a robust slate of upcoming events. In addition to their projected Mainstage season, combined with an attendant Champagne staged reading series as in years past, Shotgun has actually expanded their programming to add what they’re calling their “Bridge” series of four plays. These productions are performed exclusively online—as with their current production of \u003cem>Feel the Spirit\u003c/em>—or with a combination of small audiences and streaming, helping “bridge” the transition between all-remote programming and full, in-person productions.[aside postID='arts_13890054']\u003c/p>\n\u003cp>And indeed, season opener \u003cem>Feel the Spirit\u003c/em>—a commissioned play written specifically for Zoom by Noelle Viñas—does feel transitional. Bringing the audience back to the early days of shutdown—and all of the awkwardness that entailed—as schools, theaters, and places of worship all shifted their practice online, \u003cem>Feel the Spirit \u003c/em>revisits a moment in time perhaps not far enough removed to feel historic. Centered primarily on a “progressive” church congregation and their dynamic queer pastor, Gabriela (Vero Maynez), \u003cem>Feel the Spirit\u003c/em> unpacks the everyday traumas and misconceptions of pandemic life and worship. To punctuate it all, an embodied holy trinity (Akaina Ghosh, J. Riley Jr., and Linda Girón) occasionally interjects their views on faith and human nature in triplicate verse.\u003c/p>\n\u003cfigure id=\"attachment_13895202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGiro%CC%81n_photocredit_JaymeCatalano-800x458.png\" alt=\"\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1020x584.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-768x440.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1536x880.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-2048x1173.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1920x1099.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">God waiting for their entrance in ‘Feel the Spirit,’ by Noelle Viñas, with J. Riley Jr., Akaina Ghosh, and Linda Girón. \u003ccite>(Jayme Catalano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggles encountered by Gabriela are both personal and professional. And though they’re exacerbated by the pandemic, like many struggles, their roots lie outside of it. Gabriela’s luminous wife, Rebecca (Lauren Garcia), is pregnant with their first child. The congregation is welcoming but wary, with an attachment to their insular traditions despite their progressive mission. Gabriela still feels like the newcomer she is, and as the very real distance created by various stay-at-home orders and protocols begins to erode her community relationships, she finds her very faith shaken. Meanwhile, the pandemic continues apace, and grim statistics of both COVID cases and deaths scroll across our screens, as devastating now as the first time they rolled in real time from March to June 2020.\u003c/p>\n\u003cfigure id=\"attachment_13895199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-800x431.png\" alt=\"\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-800x431.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-1020x549.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-768x413.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern.png 1271w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Garcia as Rebecca and Vero Maynez as Gabriela in ‘Feel the Spirit,’ by Noelle Viñas. \u003ccite>(screenshot/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by Elizabeth Carter, Vero Maynez as Gabriela is vivacious and compelling. Her frustrations with her reluctant congregants—some of whom pressure her to reopen the church for in-person services within a month of the shutdown—crease the corners of her eyes and furrow her brow. She exudes kindness, but also insecurity, as she internalizes the myriad complaints of her congregants.\u003c/p>\n\u003cp>As Rebecca, Lauren Garcia alternates between loving and longing. She wants to be supportive of Gabriela, but comes to the conclusion much earlier that perhaps she’s taken on too much. Fred Pitts and Jean Forsman, as a pair of church “elders” with contradictory views about Gabriela’s role and efficacy, provide a grounded energy to the overall production. And footage of the three faces of God—interspersed with that of blue skies, cherry blossoms, redwoods, and other natural phenomena—shifts the mood of the play from the workaday to the metaphysical. But the fact that even God thinks Gabriela should ditch her congregation doesn’t bode well for it, and we really only hear of the church’s spiritual pain circuitously, with Pitts and Forsman as conduits.\u003c/p>\n\u003cfigure id=\"attachment_13895200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern.png 1273w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fred Pitts as Carleton, Jean Forsman as Angie, and Vero Maynez as Gabriela in ‘Feel the Spirit,’ by Noelle Viñas. \u003ccite>(screenshot/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where \u003cem>Feel the Spirit\u003c/em> falters is mostly in its format, and in making the case for a Zoom production as \u003cem>compelling\u003c/em>, now that theater has mostly left the platform behind. Commissioning Noelle Viñas (whose recent \u003cem>Derecho\u003c/em> delved into the human impact of electoral politics and grassroots campaigning) to explore the pandemic shutdown through a lens of faith and community is an inspired choice for Shotgun. But while plays like \u003cem>Derecho\u003c/em> have had years to develop into their fullness, this play feels rushed, both in concept and in execution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A nominally “interactive” play, the audience is positioned as the congregation. But the interactivity is limited and superficial: a moment to drop gratitude on the chat, a muted singalong, the dreaded breakout rooms. Despite the very real stakes as experienced by the cast, the audience-as-congregation doesn’t get a chance to experience those stakes for themselves, and it’s difficult to “bridge” that distance.[aside postID='arts_13894324']\u003c/p>\n\u003cp>Unlike some of the more innovatively crafted or raucously interactive streaming experiences that have pushed the boundaries of what’s possible with these technologies over the past few months, \u003cem>Feel the Spirit\u003c/em> gets an earnest, face-forward Zoom meeting experience with very little to separate it technologically or creatively from the “early” days of Zoom theater. The overall effect is very much that of a production designed to make one yearn wholeheartedly for the return of a live theater experience.\u003c/p>\n\u003cp>When we look back upon this past year, it will be a blessing to have these records of our first impulses and evolving attitudes to draw from. It’s exciting to think that several years from now, should Viñas decide to revisit these characters and this time period, she’ll have this work to build from and expand upon. As seeds of a deeper historical narrative, \u003cem>Feel the Spirit\u003c/em> displays great promise. But as a bridge to what otherwise looks to be a wild and long-anticipated anniversary season, it’s shaky at best.\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>‘Feel the Spirit’ runs through April 11. \u003ca href=\"https://shotgunplayers.org/online/article/spirit\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A new commission by Noelle Viñas tests the boundaries of the pandemic 'Zoom play.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While it’s safe to say that the Berkeley-based Shotgun Players would have preferred to kick off their 30th anniversary season in person, their ongoing innovation has nonetheless given shape to a robust slate of upcoming events. In addition to their projected Mainstage season, combined with an attendant Champagne staged reading series as in years past, Shotgun has actually expanded their programming to add what they’re calling their “Bridge” series of four plays. These productions are performed exclusively online—as with their current production of \u003cem>Feel the Spirit\u003c/em>—or with a combination of small audiences and streaming, helping “bridge” the transition between all-remote programming and full, in-person productions.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And indeed, season opener \u003cem>Feel the Spirit\u003c/em>—a commissioned play written specifically for Zoom by Noelle Viñas—does feel transitional. Bringing the audience back to the early days of shutdown—and all of the awkwardness that entailed—as schools, theaters, and places of worship all shifted their practice online, \u003cem>Feel the Spirit \u003c/em>revisits a moment in time perhaps not far enough removed to feel historic. Centered primarily on a “progressive” church congregation and their dynamic queer pastor, Gabriela (Vero Maynez), \u003cem>Feel the Spirit\u003c/em> unpacks the everyday traumas and misconceptions of pandemic life and worship. To punctuate it all, an embodied holy trinity (Akaina Ghosh, J. Riley Jr., and Linda Girón) occasionally interjects their views on faith and human nature in triplicate verse.\u003c/p>\n\u003cfigure id=\"attachment_13895202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895202\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGiro%CC%81n_photocredit_JaymeCatalano-800x458.png\" alt=\"\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1020x584.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-768x440.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1536x880.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-2048x1173.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_J.RileyJr._AkainaGhosh_LindaGirón_photocredit_JaymeCatalano-1920x1099.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">God waiting for their entrance in ‘Feel the Spirit,’ by Noelle Viñas, with J. Riley Jr., Akaina Ghosh, and Linda Girón. \u003ccite>(Jayme Catalano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The struggles encountered by Gabriela are both personal and professional. And though they’re exacerbated by the pandemic, like many struggles, their roots lie outside of it. Gabriela’s luminous wife, Rebecca (Lauren Garcia), is pregnant with their first child. The congregation is welcoming but wary, with an attachment to their insular traditions despite their progressive mission. Gabriela still feels like the newcomer she is, and as the very real distance created by various stay-at-home orders and protocols begins to erode her community relationships, she finds her very faith shaken. Meanwhile, the pandemic continues apace, and grim statistics of both COVID cases and deaths scroll across our screens, as devastating now as the first time they rolled in real time from March to June 2020.\u003c/p>\n\u003cfigure id=\"attachment_13895199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-800x431.png\" alt=\"\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-800x431.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-1020x549.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern-768x413.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_LaurenGarcia_VeroMaynez_photocredit_screenshot_NicoleGluckstern.png 1271w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Garcia as Rebecca and Vero Maynez as Gabriela in ‘Feel the Spirit,’ by Noelle Viñas. \u003ccite>(screenshot/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by Elizabeth Carter, Vero Maynez as Gabriela is vivacious and compelling. Her frustrations with her reluctant congregants—some of whom pressure her to reopen the church for in-person services within a month of the shutdown—crease the corners of her eyes and furrow her brow. She exudes kindness, but also insecurity, as she internalizes the myriad complaints of her congregants.\u003c/p>\n\u003cp>As Rebecca, Lauren Garcia alternates between loving and longing. She wants to be supportive of Gabriela, but comes to the conclusion much earlier that perhaps she’s taken on too much. Fred Pitts and Jean Forsman, as a pair of church “elders” with contradictory views about Gabriela’s role and efficacy, provide a grounded energy to the overall production. And footage of the three faces of God—interspersed with that of blue skies, cherry blossoms, redwoods, and other natural phenomena—shifts the mood of the play from the workaday to the metaphysical. But the fact that even God thinks Gabriela should ditch her congregation doesn’t bode well for it, and we really only hear of the church’s spiritual pain circuitously, with Pitts and Forsman as conduits.\u003c/p>\n\u003cfigure id=\"attachment_13895200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-800x447.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/FeelTheSpirit_FredPitts_JeanForsman_VeroMaynez_screenshot_NicoleGluckstern.png 1273w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fred Pitts as Carleton, Jean Forsman as Angie, and Vero Maynez as Gabriela in ‘Feel the Spirit,’ by Noelle Viñas. \u003ccite>(screenshot/Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where \u003cem>Feel the Spirit\u003c/em> falters is mostly in its format, and in making the case for a Zoom production as \u003cem>compelling\u003c/em>, now that theater has mostly left the platform behind. Commissioning Noelle Viñas (whose recent \u003cem>Derecho\u003c/em> delved into the human impact of electoral politics and grassroots campaigning) to explore the pandemic shutdown through a lens of faith and community is an inspired choice for Shotgun. But while plays like \u003cem>Derecho\u003c/em> have had years to develop into their fullness, this play feels rushed, both in concept and in execution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A nominally “interactive” play, the audience is positioned as the congregation. But the interactivity is limited and superficial: a moment to drop gratitude on the chat, a muted singalong, the dreaded breakout rooms. Despite the very real stakes as experienced by the cast, the audience-as-congregation doesn’t get a chance to experience those stakes for themselves, and it’s difficult to “bridge” that distance.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unlike some of the more innovatively crafted or raucously interactive streaming experiences that have pushed the boundaries of what’s possible with these technologies over the past few months, \u003cem>Feel the Spirit\u003c/em> gets an earnest, face-forward Zoom meeting experience with very little to separate it technologically or creatively from the “early” days of Zoom theater. The overall effect is very much that of a production designed to make one yearn wholeheartedly for the return of a live theater experience.\u003c/p>\n\u003cp>When we look back upon this past year, it will be a blessing to have these records of our first impulses and evolving attitudes to draw from. It’s exciting to think that several years from now, should Viñas decide to revisit these characters and this time period, she’ll have this work to build from and expand upon. As seeds of a deeper historical narrative, \u003cem>Feel the Spirit\u003c/em> displays great promise. But as a bridge to what otherwise looks to be a wild and long-anticipated anniversary season, it’s shaky at best.\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>‘Feel the Spirit’ runs through April 11. \u003ca href=\"https://shotgunplayers.org/online/article/spirit\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Soul Train' World Premiere, Lehman Brothers Trilogy Part of ACT's Upcoming Season",
