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"title": "Two Distinctly San Francisco Theater Companies Announce Bold Leadership Changes",
"headTitle": "Two Distinctly San Francisco Theater Companies Announce Bold Leadership Changes | KQED",
"content": "\u003cp>In a year of massive fluctuation throughout the Bay Area theatrical ecosystem, several leadership transitions at notable companies have been announced—most recently the appointment of Sean San José as the new Artistic Director of Magic Theatre, and the stepping down of Allison Page, currently both the Executive Director and Artistic Director of Killing My Lobster.\u003c/p>\n\u003cp>For Sean San José, stepping in as Artistic Director of Magic Theatre is a full-circle moment. He’d first acquired his equity card at Magic Theatre in 1990, while working on Erin Cressida Wilson’s \u003cem>Soiled Eyes of a Ghost\u003c/em>—a significant flex for a working-class kid from the Mission district of San Francisco.\u003c/p>\n\u003cp>“San Francisco (is) such a union town, the idea of a union meant a lot to me,” San José reminisces. Three years later, during an early production of \u003cem>Giants Have Us in Their Books\u003c/em>, by José Rivera, San José met actor Margo Hall, and the rest, one could say, is history. As founding members (with Michael Torres and Luis Saguar) of Campo Santo, a theatre collective dedicated to community development of new work, the two have been collaborators and artistic leaders for over 25 years.\u003c/p>\n\u003cfigure id=\"attachment_13898100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJose%CC%81_photocredit_JenniferReiley-800x610.jpg\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-800x610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-1536x1171.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley.jpg 1818w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gendell Hing-Hernandez and Sean San José in Oedipus El Rey, the 2019 revival, at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San José’s affinity for new works complements the Magic Theatre’s own emphasis on new plays and cultivating long-term relationships with various playwrights. In fact, many of Magic Theatre’s most artistically exciting collaborations in recent years have been with playwrights who’ve developed significant work with Campo Santo—including Octavio Solis, Luis Alfaro, Jessica Hagedorn, and Richard Montoya.\u003c/p>\n\u003cp>A welcome outcome of San José’s appointment is that of making Campo Santo a company-in-residence—ending a long period of homelessness precipitated by their loss of their long residency with Intersection for the Arts. And it’s this idea of making Magic Theatre a home—not just for Campo but for the greater Bay Area—that really has San José excited for the future of the space. A future that includes public readings, live music, creative partnerships, and a concentrated push to make Fort Mason and Magic Theatre the destination place that San José remembers it as being.\u003c/p>\n\u003cfigure id=\"attachment_13898101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/BRUJA_SeanSanJose%CC%81_SabinaZunigaVarela_courtesy_MagicTheatre-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean San José and Sabina Zuniga Varela in Luis Alfaro’s Bruja at Magic Theatre. \u003ccite>(courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t believe in the sustainability of the LORT season structure,” he explains. “’We do a play and we’re open when the play’s happening. And then we’re not doing the play (so) nothing’s happening.’ But to me, like, some of the most beautiful stuff happens when you’re building, when you’re creating, when you’re learning. And then the dance at the end of the night is the premiere of the play.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And while San José stresses that he didn’t “set out” to lead an institution like Magic Theatre, he’s confident in the necessity of a vision centering BIPOC experiences and voices. A “POC power move,” as one of his collaborators termed his ascendancy.[aside postID='arts_13889584']\u003c/p>\n\u003cp>“People have to understand that empowerment is beauty,” he emphasizes. “Empowerment is love and creativity and openness. That’s a beautiful gesture, that’s a beautiful act…I don’t want to be so bold as to say ‘revolutionary,’ but in a certain respect it is, in that we’re going to believe in that over brick-and-mortar, over finance, over a known history.”\u003c/p>\n\u003cp>For Allison Page, the Executive Artistic Director for Killing My Lobster, San Francisco’s 24 year-old sketch comedy company, the pandemic brought an unexpected realization. Accustomed to operating in almost constant motion (in addition to her myriad duties with Killing My Lobster (KML), Page is also a playwright and sometime performer), being stuck in what she describes as the “limbo” of the slow, uncertain push towards reopening live performances exhausted her in new ways.\u003c/p>\n\u003cp>The pandemic shutdown gave her time to examine other aspects of her life, too, leading to her and her musician husband Al Kong