"headTitle": "‘Soul Train’ World Premiere, Lehman Brothers Trilogy Part of ACT’s Upcoming Season | KQED",
"content": "\u003cp>San Francisco’s American Conservatory Theater (A.C.T) has announced the lineup and performance schedule for its upcoming season, including a return to in-person shows beginning in January 2022.\u003c/p>\n\u003cp>On May 22, 2021, the season kicks off with the world premiere of a virtual play written by Obie Award-winning Bay Area playwright Christopher Chen and directed by Pam MacKinnon. Commissioned by A.C.T, this virtual play will replace the west coast premiere of Chen’s play \u003cem>The Headlands\u003c/em>, due to COVID concerns.\u003c/p>\n\u003cp>The world premiere of the highly anticipated pre-Broadway musical \u003cem>Soul Train\u003c/em> will close out A.C.T’s season from Sept. 16–Oct. 23, 2022. Based on the beloved TV show of the same name, \u003cem>Soul Train\u003c/em> is the first Broadway-bound musical with an entirely Black and female creative team. The show follows the journey of entrepreneur and radio DJ Don Cornelius beginning in 1971, as he creates a local dance show that goes on to become one of the longest running shows in television history and cements the musical trends of the next four decades.\u003c/p>\n\u003cp>\u003cem>Soul Train\u003c/em> brings together Tony Award-nominated playwright Dominique Morisseau, Tony Award-nominated choreographer Camille A. Brown, acclaimed director Kamilah Forbes, and Tony Award-nominated producer Matthew Weaver, among others, and will be executive produced by figures including four-time Grammy Award-winning artist Ahmir “Questlove” Thompson, Don Cornelius’s son Tony Cornelius, and Emmy Award nominated CSI creator Anthony E. Zuiker.\u003c/p>\n\u003cfigure id=\"attachment_13894563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-800x533.jpg\" alt=\"Ben Miles, Adam Godley and Simon Russell Beale (L-R) in 'The Lehman Trilogy' at the National Theatre.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13894563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Miles, Adam Godley and Simon Russell Beale (L-R) in ‘The Lehman Trilogy’ at the National Theatre. \u003ccite>(Mark Douet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After over a year of cancelled shows due to the pandemic, directors and creatives are just as anxious to return to in-person shows as theater-goers. “Whether it’s by laughing, or throwing a prompt to the performers, or creating the spaces around the action, or actively listening so hard that the actors literally feel your energy, or clapping along and stomping your feet to the music,” said A.C.T Artistic Director Pam MacKinnon, “the audience makes the art form.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Freestyle Love Supreme\u003c/em>, the critically acclaimed hip-hop improv hit created by Lin-Manuel Miranda, Thomas Kail and the Bay Area’s own Anthony Veneziale, takes this ideal to the extreme. Known for its interactivity with the audience, no two shows of \u003cem>Freestyle Love Supreme\u003c/em> are alike, with audience suggestions shaping musical numbers and riffs throughout. Conceived over 15 years ago and constantly growing and changing with contemporary pop culture, the latest iteration of the show runs from Jan. 21–Feb. 13 2022.\u003c/p>\n\u003cp>From Apr. 20–May 22, 2022, A.C.T. presents \u003cem>The Lehman Trilogy\u003c/em>, the three-part internationally acclaimed show written by Stefano Massini, adapted by Ben Power, and directed by Tony and Academy Award winner Sam Mendes. \u003cem>The Lehman Trilogy\u003c/em> tells the story of three brothers in Alabama who open a small store which becomes the Lehman Brothers firm. When that firm goes bankrupt nearly two centuries later, it catalyzes the biggest financial crisis in modern history.\u003c/p>\n\u003cp>MacKinnon also directs \u003cem>Fefu and Her Friends\u003c/em> by Cuban playwright María Irene Fornés, running March 24–May 1, 2022, about eight women gathering at a New England country home in 1935. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>COVID-19 protocols will be in place for all in-person productions. Season subscriptions are available now; single tickets go on sale at a later date. \u003ca href=\"http://act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s American Conservatory Theater (A.C.T) has announced the lineup and performance schedule for its upcoming season, including a return to in-person shows beginning in January 2022.\u003c/p>\n\u003cp>On May 22, 2021, the season kicks off with the world premiere of a virtual play written by Obie Award-winning Bay Area playwright Christopher Chen and directed by Pam MacKinnon. Commissioned by A.C.T, this virtual play will replace the west coast premiere of Chen’s play \u003cem>The Headlands\u003c/em>, due to COVID concerns.\u003c/p>\n\u003cp>The world premiere of the highly anticipated pre-Broadway musical \u003cem>Soul Train\u003c/em> will close out A.C.T’s season from Sept. 16–Oct. 23, 2022. Based on the beloved TV show of the same name, \u003cem>Soul Train\u003c/em> is the first Broadway-bound musical with an entirely Black and female creative team. The show follows the journey of entrepreneur and radio DJ Don Cornelius beginning in 1971, as he creates a local dance show that goes on to become one of the longest running shows in television history and cements the musical trends of the next four decades.\u003c/p>\n\u003cp>\u003cem>Soul Train\u003c/em> brings together Tony Award-nominated playwright Dominique Morisseau, Tony Award-nominated choreographer Camille A. Brown, acclaimed director Kamilah Forbes, and Tony Award-nominated producer Matthew Weaver, among others, and will be executive produced by figures including four-time Grammy Award-winning artist Ahmir “Questlove” Thompson, Don Cornelius’s son Tony Cornelius, and Emmy Award nominated CSI creator Anthony E. Zuiker.\u003c/p>\n\u003cfigure id=\"attachment_13894563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-800x533.jpg\" alt=\"Ben Miles, Adam Godley and Simon Russell Beale (L-R) in 'The Lehman Trilogy' at the National Theatre.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13894563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/bce10ef0-e90a-4c15-857a-a1eb9587b989.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Miles, Adam Godley and Simon Russell Beale (L-R) in ‘The Lehman Trilogy’ at the National Theatre. \u003ccite>(Mark Douet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After over a year of cancelled shows due to the pandemic, directors and creatives are just as anxious to return to in-person shows as theater-goers. “Whether it’s by laughing, or throwing a prompt to the performers, or creating the spaces around the action, or actively listening so hard that the actors literally feel your energy, or clapping along and stomping your feet to the music,” said A.C.T Artistic Director Pam MacKinnon, “the audience makes the art form.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Freestyle Love Supreme\u003c/em>, the critically acclaimed hip-hop improv hit created by Lin-Manuel Miranda, Thomas Kail and the Bay Area’s own Anthony Veneziale, takes this ideal to the extreme. Known for its interactivity with the audience, no two shows of \u003cem>Freestyle Love Supreme\u003c/em> are alike, with audience suggestions shaping musical numbers and riffs throughout. Conceived over 15 years ago and constantly growing and changing with contemporary pop culture, the latest iteration of the show runs from Jan. 21–Feb. 13 2022.\u003c/p>\n\u003cp>From Apr. 20–May 22, 2022, A.C.T. presents \u003cem>The Lehman Trilogy\u003c/em>, the three-part internationally acclaimed show written by Stefano Massini, adapted by Ben Power, and directed by Tony and Academy Award winner Sam Mendes. \u003cem>The Lehman Trilogy\u003c/em> tells the story of three brothers in Alabama who open a small store which becomes the Lehman Brothers firm. When that firm goes bankrupt nearly two centuries later, it catalyzes the biggest financial crisis in modern history.\u003c/p>\n\u003cp>MacKinnon also directs \u003cem>Fefu and Her Friends\u003c/em> by Cuban playwright María Irene Fornés, running March 24–May 1, 2022, about eight women gathering at a New England country home in 1935. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>COVID-19 protocols will be in place for all in-person productions. Season subscriptions are available now; single tickets go on sale at a later date. \u003ca href=\"http://act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Orpheum and Golden Gate, Both Historic SF Theaters, Sold to UK Company",
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"content": "\u003cp>The Orpheum Theatre and Golden Gate Theatre, two of San Francisco’s most historic auditoriums, will be sold to the parent company of the Ambassador Theatre Group (ATG), according to an \u003ca href=\"https://deadline.com/2021/03/nederlander-theater-broadway-san-francisco-golden-gate-orpheum-detroit-fisher-atg-acquisition-1234719273/\" target=\"_blank\" rel=\"noopener noreferrer\">announcement by ATG\u003c/a>. The sale transfers ownership of the theaters from the Nederlander Company, based in New York. The sale price was not announced.\u003c/p>\n\u003cp>In recent years, the Golden Gate and Orpheum have primarily been home to touring Broadway musicals such as \u003cem>Les Miserables, West Side Story, Waitress, Rent, The Book Of Mormon\u003c/em> and \u003cem>Phantom of The Opera\u003c/em>. When the pandemic closed theaters nationwide, the Golden Gate had just opened Sting’s musical \u003cem>The Last Ship\u003c/em>, while the Orpheum hosted \u003cem>Hamilton\u003c/em>. In October 2019, Madonna performed a run of concerts at the Golden Gate.\u003c/p>\n\u003cp>Based in the U.K., ATG is one of the largest operators of Broadway-style theaters around the globe, and the type of shows on offer at both theaters is not expected to fundamentally change. Local company BroadwaySF had been booking both theaters, following a \u003ca href=\"https://www.kqed.org/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle\" target=\"_blank\" rel=\"noopener noreferrer\">five-year legal battle\u003c/a> that resulted in the dissolving of the theaters’ previous operator, SHN.\u003c/p>\n\u003cp>The currently scheduled season of bookings at the theaters, starting with \u003cem>Mean Girls\u003c/em> on July 27, is expected to go on, pending local restrictions on live theater, ATG spokesperson Rick Miramontez told KQED.\u003c/p>\n\u003cfigure id=\"attachment_13894451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/OrpheumTheatre.jpg\" alt=\"The exterior of the Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Orpheum Theatre in San Francisco. \u003ccite>(Courtesy BroadwaySF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After this season’s dates are up, Miramontez said, booking will transfer to ATG. Miramontez said that ATG will “welcome the Broadway SF team into its family,” and is open to hiring local BroadwaySF staff. (A representative from BroadwaySF declined to comment.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The situation is reminiscent of ATG’s operation of the Curran Theatre, which hosted \u003cem>Harry Potter and the Cursed Child\u003c/em> last year when the pandemic hit. ATG inherited local staff in that theater’s transfer from SHN as well. \u003cem>Harry Potter\u003c/em> is expected to return to a reopened Curran sometime this year. \u003c/p>\n\u003cp>It is “100% common” for ATG to perform renovations on theaters it acquires, Miramontez said, although it’s too soon to know exactly what type of renovations might take place at the Orpheum and Golden Gate. ATG already has experience reopening theaters with mask requirements and reduced capacity in cities like London, Miramontez said.\u003c/p>\n\u003cp>The Golden Gate Theatre opened in 1922, and the Orpheum, just two blocks up Market Street, opened in 1926. Their purchase by ATG adds to the company’s holdings of over 50 theaters around the world. “We look forward to providing the best of Broadway’s shows to their loyal following when the theaters reopen in 2021,” said ATG CEO Mark Cornell, in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly when that might occur is still unknown, Miramontez said. After restaurants, museums, outdoor sports and other events reopen, he says, “we’ll be the last to come back.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Orpheum Theatre and Golden Gate Theatre, two of San Francisco’s most historic auditoriums, will be sold to the parent company of the Ambassador Theatre Group (ATG), according to an \u003ca href=\"https://deadline.com/2021/03/nederlander-theater-broadway-san-francisco-golden-gate-orpheum-detroit-fisher-atg-acquisition-1234719273/\" target=\"_blank\" rel=\"noopener noreferrer\">announcement by ATG\u003c/a>. The sale transfers ownership of the theaters from the Nederlander Company, based in New York. The sale price was not announced.\u003c/p>\n\u003cp>In recent years, the Golden Gate and Orpheum have primarily been home to touring Broadway musicals such as \u003cem>Les Miserables, West Side Story, Waitress, Rent, The Book Of Mormon\u003c/em> and \u003cem>Phantom of The Opera\u003c/em>. When the pandemic closed theaters nationwide, the Golden Gate had just opened Sting’s musical \u003cem>The Last Ship\u003c/em>, while the Orpheum hosted \u003cem>Hamilton\u003c/em>. In October 2019, Madonna performed a run of concerts at the Golden Gate.\u003c/p>\n\u003cp>Based in the U.K., ATG is one of the largest operators of Broadway-style theaters around the globe, and the type of shows on offer at both theaters is not expected to fundamentally change. Local company BroadwaySF had been booking both theaters, following a \u003ca href=\"https://www.kqed.org/arts/13864475/bay-area-broadway-producers-announce-settlement-ending-five-year-legal-battle\" target=\"_blank\" rel=\"noopener noreferrer\">five-year legal battle\u003c/a> that resulted in the dissolving of the theaters’ previous operator, SHN.\u003c/p>\n\u003cp>The currently scheduled season of bookings at the theaters, starting with \u003cem>Mean Girls\u003c/em> on July 27, is expected to go on, pending local restrictions on live theater, ATG spokesperson Rick Miramontez told KQED.\u003c/p>\n\u003cfigure id=\"attachment_13894451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/OrpheumTheatre.jpg\" alt=\"The exterior of the Orpheum Theatre in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/OrpheumTheatre-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of the Orpheum Theatre in San Francisco. \u003ccite>(Courtesy BroadwaySF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After this season’s dates are up, Miramontez said, booking will transfer to ATG. Miramontez said that ATG will “welcome the Broadway SF team into its family,” and is open to hiring local BroadwaySF staff. (A representative from BroadwaySF declined to comment.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The situation is reminiscent of ATG’s operation of the Curran Theatre, which hosted \u003cem>Harry Potter and the Cursed Child\u003c/em> last year when the pandemic hit. ATG inherited local staff in that theater’s transfer from SHN as well. \u003cem>Harry Potter\u003c/em> is expected to return to a reopened Curran sometime this year. \u003c/p>\n\u003cp>It is “100% common” for ATG to perform renovations on theaters it acquires, Miramontez said, although it’s too soon to know exactly what type of renovations might take place at the Orpheum and Golden Gate. ATG already has experience reopening theaters with mask requirements and reduced capacity in cities like London, Miramontez said.\u003c/p>\n\u003cp>The Golden Gate Theatre opened in 1922, and the Orpheum, just two blocks up Market Street, opened in 1926. Their purchase by ATG adds to the company’s holdings of over 50 theaters around the world. “We look forward to providing the best of Broadway’s shows to their loyal following when the theaters reopen in 2021,” said ATG CEO Mark Cornell, in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Exactly when that might occur is still unknown, Miramontez said. After restaurants, museums, outdoor sports and other events reopen, he says, “we’ll be the last to come back.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Got Your Proof of Vaccine for the Theater? It Could Be Required",
"headTitle": "Got Your Proof of Vaccine for the Theater? It Could Be Required | KQED",
"content": "\u003cp>For the past year, Bay Area theatergoers have subsisted on \u003ca href=\"https://www.kqed.org/arts/13893812/how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come\" rel=\"noopener noreferrer\" target=\"_blank\">digital programming\u003c/a> and crossed their fingers for a post-pandemic “new normal” to reinstate live indoor performances. As \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">vaccinations\u003c/a> increase across California, so does optimism about the safety of eventually returning to theater venues—but it’s possible patrons will have to prove they’ve been vaccinated in exchange for entry. \u003c/p>\n\u003cp>“Vaccine passports” are already a reality in New York: \u003ca href=\"https://www.bostonglobe.com/2021/03/10/business/been-vaccinated-you-may-have-prove-it/\" rel=\"noopener noreferrer\" target=\"_blank\">at both Barclays Center and Madison Square Garden\u003c/a>, attendees are currently required to present an app or QR code that shows they’ve either been vaccinated or tested negative for COVID-19 within the previous 72 hours. \u003ca href=\"https://www.nytimes.com/2021/02/18/world/middleeast/israel-covid-vaccine-reopen.html\" rel=\"noopener noreferrer\" target=\"_blank\">Israel\u003c/a> has incorporated a “Green Badge” system that limits leisure activities to vaccinated individuals, and the \u003ca href=\"https://www.seattletimes.com/life/travel/eu-announces-plans-for-digital-covid-19-vaccine-passport/\" rel=\"noopener noreferrer\" target=\"_blank\">European Union\u003c/a>’s version of vaccine passports will allow people who have gotten jabs to travel more freely between member countries.\u003c/p>\n\u003cp>Currently, this question remains a hypothetical one for Bay Area theaters. According to the \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Dimmer-Framework-September_2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">California Department of Health’s March 11 update\u003c/a> on its reopening framework, indoor performances won’t be permitted until each county passes out of the colored tier system entirely, and the required modifications for those events are still forthcoming. In the meantime, theaters are left to consider if they’d be receptive to implementing vaccine requirements, especially in light of the ethical and logistical questions they raise.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theatre.Mask_.jpg\" alt=\"\" width=\"724\" height=\"482\" class=\"aligncenter size-full wp-image-13894376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_.jpg 724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_-160x107.jpg 160w\" sizes=\"(max-width: 724px) 100vw, 724px\">\u003c/p>\n\u003cp>“Frankly, I consider it an intrusion of privacy,” says Stephanie Weisman, executive and artistic director of \u003ca href=\"https://themarsh.org/\" rel=\"noopener noreferrer\" target=\"_blank\">The Marsh\u003c/a>. “To have people show a card to come into a little theater like The Marsh, which is all about social justice and authentic, intimate voices? It feels very, very intrusive.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weisman’s concerns are not unfounded, but legally challenging vaccine passport policies on privacy grounds will be tricky. Medical information in the United States is currently protected by the Health Insurance Portability and Accountability Act, or HIPAA, which prevents healthcare providers from disclosing sensitive patient information without the patient’s consent. But \u003ca href=\"https://finance.yahoo.com/news/vaccine-passports-complicated-united-states-145810837.html\" rel=\"noopener noreferrer\" target=\"_blank\">HIPAA does not apply to private businesses\u003c/a> like performance venues—so there’s \u003ca href=\"http://www.fordhamiplj.org/2020/11/12/the-legality-of-coronavirus-immunity-passports-and-related-concerns/\" rel=\"noopener noreferrer\" target=\"_blank\">currently no law\u003c/a> preventing such entities from verifying someone’s vaccination status.\u003c/p>\n\u003cp>Meanwhile, charges of discrimination might likely hold more water. \u003ca href=\"https://www.statnews.com/2021/02/11/covid19-vaccination-rates-follow-the-money-in-states-with-biggest-wealth-gaps/\" rel=\"noopener noreferrer\" target=\"_blank\">Disparities in vaccination rates\u003c/a> suggest that wealthy, white Americans are getting inoculated before lower-income citizens and people of color. Immunity requirements could exacerbate these societal gaps. \u003c/p>\n\u003cp>Weisman admits that she might end up weighing these issues against her desire to see her theater reopen. She’s proud of the community that has sprung up around the theater’s online arm, MarshStream, but it’s no substitute for the genuine article: “How does a performer relate to an audience through a digital stream, when it’s so much about any performer’s relationship to seeing people and seeing their reactions?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/boxoffice-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13894369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice.jpg 1255w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Daniel Thomas, a co-executive director of San Francisco’s \u003ca href=\"https://42ndstmoon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">42nd Street Moon\u003c/a>, envisions a balanced approach to restoring this intimacy. “We can’t demand or require that they show us proof of vaccination, but we can ask that they provide that if they’re comfortable with it,” says Thomas, citing additional supplementary safety measures such as masks, temperature checks, contact tracing information and fewer performances to allow time for cleaning. \u003c/p>\n\u003cp>Any such proposal, of course, will have to be scrapped if the state mandates that theaters verify vaccinations at the door, an uncertainty that’s kindling frustration as companies attempt to plan their very tentative fall seasons. “The regulations for live theater have always been kind of an afterthought,” says Thomas. \u003c/p>\n\u003cp>“Our state is being very specific about where we fall,” echoes \u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Company\u003c/a> artistic director Jasson Minadakis. “If that changes, then we’re going to have to start thinking about those moral questions.”\u003c/p>\n\u003cp>Minadakis acknowledges the “waiting game” of trying to forecast state guidelines when live theater—which typically packs people together indoors for the length of a few acts and an intermission—will be last in the reopening line. Vaccine passports like those required in New York could possibly be on the table, but he won’t commit to pursuing any policy before the government confirms it’s necessary. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/VaccineProof-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13894374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof.jpg 1116w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Khori Dastoor, \u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>’s general director, fires off a list of measures she’d incorporate before certifying audiences’ vaccine credentials. The company plans to trade out longer opera programming, some of which clocks in at over three hours, for truncated, socially distanced outdoor performances. \u003c/p>\n\u003cp>Dastoor says those steps will be easier than checking every audience member’s vaccination status. “It’s a lot to ask of our ushers,” Dastoor says. “It’s a big promise to make to our patrons that we can, with confidence, assure them that every single person in the auditorium has provided some sort of proof.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.berkeleyrep.org/index.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>’s audiences have shown that they might respond favorably to that kind of assurance, based on the results of a survey sent out to subscribers and single ticket buyers. According to managing director Susie Medak, respondents indicated that the most important factors for returning to the theater were getting vaccinated themselves and knowing that others were vaccinated, too. Over 60% of survey takers said they hoped Berkeley Rep would require vaccinations for participation.\u003c/p>\n\u003cp>Medak is willing to enact these rules if it makes guests safer, but she anticipates inevitable controversies that could incite a rocky reaction from the wider public. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I know that this is exactly what many of our people really want to hear,” Medak says. “And I’m sure there are also people who are just going to be outraged.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past year, Bay Area theatergoers have subsisted on \u003ca href=\"https://www.kqed.org/arts/13893812/how-the-pandemic-may-impact-bay-area-performing-arts-for-years-to-come\" rel=\"noopener noreferrer\" target=\"_blank\">digital programming\u003c/a> and crossed their fingers for a post-pandemic “new normal” to reinstate live indoor performances. As \u003ca href=\"https://www.kqed.org/news/11855623/where-can-i-get-a-covid-19-vaccine-in-the-bay-area-your-questions-answered\" rel=\"noopener noreferrer\" target=\"_blank\">vaccinations\u003c/a> increase across California, so does optimism about the safety of eventually returning to theater venues—but it’s possible patrons will have to prove they’ve been vaccinated in exchange for entry. \u003c/p>\n\u003cp>“Vaccine passports” are already a reality in New York: \u003ca href=\"https://www.bostonglobe.com/2021/03/10/business/been-vaccinated-you-may-have-prove-it/\" rel=\"noopener noreferrer\" target=\"_blank\">at both Barclays Center and Madison Square Garden\u003c/a>, attendees are currently required to present an app or QR code that shows they’ve either been vaccinated or tested negative for COVID-19 within the previous 72 hours. \u003ca href=\"https://www.nytimes.com/2021/02/18/world/middleeast/israel-covid-vaccine-reopen.html\" rel=\"noopener noreferrer\" target=\"_blank\">Israel\u003c/a> has incorporated a “Green Badge” system that limits leisure activities to vaccinated individuals, and the \u003ca href=\"https://www.seattletimes.com/life/travel/eu-announces-plans-for-digital-covid-19-vaccine-passport/\" rel=\"noopener noreferrer\" target=\"_blank\">European Union\u003c/a>’s version of vaccine passports will allow people who have gotten jabs to travel more freely between member countries.\u003c/p>\n\u003cp>Currently, this question remains a hypothetical one for Bay Area theaters. According to the \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Dimmer-Framework-September_2020.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">California Department of Health’s March 11 update\u003c/a> on its reopening framework, indoor performances won’t be permitted until each county passes out of the colored tier system entirely, and the required modifications for those events are still forthcoming. In the meantime, theaters are left to consider if they’d be receptive to implementing vaccine requirements, especially in light of the ethical and logistical questions they raise.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Theatre.Mask_.jpg\" alt=\"\" width=\"724\" height=\"482\" class=\"aligncenter size-full wp-image-13894376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_.jpg 724w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Theatre.Mask_-160x107.jpg 160w\" sizes=\"(max-width: 724px) 100vw, 724px\">\u003c/p>\n\u003cp>“Frankly, I consider it an intrusion of privacy,” says Stephanie Weisman, executive and artistic director of \u003ca href=\"https://themarsh.org/\" rel=\"noopener noreferrer\" target=\"_blank\">The Marsh\u003c/a>. “To have people show a card to come into a little theater like The Marsh, which is all about social justice and authentic, intimate voices? It feels very, very intrusive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weisman’s concerns are not unfounded, but legally challenging vaccine passport policies on privacy grounds will be tricky. Medical information in the United States is currently protected by the Health Insurance Portability and Accountability Act, or HIPAA, which prevents healthcare providers from disclosing sensitive patient information without the patient’s consent. But \u003ca href=\"https://finance.yahoo.com/news/vaccine-passports-complicated-united-states-145810837.html\" rel=\"noopener noreferrer\" target=\"_blank\">HIPAA does not apply to private businesses\u003c/a> like performance venues—so there’s \u003ca href=\"http://www.fordhamiplj.org/2020/11/12/the-legality-of-coronavirus-immunity-passports-and-related-concerns/\" rel=\"noopener noreferrer\" target=\"_blank\">currently no law\u003c/a> preventing such entities from verifying someone’s vaccination status.\u003c/p>\n\u003cp>Meanwhile, charges of discrimination might likely hold more water. \u003ca href=\"https://www.statnews.com/2021/02/11/covid19-vaccination-rates-follow-the-money-in-states-with-biggest-wealth-gaps/\" rel=\"noopener noreferrer\" target=\"_blank\">Disparities in vaccination rates\u003c/a> suggest that wealthy, white Americans are getting inoculated before lower-income citizens and people of color. Immunity requirements could exacerbate these societal gaps. \u003c/p>\n\u003cp>Weisman admits that she might end up weighing these issues against her desire to see her theater reopen. She’s proud of the community that has sprung up around the theater’s online arm, MarshStream, but it’s no substitute for the genuine article: “How does a performer relate to an audience through a digital stream, when it’s so much about any performer’s relationship to seeing people and seeing their reactions?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/boxoffice-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"aligncenter size-medium wp-image-13894369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/boxoffice.jpg 1255w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Daniel Thomas, a co-executive director of San Francisco’s \u003ca href=\"https://42ndstmoon.org/\" rel=\"noopener noreferrer\" target=\"_blank\">42nd Street Moon\u003c/a>, envisions a balanced approach to restoring this intimacy. “We can’t demand or require that they show us proof of vaccination, but we can ask that they provide that if they’re comfortable with it,” says Thomas, citing additional supplementary safety measures such as masks, temperature checks, contact tracing information and fewer performances to allow time for cleaning. \u003c/p>\n\u003cp>Any such proposal, of course, will have to be scrapped if the state mandates that theaters verify vaccinations at the door, an uncertainty that’s kindling frustration as companies attempt to plan their very tentative fall seasons. “The regulations for live theater have always been kind of an afterthought,” says Thomas. \u003c/p>\n\u003cp>“Our state is being very specific about where we fall,” echoes \u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Company\u003c/a> artistic director Jasson Minadakis. “If that changes, then we’re going to have to start thinking about those moral questions.”\u003c/p>\n\u003cp>Minadakis acknowledges the “waiting game” of trying to forecast state guidelines when live theater—which typically packs people together indoors for the length of a few acts and an intermission—will be last in the reopening line. Vaccine passports like those required in New York could possibly be on the table, but he won’t commit to pursuing any policy before the government confirms it’s necessary. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/VaccineProof-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13894374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/VaccineProof.jpg 1116w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Khori Dastoor, \u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>’s general director, fires off a list of measures she’d incorporate before certifying audiences’ vaccine credentials. The company plans to trade out longer opera programming, some of which clocks in at over three hours, for truncated, socially distanced outdoor performances. \u003c/p>\n\u003cp>Dastoor says those steps will be easier than checking every audience member’s vaccination status. “It’s a lot to ask of our ushers,” Dastoor says. “It’s a big promise to make to our patrons that we can, with confidence, assure them that every single person in the auditorium has provided some sort of proof.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.berkeleyrep.org/index.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>’s audiences have shown that they might respond favorably to that kind of assurance, based on the results of a survey sent out to subscribers and single ticket buyers. According to managing director Susie Medak, respondents indicated that the most important factors for returning to the theater were getting vaccinated themselves and knowing that others were vaccinated, too. Over 60% of survey takers said they hoped Berkeley Rep would require vaccinations for participation.\u003c/p>\n\u003cp>Medak is willing to enact these rules if it makes guests safer, but she anticipates inevitable controversies that could incite a rocky reaction from the wider public. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I know that this is exactly what many of our people really want to hear,” Medak says. “And I’m sure there are also people who are just going to be outraged.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Rep Builds a Theatrical Experience Through Sound With 'Place/Settings'",
"headTitle": "Berkeley Rep Builds a Theatrical Experience Through Sound With ‘Place/Settings’ | KQED",
"content": "\u003cp>Over the past year without live performances and theatre, venues throughout the Bay Area have been forced to pivot to creating \u003ca href=\"https://www.kqed.org/arts/13890054/livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained\" rel=\"noopener noreferrer\" target=\"_blank\">virtual programming\u003c/a> throughout the COVID-19 pandemic. And while streamed theatre can be a hit-or-miss, as Berkeley Rep artistic director Johanna Pfaelzer recently told \u003ca href=\"https://www.berkeleyside.com/2021/01/11/berkeley-rep-launches-place-settings-10-audio-stories-set-in-berkeley\">the Berkeleyside\u003c/a>, “sound can create an entire world.”\u003c/p>\n\u003cp>That’s the premise of \u003cem>Place/Settings\u003c/em>, a new series from Berkeley Rep and the latest example of a Bay Area theater company pivoting to digital offerings. Unlike many recent theatre productions, \u003cem>Place/Settings\u003c/em> isn’t a streamed recording of a play, but an audio-only, 10-episode podcast series that takes listeners to different key locations around Berkeley.\u003c/p>\n\u003cp>The stories of \u003cem>Place/Settings\u003c/em> come courtesy of 10 different writers, all with strong ties to the city—some stories are based on true events, some are fictional, and some fall in between. Whether read by the author or a voice actor, the stories utilize sound design and narration styles to build an entirely sonic theatrical experience. All are personal and unique, each with its own stylistic flair.\u003c/p>\n\u003cfigure id=\"attachment_13894233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-800x531.jpeg\" alt=\"Richard Montoya, a contributing writer to Berkeley Rep's 'Place/Settings.'\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13894233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-1020x677.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, a contributing writer to Berkeley Rep’s ‘Place/Settings.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon listening to a cross-section of episodes, I found \u003cem>Place/Settings\u003c/em> to be an artistically distinctive and heartwarming tribute to one of the most exceptional cities in the Bay. Although I grew up in Oakland, I spent a good deal of my childhood visiting the neighboring city of Berkeley. Many of the featured writers of \u003cem>Place/Settings\u003c/em> grew up in neighboring cities as well, like Daniel Handler, whose episode tells the story of visiting Berkeley from his hometown of San Francisco, or Kamala Parks, who moved to Berkeley from her mother’s house in San Jose.\u003c/p>\n\u003cp>Handler, better known by his pen name Lemony Snicket, contributes a story from his time growing up in San Francisco, when he viewed Berkeley as a formidable, fascinating place. He describes one real-life journey to the “glamorous” city in “The Black Mass Sonata.” Read by Lance Gardner, the episode puts the listener in the shoes of a teenage Handler during a lonely period of his life as he aimlessly wanders alone along Bancroft Way before finding himself in the Musical Offering Cafe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Handler’s descriptions of trepidation at entering the shops and restaurants he’d deemed “too cool” for him brought me back to the memory of an uncomfortable period of my own adolescence: just barely old enough to venture out on my own, but not yet old enough to have a group of friends to make the experience less daunting. And yet in that cafe, the lost Handler finds clarity as he eats a cup of soup and discovers a sonata playing in the cafe that he does not yet know will snap him out of a bout of amnesia just a few years later.\u003c/p>\n\u003cfigure id=\"attachment_13894232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-800x600.jpeg\" alt=\"Contributing writer Kamala Parks (Frank Piegaro)\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13894232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks, a contributing writer to Berkeley Rep’s ‘Place/Settings.’ \u003ccite>(Frank Piegaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “The Third Sphere,” drummer, 924 Gilman founder, and BART planner Kamala Parks tells her story of grappling with her parents’ divorce in early adolescence. In Parks’ story, narrated by Denmo Ibrahim, the North Berkeley BART station serves as the backdrop for her first strides into independence after she moves in with her father to escape the jealous abuse of her temperamental brother.\u003c/p>\n\u003cp>The city of Berkeley also serves as the site for Parks’ encounters with the consequences of California’s Prop. 13, as slashed education funding forces her into a remedial class full of rowdy students that she skips school to avoid. As a lifelong Oakland public school student and recent high school graduate, I found her descriptions of classroom dynamics entertaining and comfortingly familiar; although my middle school years came decades after hers, our experiences echo one another.[aside postID='arts_13840541']\u003c/p>\n\u003cp>Tilden Regional Park makes its perhaps-inevitable appearance in Philip Kan Gotanda’s “night fishing,” an eerie tale of an old fisherman who frequents Jewel Lake. Read by Steven Anthony Jones and BD Wong, the theatrical storytelling and masterful sound design of this episode construct an ominous scene around the listener, building up to a cliffhanger ending. In contrast to the others that I listened to, this episode feels more like a horror movie-turned-audiobook than a personal narrative, demonstrating the versatility of the series and the distinctions between the styles of the different writers.\u003c/p>\n\u003cp>Of all the episodes I sampled, “night fishing” perhaps best exemplifies the purpose of \u003cem>Place/Settings\u003c/em> in its immersiveness, creating its own world through sound, just as Pfaelzer describes, and evoking the mystic and unmistakably magical energy of Berkeley. After living and working remotely from the East Coast for the past month, it brought me back home, even if just for a moment—and therein lies \u003cem>Place/Settings\u003c/em>’ success.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>All 10 episodes of ‘Place/Settings’ are available now. \u003ca href=\"https://www.berkeleyrep.org/season/2021/15861.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past year without live performances and theatre, venues throughout the Bay Area have been forced to pivot to creating \u003ca href=\"https://www.kqed.org/arts/13890054/livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained\" rel=\"noopener noreferrer\" target=\"_blank\">virtual programming\u003c/a> throughout the COVID-19 pandemic. And while streamed theatre can be a hit-or-miss, as Berkeley Rep artistic director Johanna Pfaelzer recently told \u003ca href=\"https://www.berkeleyside.com/2021/01/11/berkeley-rep-launches-place-settings-10-audio-stories-set-in-berkeley\">the Berkeleyside\u003c/a>, “sound can create an entire world.”\u003c/p>\n\u003cp>That’s the premise of \u003cem>Place/Settings\u003c/em>, a new series from Berkeley Rep and the latest example of a Bay Area theater company pivoting to digital offerings. Unlike many recent theatre productions, \u003cem>Place/Settings\u003c/em> isn’t a streamed recording of a play, but an audio-only, 10-episode podcast series that takes listeners to different key locations around Berkeley.\u003c/p>\n\u003cp>The stories of \u003cem>Place/Settings\u003c/em> come courtesy of 10 different writers, all with strong ties to the city—some stories are based on true events, some are fictional, and some fall in between. Whether read by the author or a voice actor, the stories utilize sound design and narration styles to build an entirely sonic theatrical experience. All are personal and unique, each with its own stylistic flair.\u003c/p>\n\u003cfigure id=\"attachment_13894233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-800x531.jpeg\" alt=\"Richard Montoya, a contributing writer to Berkeley Rep's 'Place/Settings.'\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13894233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-1020x677.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, a contributing writer to Berkeley Rep’s ‘Place/Settings.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon listening to a cross-section of episodes, I found \u003cem>Place/Settings\u003c/em> to be an artistically distinctive and heartwarming tribute to one of the most exceptional cities in the Bay. Although I grew up in Oakland, I spent a good deal of my childhood visiting the neighboring city of Berkeley. Many of the featured writers of \u003cem>Place/Settings\u003c/em> grew up in neighboring cities as well, like Daniel Handler, whose episode tells the story of visiting Berkeley from his hometown of San Francisco, or Kamala Parks, who moved to Berkeley from her mother’s house in San Jose.\u003c/p>\n\u003cp>Handler, better known by his pen name Lemony Snicket, contributes a story from his time growing up in San Francisco, when he viewed Berkeley as a formidable, fascinating place. He describes one real-life journey to the “glamorous” city in “The Black Mass Sonata.” Read by Lance Gardner, the episode puts the listener in the shoes of a teenage Handler during a lonely period of his life as he aimlessly wanders alone along Bancroft Way before finding himself in the Musical Offering Cafe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Handler’s descriptions of trepidation at entering the shops and restaurants he’d deemed “too cool” for him brought me back to the memory of an uncomfortable period of my own adolescence: just barely old enough to venture out on my own, but not yet old enough to have a group of friends to make the experience less daunting. And yet in that cafe, the lost Handler finds clarity as he eats a cup of soup and discovers a sonata playing in the cafe that he does not yet know will snap him out of a bout of amnesia just a few years later.\u003c/p>\n\u003cfigure id=\"attachment_13894232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-800x600.jpeg\" alt=\"Contributing writer Kamala Parks (Frank Piegaro)\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13894232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks, a contributing writer to Berkeley Rep’s ‘Place/Settings.’ \u003ccite>(Frank Piegaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “The Third Sphere,” drummer, 924 Gilman founder, and BART planner Kamala Parks tells her story of grappling with her parents’ divorce in early adolescence. In Parks’ story, narrated by Denmo Ibrahim, the North Berkeley BART station serves as the backdrop for her first strides into independence after she moves in with her father to escape the jealous abuse of her temperamental brother.\u003c/p>\n\u003cp>The city of Berkeley also serves as the site for Parks’ encounters with the consequences of California’s Prop. 13, as slashed education funding forces her into a remedial class full of rowdy students that she skips school to avoid. As a lifelong Oakland public school student and recent high school graduate, I found her descriptions of classroom dynamics entertaining and comfortingly familiar; although my middle school years came decades after hers, our experiences echo one another.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tilden Regional Park makes its perhaps-inevitable appearance in Philip Kan Gotanda’s “night fishing,” an eerie tale of an old fisherman who frequents Jewel Lake. Read by Steven Anthony Jones and BD Wong, the theatrical storytelling and masterful sound design of this episode construct an ominous scene around the listener, building up to a cliffhanger ending. In contrast to the others that I listened to, this episode feels more like a horror movie-turned-audiobook than a personal narrative, demonstrating the versatility of the series and the distinctions between the styles of the different writers.\u003c/p>\n\u003cp>Of all the episodes I sampled, “night fishing” perhaps best exemplifies the purpose of \u003cem>Place/Settings\u003c/em> in its immersiveness, creating its own world through sound, just as Pfaelzer describes, and evoking the mystic and unmistakably magical energy of Berkeley. After living and working remotely from the East Coast for the past month, it brought me back home, even if just for a moment—and therein lies \u003cem>Place/Settings\u003c/em>’ success.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>All 10 episodes of ‘Place/Settings’ are available now. \u003ca href=\"https://www.berkeleyrep.org/season/2021/15861.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Opera and UCSF's New Mask for Singers Helps Bring Back In-Person Performances",
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"content": "\u003cp>\u003ca href=\"https://surgery.ucsf.edu/faculty/general-surgery/sanziana-a-roman,-md,-facs.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Sanziana Roman\u003c/a> is a classically-trained soprano who also happens to be a professor of surgery and thyroid surgeon at the \u003ca href=\"http://ucsf.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of California San Francisco\u003c/a> (UCSF).\u003c/p>\n\u003cp>“I just couldn’t bear the thought that I may not make it as a singer,” Roman says. “So I went to medical school.”\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) has enlisted Roman as one of a handful of UCSF medical experts to help determine what it would take to bring live opera back.\u003c/p>\n\u003cfigure id=\"attachment_13894139\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg\" alt=\"\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">UCSF professor of surgery and thyroid surgeon Sanziana Roman was on track to become a professional soprano before changing track to pursue a career in medicine. \u003ccite>(Courtesy Sanziana Roman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group has met every Monday morning on Zoom since last June. And one night not too long after the collaboration began, Roman decided to get creative.\u003c/p>\n\u003cp>“I had some old masks from the operating room that I brought home,” Roman says. “I cut them up at my kitchen table and kind of pasted them together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The result was the prototype for a new mask specially designed for singers, and aimed at keeping performers safe as they return to live productions.\u003c/p>\n\u003cp>Roman’s invention has since gone through rounds of testing and further design tweaks. UCSF and SF Opera have filed a patent for the mask, and it’s currently being manufactured in the opera company’s costume shop as the team searches for a commercial entity like 3M to potentially license the mask to and ramp up its production.\u003c/p>\n\u003cp>“It was really designed to get singers practicing, working together, and being in close proximity without worrying so much about aerosols,” Roman says of her new creation, officially called the VOXCV mask.\u003c/p>\n\u003cp>Even though COVID-19 infection rates are dropping in California, singing in public is still considered a high-risk activity. That’s because of the aerosols that singing produces—fine mists of tiny particles that tend to float in the air for extended periods of time. This makes them potentially more hazardous than the larger droplets created by regular speaking, which generally fall to the ground more easily.\u003c/p>\n\u003cp>The media has reported on \u003ca href=\"https://www.theguardian.com/world/2020/may/17/did-singing-together-spread-coronavirus-to-four-choirs\" target=\"_blank\" rel=\"noopener noreferrer\">several singing-related COVID-19 outbreaks\u003c/a> over the past year, including one in Washington State that left two choristers dead.\u003c/p>\n\u003cp>In tests conducted at \u003ca href=\"https://www.ucdavis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, Roman’s new mask design has proved to be almost as efficient at filtering out particles as the gold-standard N95 mask. (According to a UC Davis research paper shared with KQED, it filters out 94% of particles; the N95 filters 95%.)\u003c/p>\n\u003cfigure id=\"attachment_13894140\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Opera Adler Fellow Anne-Marie MacIntosh got to try out and offer feedback on the new singing mask. \u003ccite>(Anne-Marie MacIntosh/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Opera \u003ca href=\"https://sfopera.com/about-us/opera-center/adler-fellowship-program/adler-fellows/\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Fellow\u003c/a> \u003ca href=\"https://sfopera.com/about-us/people/bios/adlers/AnneMarieMacIntosh/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne-Marie MacIntosh\u003c/a>, a resident artist with the company, is impressed with the thinking that’s gone into the design.\u003c/p>\n\u003cp>“It has a really nice drawstring at the bottom that goes underneath your chin to ensure again that there aren’t aerosols escaping through the bottom of the mask,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh was able to try out and offer feedback on the new mask, which is made of washable cotton and has plastic boning to keep it off the face.\u003c/p>\n\u003cp>“And also it has a roll-up extension at the bottom, which you can open up to drink water out of, so that you’re not having to take the mask on and off in rehearsal and put yourself and others in danger,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh unfurls the long flap at the front of the mask, which flops around like the trunk of a dejected elephant. It’s not very flattering, in other words. (Roman says the original prototype looked even weirder.)\u003c/p>\n\u003cp>But MacIntosh says after months of being stuck in her apartment doing rehearsals on Zoom, she can live with the aesthetics.\u003c/p>\n\u003cp>“We’re creating a new trend here!” she says with a laugh.\u003c/p>\n\u003cp>Other opera companies, like \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a>, have also developed singer masks in their costume shops. The company’s general director, \u003ca href=\"https://www.operasj.org/company/\" target=\"_blank\" rel=\"noopener noreferrer\">Khori Dastoor\u003c/a>, says she can see them becoming part of a performer’s everyday toolkit, alongside things like pitch pipes and throat lozenges, well after this pandemic ends.\u003c/p>\n\u003cp>“If it reduces our risk to get the flu or to get any kind of run-of-the-mill rhinovirus, that will stay,” Dastoor says.\u003c/p>\n\u003cp>UCSF’s Roman says masks should be thought of as just one part of a larger solution to enable a safe return to live performances.\u003c/p>\n\u003cp>“Masks are not the only thing that will be protective,” she says. “You have to have good ventilation. You have to have some separation from each other. And you need to have a lot of good testing.”\u003c/p>\n\u003cp>Meanwhile, singer MacIntosh is about to get her first chance to sing before a live audience in more than a year.\u003c/p>\n\u003cp>Together with a number of fellow San Francisco Opera artists, MacIntosh is ramping up for \u003ca href=\"https://sfopera.com/on-stage/the-adlers-live-at-the-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">a series of live outdoor performances\u003c/a> in late April and May, held at the Marin Center for a drive-in audience. So she’s getting used to practicing in her new mask.\u003c/p>\n\u003cp>MacIntosh says rehearsing in the mask isn’t ideal. It gets a little stuffy in there after a while. But that’s a small price to pay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s just exciting to get to work with other people,” MacIntosh says. “We’re going to do whatever it takes to make that happen.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://surgery.ucsf.edu/faculty/general-surgery/sanziana-a-roman,-md,-facs.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Sanziana Roman\u003c/a> is a classically-trained soprano who also happens to be a professor of surgery and thyroid surgeon at the \u003ca href=\"http://ucsf.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of California San Francisco\u003c/a> (UCSF).\u003c/p>\n\u003cp>“I just couldn’t bear the thought that I may not make it as a singer,” Roman says. “So I went to medical school.”\u003c/p>\n\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> (SF Opera) has enlisted Roman as one of a handful of UCSF medical experts to help determine what it would take to bring live opera back.\u003c/p>\n\u003cfigure id=\"attachment_13894139\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg\" alt=\"\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47844_ROMAN_Sanziana_singing-qut-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">UCSF professor of surgery and thyroid surgeon Sanziana Roman was on track to become a professional soprano before changing track to pursue a career in medicine. \u003ccite>(Courtesy Sanziana Roman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group has met every Monday morning on Zoom since last June. And one night not too long after the collaboration began, Roman decided to get creative.\u003c/p>\n\u003cp>“I had some old masks from the operating room that I brought home,” Roman says. “I cut them up at my kitchen table and kind of pasted them together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result was the prototype for a new mask specially designed for singers, and aimed at keeping performers safe as they return to live productions.\u003c/p>\n\u003cp>Roman’s invention has since gone through rounds of testing and further design tweaks. UCSF and SF Opera have filed a patent for the mask, and it’s currently being manufactured in the opera company’s costume shop as the team searches for a commercial entity like 3M to potentially license the mask to and ramp up its production.\u003c/p>\n\u003cp>“It was really designed to get singers practicing, working together, and being in close proximity without worrying so much about aerosols,” Roman says of her new creation, officially called the VOXCV mask.\u003c/p>\n\u003cp>Even though COVID-19 infection rates are dropping in California, singing in public is still considered a high-risk activity. That’s because of the aerosols that singing produces—fine mists of tiny particles that tend to float in the air for extended periods of time. This makes them potentially more hazardous than the larger droplets created by regular speaking, which generally fall to the ground more easily.\u003c/p>\n\u003cp>The media has reported on \u003ca href=\"https://www.theguardian.com/world/2020/may/17/did-singing-together-spread-coronavirus-to-four-choirs\" target=\"_blank\" rel=\"noopener noreferrer\">several singing-related COVID-19 outbreaks\u003c/a> over the past year, including one in Washington State that left two choristers dead.\u003c/p>\n\u003cp>In tests conducted at \u003ca href=\"https://www.ucdavis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, Roman’s new mask design has proved to be almost as efficient at filtering out particles as the gold-standard N95 mask. (According to a UC Davis research paper shared with KQED, it filters out 94% of particles; the N95 filters 95%.)\u003c/p>\n\u003cfigure id=\"attachment_13894140\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894140\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/RS47845_MacINTOSH-Ann-Marie-HeadshotHighRes-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Opera Adler Fellow Anne-Marie MacIntosh got to try out and offer feedback on the new singing mask. \u003ccite>(Anne-Marie MacIntosh/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Opera \u003ca href=\"https://sfopera.com/about-us/opera-center/adler-fellowship-program/adler-fellows/\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Fellow\u003c/a> \u003ca href=\"https://sfopera.com/about-us/people/bios/adlers/AnneMarieMacIntosh/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne-Marie MacIntosh\u003c/a>, a resident artist with the company, is impressed with the thinking that’s gone into the design.\u003c/p>\n\u003cp>“It has a really nice drawstring at the bottom that goes underneath your chin to ensure again that there aren’t aerosols escaping through the bottom of the mask,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh was able to try out and offer feedback on the new mask, which is made of washable cotton and has plastic boning to keep it off the face.\u003c/p>\n\u003cp>“And also it has a roll-up extension at the bottom, which you can open up to drink water out of, so that you’re not having to take the mask on and off in rehearsal and put yourself and others in danger,” MacIntosh says.\u003c/p>\n\u003cp>MacIntosh unfurls the long flap at the front of the mask, which flops around like the trunk of a dejected elephant. It’s not very flattering, in other words. (Roman says the original prototype looked even weirder.)\u003c/p>\n\u003cp>But MacIntosh says after months of being stuck in her apartment doing rehearsals on Zoom, she can live with the aesthetics.\u003c/p>\n\u003cp>“We’re creating a new trend here!” she says with a laugh.\u003c/p>\n\u003cp>Other opera companies, like \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San Jose\u003c/a>, have also developed singer masks in their costume shops. The company’s general director, \u003ca href=\"https://www.operasj.org/company/\" target=\"_blank\" rel=\"noopener noreferrer\">Khori Dastoor\u003c/a>, says she can see them becoming part of a performer’s everyday toolkit, alongside things like pitch pipes and throat lozenges, well after this pandemic ends.\u003c/p>\n\u003cp>“If it reduces our risk to get the flu or to get any kind of run-of-the-mill rhinovirus, that will stay,” Dastoor says.\u003c/p>\n\u003cp>UCSF’s Roman says masks should be thought of as just one part of a larger solution to enable a safe return to live performances.\u003c/p>\n\u003cp>“Masks are not the only thing that will be protective,” she says. “You have to have good ventilation. You have to have some separation from each other. And you need to have a lot of good testing.”\u003c/p>\n\u003cp>Meanwhile, singer MacIntosh is about to get her first chance to sing before a live audience in more than a year.\u003c/p>\n\u003cp>Together with a number of fellow San Francisco Opera artists, MacIntosh is ramping up for \u003ca href=\"https://sfopera.com/on-stage/the-adlers-live-at-the-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">a series of live outdoor performances\u003c/a> in late April and May, held at the Marin Center for a drive-in audience. So she’s getting used to practicing in her new mask.\u003c/p>\n\u003cp>MacIntosh says rehearsing in the mask isn’t ideal. It gets a little stuffy in there after a while. But that’s a small price to pay.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s just exciting to get to work with other people,” MacIntosh says. “We’re going to do whatever it takes to make that happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In '[hieroglyph],' a Tale of Displacement is Brought to Rich, Evocative Life",
"headTitle": "In ‘[hieroglyph],’ a Tale of Displacement is Brought to Rich, Evocative Life | KQED",
"content": "\u003cp>In 2005, after over twenty-five years years, playwright August Wilson completed his 10-play Pittsburgh Cycle—a tribute to a century’s worth of Black experience, and widely considered one of the masterpieces of contemporary American Theater. So it’s thrilling to encounter a 21st century cohort of playwrights seeking to match that achievement. Locally, playwright and costume designer Regina Evans is working on a 10-play cycle called \u003cem>Infrastructure\u003c/em>, using household objects as departure points for plays connecting them to the long history of slavery, both historical and modern. And in Chicago-raised Erika Dickerson-Despenza’s projected 10-play cycle, the central focus of each will be the reverberating effects of Hurricane Katrina on the still-displaced Katrina Diaspora.\u003c/p>\n\u003cp>In \u003cem>[hieroglyph]\u003c/em>—the second play of Dickerson-Despenza’s series, which uses lowercase names for all its characters—a pair of storm-tossed, Hurricane Katrina evacuees wash up onto Chicago’s urban shore, their transition to the north far from smooth. The adolescent davis (Jamella Cross) is 13 and having trouble settling into her new school, except for art class, where she excels. Her father ernest (Khary L. Moye), a janitor at The DuSable Museum of African American History, is concerned for her, stymied by her falling grades and (to him) unexplainable mood swings. That davis’ mother has chosen to stay behind in New Orleans is another source of tension for them both, and it’s clear that as a family unit they have much to mourn.\u003c/p>\n\u003cfigure id=\"attachment_13894018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamella Cross as davis and Safiya Fredericks as ms. t. in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s davis’ artistic talent that connects much of the play’s activity. Her detailed sketches and portraits are given prominence via a series of projections (designed by Teddy Hulsker), and many scenes begin or end with her poring over her sketchbook or discussing the relevance of one or another of her drawings. As ms. t. (Safiya Fredericks) the art teacher notes, they’re remarkably realistic and assured, but each are marked with an indecipherable character, like a cross. “Hieroglyphic,” ms. t. calls them, as she shows them to davis’ father. Neither of them can decipher them, though, and davis is reluctant to explain her artistic choices. At one point she reveals only that her portraits connect to her memories of New Orleans, and that by committing them to paper, she is exorcising them from her body. This telling compartmentalization remains a mystery to her teacher and her father—until it doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13894019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-800x542.jpg\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Marie Sharpe as leah and Jamella Cross as davis in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As davis, Jamella Cross deftly portrays a lanky, reserved teenager processing the physical and emotional trauma that both haunts her dreams and keeps her closed in on herself. Meanwhile, her sympathetic new friend leah (Anna Marie Sharpe) tries to teach her how to party South Side-style and diligently tutors her in algebra. Although neither actor is an actual teenager, they both manage to embody the spirit of teenhood in the easy cadence of their banter—the way they simultaneously appear to be sizing each other up and yet admiring what they see. Meanwhile Fredericks and Moye wear their mantles of adulthood with more gravity, but with no less grace. As ms. t., Fredericks draws careful boundaries around her that prove more permeable, less protective, than she’d like. Even her accumulated knowledge of African-American art history cannot completely block out her own complicated history, a fragile core that she tries desperately to keep hidden. And Moye, as ernest, carries worry etched on his face as stark as the mysterious hieroglyphs in davis’ drawings, even while he perpetuates his own cycles of careless harm. But what does not feel careless in the slightest is his deep concern for davis and his inability to pinpoint just what it is that she needs.\u003c/p>\n\u003cfigure id=\"attachment_13894016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled.jpg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary L. Moye as ernest and Safiya Fredericks as ms. t. in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the play’s most dramatically surprising moments is a makeout session between Fredericks and Moye, not only because it takes an unfortunate turn, but because an onstage kiss feels like an act of sheer daring after a year of physically distanced theatre-making. In an article about the co-production \u003ca href=\"https://www.americantheatre.org/2021/03/11/a-heiroglyph-from-another-time-of-trauma/\">in \u003cem>American Theatre Magazine\u003c/em>\u003c/a>, San Francisco Playhouse’s artistic director Bill English describes the process for getting this kiss approved by Actor’s Equity, including a period of enforced solitary quarantine for the two actors involved, and filming their scene out of sequence before coming into contact with the other actors. The initial effect was as electrifying as if I’d just witnessed a scandalous ankle reveal in the Victorian era, so pent-up has my need for in-the-same-room performance been.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under Margo Hall’s assured direction, none of the scenes feel out of sequence with another, or “filmed,” and each actor inhabits the space purposefully, as if it were a stage filled with bit players vying for their own moment in the spotlight. Having had to adapt the script to the unique production circumstances, Dickerson-Despenza gives even these off-stage characters lives of their own. And if occasionally a line telegraphs a message rather than an emotion, the actors still make their essence feel completely genuine. Lighting flourishes by Kevin Myrick and dramatic sound design by Everett Elton Bradman imbue the production with an extra layer of theatricality, and the savvy costume design by Regina Evans turns the clock back to 2005: white sneakers and fuzzy sweaters for the teenagers, chunky elegant jewelry and long tunics for ms. t.\u003c/p>\n\u003cfigure id=\"attachment_13894020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘[hieroglyph]’ with playwright Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This co-production between San Francisco Playhouse and the Lorraine Hansberry Theatre represents a momentous collaboration. It’s director Margo Hall’s first play as the \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\">newly appointed artistic director\u003c/a> of the 40-year-old Lorraine Hansberry Theatre, and the company’s first foray into \u003cem>almost \u003c/em>post-pandemic producing. It merges the creative capacities of two notable theater district mainstays, with the additional twist of reuniting the Lorraine Hansberry Theatre with their short-held space at 450 Post (which they had to relinquish in 2010 after the unexpected deaths of both of their founders). It makes use of San Francisco Playhouse’s trialing of fully-filmed productions under a unique contract with Actor’s Equity. And it brings a richly evocative work about the Hurricane Katrina disaster to empathetic life, during a time when the failures of government to respond to the disasters that affect its most vulnerable populations is on full and constant display.\u003c/p>\n\u003cp>It shouldn’t need to take a global pandemic to underscore lessons we should already have learned about structural inequality and environmental racism. But at least with artistic documentation, such as Dickerson-Despenza’s plays, we can’t say we weren’t warned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘[hieroglyph]’ is available on-demand through April 3. \u003ca href=\"https://www.lhtsf.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Erika Dickerson-Despenza's story of Hurricane Katrina refugees in Chicago is a remarkable collaboration.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005, after over twenty-five years years, playwright August Wilson completed his 10-play Pittsburgh Cycle—a tribute to a century’s worth of Black experience, and widely considered one of the masterpieces of contemporary American Theater. So it’s thrilling to encounter a 21st century cohort of playwrights seeking to match that achievement. Locally, playwright and costume designer Regina Evans is working on a 10-play cycle called \u003cem>Infrastructure\u003c/em>, using household objects as departure points for plays connecting them to the long history of slavery, both historical and modern. And in Chicago-raised Erika Dickerson-Despenza’s projected 10-play cycle, the central focus of each will be the reverberating effects of Hurricane Katrina on the still-displaced Katrina Diaspora.\u003c/p>\n\u003cp>In \u003cem>[hieroglyph]\u003c/em>—the second play of Dickerson-Despenza’s series, which uses lowercase names for all its characters—a pair of storm-tossed, Hurricane Katrina evacuees wash up onto Chicago’s urban shore, their transition to the north far from smooth. The adolescent davis (Jamella Cross) is 13 and having trouble settling into her new school, except for art class, where she excels. Her father ernest (Khary L. Moye), a janitor at The DuSable Museum of African American History, is concerned for her, stymied by her falling grades and (to him) unexplainable mood swings. That davis’ mother has chosen to stay behind in New Orleans is another source of tension for them both, and it’s clear that as a family unit they have much to mourn.\u003c/p>\n\u003cfigure id=\"attachment_13894018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli13-scaled-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamella Cross as davis and Safiya Fredericks as ms. t. in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it’s davis’ artistic talent that connects much of the play’s activity. Her detailed sketches and portraits are given prominence via a series of projections (designed by Teddy Hulsker), and many scenes begin or end with her poring over her sketchbook or discussing the relevance of one or another of her drawings. As ms. t. (Safiya Fredericks) the art teacher notes, they’re remarkably realistic and assured, but each are marked with an indecipherable character, like a cross. “Hieroglyphic,” ms. t. calls them, as she shows them to davis’ father. Neither of them can decipher them, though, and davis is reluctant to explain her artistic choices. At one point she reveals only that her portraits connect to her memories of New Orleans, and that by committing them to paper, she is exorcising them from her body. This telling compartmentalization remains a mystery to her teacher and her father—until it doesn’t.\u003c/p>\n\u003cfigure id=\"attachment_13894019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-800x542.jpg\" alt=\"\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-1020x691.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli6-scaled-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Marie Sharpe as leah and Jamella Cross as davis in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As davis, Jamella Cross deftly portrays a lanky, reserved teenager processing the physical and emotional trauma that both haunts her dreams and keeps her closed in on herself. Meanwhile, her sympathetic new friend leah (Anna Marie Sharpe) tries to teach her how to party South Side-style and diligently tutors her in algebra. Although neither actor is an actual teenager, they both manage to embody the spirit of teenhood in the easy cadence of their banter—the way they simultaneously appear to be sizing each other up and yet admiring what they see. Meanwhile Fredericks and Moye wear their mantles of adulthood with more gravity, but with no less grace. As ms. t., Fredericks draws careful boundaries around her that prove more permeable, less protective, than she’d like. Even her accumulated knowledge of African-American art history cannot completely block out her own complicated history, a fragile core that she tries desperately to keep hidden. And Moye, as ernest, carries worry etched on his face as stark as the mysterious hieroglyphs in davis’ drawings, even while he perpetuates his own cycles of careless harm. But what does not feel careless in the slightest is his deep concern for davis and his inability to pinpoint just what it is that she needs.\u003c/p>\n\u003cfigure id=\"attachment_13894016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli_scaled.jpg 1170w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khary L. Moye as ernest and Safiya Fredericks as ms. t. in ‘[hieroglyph]’ by Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the play’s most dramatically surprising moments is a makeout session between Fredericks and Moye, not only because it takes an unfortunate turn, but because an onstage kiss feels like an act of sheer daring after a year of physically distanced theatre-making. In an article about the co-production \u003ca href=\"https://www.americantheatre.org/2021/03/11/a-heiroglyph-from-another-time-of-trauma/\">in \u003cem>American Theatre Magazine\u003c/em>\u003c/a>, San Francisco Playhouse’s artistic director Bill English describes the process for getting this kiss approved by Actor’s Equity, including a period of enforced solitary quarantine for the two actors involved, and filming their scene out of sequence before coming into contact with the other actors. The initial effect was as electrifying as if I’d just witnessed a scandalous ankle reveal in the Victorian era, so pent-up has my need for in-the-same-room performance been.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under Margo Hall’s assured direction, none of the scenes feel out of sequence with another, or “filmed,” and each actor inhabits the space purposefully, as if it were a stage filled with bit players vying for their own moment in the spotlight. Having had to adapt the script to the unique production circumstances, Dickerson-Despenza gives even these off-stage characters lives of their own. And if occasionally a line telegraphs a message rather than an emotion, the actors still make their essence feel completely genuine. Lighting flourishes by Kevin Myrick and dramatic sound design by Everett Elton Bradman imbue the production with an extra layer of theatricality, and the savvy costume design by Regina Evans turns the clock back to 2005: white sneakers and fuzzy sweaters for the teenagers, chunky elegant jewelry and long tunics for ms. t.\u003c/p>\n\u003cfigure id=\"attachment_13894020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SFP-LHT_hieroglyph_Jessica-Palopoli17-scaled-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘[hieroglyph]’ with playwright Erika Dickerson-Despenza. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This co-production between San Francisco Playhouse and the Lorraine Hansberry Theatre represents a momentous collaboration. It’s director Margo Hall’s first play as the \u003ca href=\"https://www.kqed.org/arts/13889584/margo-hall-set-to-lead-the-lorraine-hansberry-theatre-into-an-exciting-new-future\">newly appointed artistic director\u003c/a> of the 40-year-old Lorraine Hansberry Theatre, and the company’s first foray into \u003cem>almost \u003c/em>post-pandemic producing. It merges the creative capacities of two notable theater district mainstays, with the additional twist of reuniting the Lorraine Hansberry Theatre with their short-held space at 450 Post (which they had to relinquish in 2010 after the unexpected deaths of both of their founders). It makes use of San Francisco Playhouse’s trialing of fully-filmed productions under a unique contract with Actor’s Equity. And it brings a richly evocative work about the Hurricane Katrina disaster to empathetic life, during a time when the failures of government to respond to the disasters that affect its most vulnerable populations is on full and constant display.\u003c/p>\n\u003cp>It shouldn’t need to take a global pandemic to underscore lessons we should already have learned about structural inequality and environmental racism. But at least with artistic documentation, such as Dickerson-Despenza’s plays, we can’t say we weren’t warned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘[hieroglyph]’ is available on-demand through April 3. \u003ca href=\"https://www.lhtsf.org\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Artists on Challenges, Unexpected Victories in the Pandemic",
"headTitle": "Bay Area Artists on Challenges, Unexpected Victories in the Pandemic | KQED",
"content": "\u003cp>A year ago, on the verge of shelter in place, country singer/songwriter Rosanne Cash offered an encouraging reminder to the world’s artists, writers, musicians and other creatives: that “\u003ca href=\"https://twitter.com/rosannecash/status/1238700345548627969\" target=\"_blank\" rel=\"noopener noreferrer\">when Shakespeare was quarantined because of the plague, he wrote \u003ci>King Lear\u003c/i>\u003c/a>.”\u003c/p>\n\u003cp>Looking back now, things didn’t work out quite so well for most artists in today’s pandemic. With jobs lost, income evaporated and safety nets thinner than ever, the Bay Area’s arts sector was lucky to simply hang on (let alone write a 350-page tragedy).\u003c/p>\n\u003cp>One year into shelter in place, we asked Bay Area artists how the pandemic has affected their creative practice. Several themes emerged: loss of work, loss of inspiration, pivoting to streaming, tackling side hustles and mental health challenges. At the same time, some were able to take advantage of the new pace of life and continued to create.\u003c/p>\n\u003cp>Hear from them below—and if you’re an artist who wants to join the conversation, \u003ca href=\"#typeform\">let us know here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg\" alt=\"A man writes in a notebook\" width=\"800\" height=\"640\" class=\"size-full wp-image-13894049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-768x614.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Losing Inspiration to Create\u003c/h2>\n\u003cp>\u003cem>For many artists we talked to, the dearth of outside stimulus and the gloppy elasticity of time has meant a severe loss of inspiration. Add in guilty feelings from being unproductive, and creative struggles were very, very common.—Gabe Meline\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://chrisblackdance.wixsite.com/dance/about\" rel=\"noopener noreferrer\" target=\"_blank\">Chris Black\u003c/a>, San Francisco choreographer\u003c/strong>\u003c/p>\n\u003cp>“You know, dance is such a social endeavor. Especially how I’ve made work over the years, it’s just usually very collaborative. And the isolation and the space and combination kind of just made it harder and harder to bother, honestly, or to focus on it, or feel like I was getting anything out of it. … I think the Trump years were kind of hard on me in that department as well, at times. Just with the juggernaut of all of it, my creativity definitely went up and down a lot, even before this. It’s just been harder and harder to focus.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s interesting, before the pandemic, I had this sort of studio practice that was very geared towards still imagery and video. And even that outlet (livestreaming or Zoom), I’ve just not been interested in. There’s something about the idea of making something only for the screen, when I can’t do the other thing that I like so much to do—which is be in a room with people, whether it’s other dancers and/or audience—and it’s just not in the least bit appealing. It’s been really hard for me to watch things, too. I’ve got friends and colleagues who’ve done things online, and even when I want to be supportive, it’s been hard to make myself attend some of those events because it’s kind of heartbreaking.”[aside postID='arts_13893812']\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tanya-rey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tanya Rey\u003c/a>, Oakland writer and author\u003c/strong>\u003c/p>\n\u003cp>“I just feel like somehow maybe things just take longer right now. I don’t know about you, but I’m really tired. And it seems like things just seem to take longer than I think they’re going to take, and eat up my day in this way that I just don’t anticipate. And so I can’t necessarily like make time for it, because there is no schedule, you know?\u003c/p>\n\u003cp>“On a day-to-day basis, I’m constantly frustrated that I’m not writing enough … and the harder I am on myself as an artist, that doesn’t breed good grounds for productivity, and it doesn’t breed the best creative self that I know that I can access. So I know that in order to actually make something worthwhile and to enjoy that process, I can’t be too hard on myself. It’s only going to take me twice as long.\u003c/p>\n\u003cp>“So it’s been really challenging. I think that we are experiencing a collective grief. And within that grief, there’s our own personal grieving. I know I’ve lost people, and certain relationships have been strained by this time and distance, and all of that compounds itself. And so I have certainly have had days where I just want to be on the couch or in bed.” \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://traceyrolandelli.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tracey Rolandelli\u003c/a>, Oakland painter and artist now staying with and helping family in Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>“As an artist who was having two solo shows a year, it has affected me financially. Even my online sales have suffered. It has also affected me creatively, because I haven’t been able to attend live life drawing sessions, which I did weekly. That also was a community near and dear to my social life. A tightknit group that meets at an artist’s house every Tuesday night.\u003c/p>\n\u003cp>“Because I’m high-risk (autoimmune disease related), I also have been affected by not feeling as comfortable going out to sketch in public. To be honest, while my area might not be as bad as other parts of the country with conspiracy-theorist anti-maskers, I’m nervous enough now around other people, due to my risk, if I became sick.”\u003c/p>\n\u003cfigure id=\"attachment_13894050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg\" alt=\"A woman sings into a microphone\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>A Surprisingly Productive Time\u003c/h2>\n\u003cp>\u003ci>While many artists found their creative energies tapped out this year, for some, the new speed of life—one without concerts, tours, commutes and everyday distractions—allowed them to give more space to their practices, and let their work grow in unexpected ways. With little control over anything else in 2020, these artists relished the opportunity to reflect more deeply on their art—and their work flourished as a result.—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.ekishola.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eki’Shola\u003c/a>, Santa Rosa musician, physician and founder of \u003ci>UNMUTE\u003c/i> magazine\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4161882285/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I released the album [\u003ci>Essential\u003c/i>], and the challenge is, ‘Okay I have this album, now what? How do I get it out there?’ … But for better or worse, we’re all plugged in more now. So I just went on a virtual tour. And the beauty of it was that I was able to play for audiences in Japan and the UK and across the country all from my music studio. That was wonderful. 2020 was actually probably one of the more prolific years for me in terms of the opportunities. \u003c/p>\n\u003cp>“It forced me to think outside the box a bit more. If I were to have toured it would have been to music venues. But this time, I was able to really meld the three things I’ve always wanted to do, which is music, mindfulness and wellness. … I ended up being able to do performance, share my story, teach a mindfulness tool and talk about health—all in one hour. And I did that for health care organizations, for colleges, for all different kinds of groups.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.janiceleelazaro.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Janice Lee Lazaro\u003c/a>, San Leandro singer/songwriter\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/916356599&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Now that I no longer have to commute and am spending more time at home, I’ve been dedicating my extra time to writing music and releasing my original songs. With that being said, it has been a great experience to finally be able to devote more time to music, making me feel happier, productive and fulfilled. \u003c/p>\n\u003cp>“The biggest challenge has been learning how to pivot fully remote. I learned to adapt, however, it was a bit of an adjustment to rely on wifi to keep up with Zoom communications with folks. Maintaining relationships has been a huge shift for me to adjust to.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.loreneanderson.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lorene Anderson\u003c/a>, Oakland visual artist\u003c/b>\u003c/p>\n\u003cp>“I had been scheduled for a \u003ca href=\"http://kimperialfineart.com/lorene-anderson-cusp-february-22-march-31-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">solo show\u003c/a> that was supposed to open last fall. So I was working really hard, but when the shutdown happened, everything kind of came to a screeching halt. … After a few days, I decided I wanted to keep the thread of my regular studio practice. I go five days a week, and I was lucky that it was still accessible—I have friends whose buildings were locked.\u003c/p>\n\u003cfigure id=\"attachment_13894040\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg\" alt=\"\" width=\"1200\" height=\"891\" class=\"size-full wp-image-13894040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-768x570.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lorene Anderson, ‘Cleaving Grain,’ 2020; acrylic on panel, 18 x 24 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt really compelled to look over the past 30 years of my old work. I don’t know if it’s that feeling of mortality and ‘What’s going to happen to all of us?’ but elements of old work have started creeping into my current work. … Sometimes I feel like I’m just hurtling through my life and studio practice, and to stop and make thoughtful decisions and reflections was something I hadn’t done in a long time, if ever. …\u003c/p>\n\u003cp>“I can be very self-deprecating and doubtful about stuff and maybe not so brave and I think [the pandemic] has made me get rid of that BS, and I feel braver, in a way, about my own work.”\u003c/p>\n\u003cfigure id=\"attachment_13894048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg\" alt=\"A painter sizes up her subject\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Year of the Pivot\u003c/h2>\n\u003cp>\u003cem>Although it hasn’t been easy by any means, some artists have used their time in the pandemic to successfully change gears. Out of necessity, musicians, writers and other performers have learned new skills and become full-on media production houses, filming, editing, recording and organizing online collaborators from their communities and even all over the world. The road has been bumpy, but these evolutions have opened new avenues and expanded their creative practices.–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sahbakia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sahba Aminikia\u003c/a>, San Francisco classical musician, composer and founder of the Flying Carpet Festival\u003c/strong>\u003c/p>\n\u003cp>“2020 has been one of the busiest years for me. I worked on seven different projects, but each of them ended up being becoming basically a \u003ca href=\"https://www.sahbakia.com/videos\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube or Facebook video\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/W2WxvoK3LJw\u003c/p>\n\u003cp>“In the context of my festival \u003ca href=\"https://www.flyingcarpetfestival.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Flying Carpet\u003c/a>, we work with 5,000, 6,000 children [in Turkey] every year. And this year, we’ve been able to reach out to maybe 200 children through online means, which brings a lot of issues because they’re in an area where data is expensive. … This year, we are planning on creating a home edition of this online Carpet Festival and reaching out to embassies and organizations for the funds to create a magical box that we can send to children in that region. And each box would include 10 to 12 modules created by different artists.\u003c/p>\n\u003cp>“One of the things I learned is that my work has always been in the line of human human rights work.[aside postid='arts_13860293']\u003c/p>\n\u003cp>“I think artists have an essential job in unifying the nation and unifying the people in a real sense, instead of just unifying your own allies or people who think like you. I think it’s the time for artists to reach out to rural areas, to areas where entertainment exists—maybe even good lifestyle exists, privileged lifestyle—but culture does not exist. And it’s a very good time to separate culture from entertainment because culture definitely has an educational aspect to it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.autumnallee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Autumn Allee\u003c/a>, Oakland opera singer, voice coach and creative producer of Exquisite Corpse Projects\u003c/strong>\u003c/p>\n\u003cp>“I had been considering doing a production company for a while, even before the pandemic. The concept was bringing together of artists from completely different mediums to create theater, which is my medium. And so I have a friend who’s a ceramicist. I have a friend who’s a playwright, a friend who is a classical music composer, that kind of thing. Completely different mindsets, completely different artists, bringing them together and create something completely unique.\u003c/p>\n\u003cp>https://www.instagram.com/p/CEMYnPlBr3N/\u003c/p>\n\u003cp>“Once the pandemic happened, I had a couple of goals for what I wanted for the project. I didn’t want to waste artists’ time and I wanted to pay them something. So I came up with an idea to create these short one-minute videos. And each artist watched and responded to another artist’s video, so it creates this chain of videos, each by a different artist taking something from the previous video and transforming it through their own lens and through their own medium, et cetera. Then we presented it and we we got funds through donations, essentially. And then we were able to pay our artists a stipend for the work that they did.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bronwynemery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bronwyn Emery\u003c/a>, Alameda writer, writing and creativity coach\u003c/strong>\u003c/p>\n\u003cp>“My personal creative process has taken a backseat because my practice has expanded to meet the needs of people who can’t get together anymore. And writing in particular is an isolated, isolating experience. You write by yourself. But a lot of people need accountability; they thrive in a group setting that has gives them inspiration and motivation. The shelter in place, the pandemic and the existential dread of the past few years has impacted creativity, so coming together in groups has been more important and has had a greater impact. So I spend a lot more time establishing online write-alongs and places to share what you’ve written that day, places to share what you’ve been working on and polishing for a month or two. Places where people can get together and talk about the writing process, different workshops. It’s really kind of taken over. Now I’m at the point where I need to coach myself on where do I find my place to be creative?”\u003c/p>\n\u003cp>\u003ca id=\"typeform\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/dQxuwlO4?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A year ago, on the verge of shelter in place, country singer/songwriter Rosanne Cash offered an encouraging reminder to the world’s artists, writers, musicians and other creatives: that “\u003ca href=\"https://twitter.com/rosannecash/status/1238700345548627969\" target=\"_blank\" rel=\"noopener noreferrer\">when Shakespeare was quarantined because of the plague, he wrote \u003ci>King Lear\u003c/i>\u003c/a>.”\u003c/p>\n\u003cp>Looking back now, things didn’t work out quite so well for most artists in today’s pandemic. With jobs lost, income evaporated and safety nets thinner than ever, the Bay Area’s arts sector was lucky to simply hang on (let alone write a 350-page tragedy).\u003c/p>\n\u003cp>One year into shelter in place, we asked Bay Area artists how the pandemic has affected their creative practice. Several themes emerged: loss of work, loss of inspiration, pivoting to streaming, tackling side hustles and mental health challenges. At the same time, some were able to take advantage of the new pace of life and continued to create.\u003c/p>\n\u003cp>Hear from them below—and if you’re an artist who wants to join the conversation, \u003ca href=\"#typeform\">let us know here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13894049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg\" alt=\"A man writes in a notebook\" width=\"800\" height=\"640\" class=\"size-full wp-image-13894049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-160x128.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Writer_Vida_3.15.jpg-768x614.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Losing Inspiration to Create\u003c/h2>\n\u003cp>\u003cem>For many artists we talked to, the dearth of outside stimulus and the gloppy elasticity of time has meant a severe loss of inspiration. Add in guilty feelings from being unproductive, and creative struggles were very, very common.—Gabe Meline\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://chrisblackdance.wixsite.com/dance/about\" rel=\"noopener noreferrer\" target=\"_blank\">Chris Black\u003c/a>, San Francisco choreographer\u003c/strong>\u003c/p>\n\u003cp>“You know, dance is such a social endeavor. Especially how I’ve made work over the years, it’s just usually very collaborative. And the isolation and the space and combination kind of just made it harder and harder to bother, honestly, or to focus on it, or feel like I was getting anything out of it. … I think the Trump years were kind of hard on me in that department as well, at times. Just with the juggernaut of all of it, my creativity definitely went up and down a lot, even before this. It’s just been harder and harder to focus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s interesting, before the pandemic, I had this sort of studio practice that was very geared towards still imagery and video. And even that outlet (livestreaming or Zoom), I’ve just not been interested in. There’s something about the idea of making something only for the screen, when I can’t do the other thing that I like so much to do—which is be in a room with people, whether it’s other dancers and/or audience—and it’s just not in the least bit appealing. It’s been really hard for me to watch things, too. I’ve got friends and colleagues who’ve done things online, and even when I want to be supportive, it’s been hard to make myself attend some of those events because it’s kind of heartbreaking.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tanya-rey.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tanya Rey\u003c/a>, Oakland writer and author\u003c/strong>\u003c/p>\n\u003cp>“I just feel like somehow maybe things just take longer right now. I don’t know about you, but I’m really tired. And it seems like things just seem to take longer than I think they’re going to take, and eat up my day in this way that I just don’t anticipate. And so I can’t necessarily like make time for it, because there is no schedule, you know?\u003c/p>\n\u003cp>“On a day-to-day basis, I’m constantly frustrated that I’m not writing enough … and the harder I am on myself as an artist, that doesn’t breed good grounds for productivity, and it doesn’t breed the best creative self that I know that I can access. So I know that in order to actually make something worthwhile and to enjoy that process, I can’t be too hard on myself. It’s only going to take me twice as long.\u003c/p>\n\u003cp>“So it’s been really challenging. I think that we are experiencing a collective grief. And within that grief, there’s our own personal grieving. I know I’ve lost people, and certain relationships have been strained by this time and distance, and all of that compounds itself. And so I have certainly have had days where I just want to be on the couch or in bed.” \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://traceyrolandelli.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Tracey Rolandelli\u003c/a>, Oakland painter and artist now staying with and helping family in Santa Rosa\u003c/strong>\u003c/p>\n\u003cp>“As an artist who was having two solo shows a year, it has affected me financially. Even my online sales have suffered. It has also affected me creatively, because I haven’t been able to attend live life drawing sessions, which I did weekly. That also was a community near and dear to my social life. A tightknit group that meets at an artist’s house every Tuesday night.\u003c/p>\n\u003cp>“Because I’m high-risk (autoimmune disease related), I also have been affected by not feeling as comfortable going out to sketch in public. To be honest, while my area might not be as bad as other parts of the country with conspiracy-theorist anti-maskers, I’m nervous enough now around other people, due to my risk, if I became sick.”\u003c/p>\n\u003cfigure id=\"attachment_13894050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg\" alt=\"A woman sings into a microphone\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/800x600_Singer_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>A Surprisingly Productive Time\u003c/h2>\n\u003cp>\u003ci>While many artists found their creative energies tapped out this year, for some, the new speed of life—one without concerts, tours, commutes and everyday distractions—allowed them to give more space to their practices, and let their work grow in unexpected ways. With little control over anything else in 2020, these artists relished the opportunity to reflect more deeply on their art—and their work flourished as a result.—Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.ekishola.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Eki’Shola\u003c/a>, Santa Rosa musician, physician and founder of \u003ci>UNMUTE\u003c/i> magazine\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4161882285/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“I released the album [\u003ci>Essential\u003c/i>], and the challenge is, ‘Okay I have this album, now what? How do I get it out there?’ … But for better or worse, we’re all plugged in more now. So I just went on a virtual tour. And the beauty of it was that I was able to play for audiences in Japan and the UK and across the country all from my music studio. That was wonderful. 2020 was actually probably one of the more prolific years for me in terms of the opportunities. \u003c/p>\n\u003cp>“It forced me to think outside the box a bit more. If I were to have toured it would have been to music venues. But this time, I was able to really meld the three things I’ve always wanted to do, which is music, mindfulness and wellness. … I ended up being able to do performance, share my story, teach a mindfulness tool and talk about health—all in one hour. And I did that for health care organizations, for colleges, for all different kinds of groups.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.janiceleelazaro.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Janice Lee Lazaro\u003c/a>, San Leandro singer/songwriter\u003c/b>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/916356599&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“Now that I no longer have to commute and am spending more time at home, I’ve been dedicating my extra time to writing music and releasing my original songs. With that being said, it has been a great experience to finally be able to devote more time to music, making me feel happier, productive and fulfilled. \u003c/p>\n\u003cp>“The biggest challenge has been learning how to pivot fully remote. I learned to adapt, however, it was a bit of an adjustment to rely on wifi to keep up with Zoom communications with folks. Maintaining relationships has been a huge shift for me to adjust to.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.loreneanderson.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Lorene Anderson\u003c/a>, Oakland visual artist\u003c/b>\u003c/p>\n\u003cp>“I had been scheduled for a \u003ca href=\"http://kimperialfineart.com/lorene-anderson-cusp-february-22-march-31-2021/\" rel=\"noopener noreferrer\" target=\"_blank\">solo show\u003c/a> that was supposed to open last fall. So I was working really hard, but when the shutdown happened, everything kind of came to a screeching halt. … After a few days, I decided I wanted to keep the thread of my regular studio practice. I go five days a week, and I was lucky that it was still accessible—I have friends whose buildings were locked.\u003c/p>\n\u003cfigure id=\"attachment_13894040\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg\" alt=\"\" width=\"1200\" height=\"891\" class=\"size-full wp-image-13894040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-800x594.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-1020x757.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-160x119.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Lorene_Anderson-untitled_24-18x24-1-768x570.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lorene Anderson, ‘Cleaving Grain,’ 2020; acrylic on panel, 18 x 24 inches. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt really compelled to look over the past 30 years of my old work. I don’t know if it’s that feeling of mortality and ‘What’s going to happen to all of us?’ but elements of old work have started creeping into my current work. … Sometimes I feel like I’m just hurtling through my life and studio practice, and to stop and make thoughtful decisions and reflections was something I hadn’t done in a long time, if ever. …\u003c/p>\n\u003cp>“I can be very self-deprecating and doubtful about stuff and maybe not so brave and I think [the pandemic] has made me get rid of that BS, and I feel braver, in a way, about my own work.”\u003c/p>\n\u003cfigure id=\"attachment_13894048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg\" alt=\"A painter sizes up her subject\" width=\"800\" height=\"600\" class=\"size-full wp-image-13894048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/4_5_Painter_Vida_3.15.jpg-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Illustration by Vida Kuang)\u003c/figcaption>\u003c/figure>\n\u003ch2>Year of the Pivot\u003c/h2>\n\u003cp>\u003cem>Although it hasn’t been easy by any means, some artists have used their time in the pandemic to successfully change gears. Out of necessity, musicians, writers and other performers have learned new skills and become full-on media production houses, filming, editing, recording and organizing online collaborators from their communities and even all over the world. The road has been bumpy, but these evolutions have opened new avenues and expanded their creative practices.–Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sahbakia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sahba Aminikia\u003c/a>, San Francisco classical musician, composer and founder of the Flying Carpet Festival\u003c/strong>\u003c/p>\n\u003cp>“2020 has been one of the busiest years for me. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think artists have an essential job in unifying the nation and unifying the people in a real sense, instead of just unifying your own allies or people who think like you. I think it’s the time for artists to reach out to rural areas, to areas where entertainment exists—maybe even good lifestyle exists, privileged lifestyle—but culture does not exist. And it’s a very good time to separate culture from entertainment because culture definitely has an educational aspect to it.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.autumnallee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Autumn Allee\u003c/a>, Oakland opera singer, voice coach and creative producer of Exquisite Corpse Projects\u003c/strong>\u003c/p>\n\u003cp>“I had been considering doing a production company for a while, even before the pandemic. The concept was bringing together of artists from completely different mediums to create theater, which is my medium. And so I have a friend who’s a ceramicist. I have a friend who’s a playwright, a friend who is a classical music composer, that kind of thing. Completely different mindsets, completely different artists, bringing them together and create something completely unique.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Once the pandemic happened, I had a couple of goals for what I wanted for the project. I didn’t want to waste artists’ time and I wanted to pay them something. So I came up with an idea to create these short one-minute videos. And each artist watched and responded to another artist’s video, so it creates this chain of videos, each by a different artist taking something from the previous video and transforming it through their own lens and through their own medium, et cetera. Then we presented it and we we got funds through donations, essentially. And then we were able to pay our artists a stipend for the work that they did.”\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bronwynemery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bronwyn Emery\u003c/a>, Alameda writer, writing and creativity coach\u003c/strong>\u003c/p>\n\u003cp>“My personal creative process has taken a backseat because my practice has expanded to meet the needs of people who can’t get together anymore. And writing in particular is an isolated, isolating experience. You write by yourself. But a lot of people need accountability; they thrive in a group setting that has gives them inspiration and motivation. The shelter in place, the pandemic and the existential dread of the past few years has impacted creativity, so coming together in groups has been more important and has had a greater impact. So I spend a lot more time establishing online write-alongs and places to share what you’ve written that day, places to share what you’ve been working on and polishing for a month or two. Places where people can get together and talk about the writing process, different workshops. It’s really kind of taken over. Now I’m at the point where I need to coach myself on where do I find my place to be creative?”\u003c/p>\n\u003cp>\u003ca id=\"typeform\">\u003c/a>\u003c/p>\n\u003cdiv class=\"typeform-widget\" data-url=\"https://form.typeform.com/to/dQxuwlO4?typeform-medium=embed-snippet\" style=\"width: 100%; height: 500px;\">\u003c/div>\n\u003cp> \u003cscript> (function() { var qs,js,q,s,d=document, gi=d.getElementById, ce=d.createElement, gt=d.getElementsByTagName, id=\"typef_orm\", b=\"https://embed.typeform.com/\"; if(!gi.call(d,id)) { js=ce.call(d,\"script\"); js.id=id; js.src=b+\"embed.js\"; q=gt.call(d,\"script\")[0]; q.parentNode.insertBefore(js,q) } })() \u003c/script>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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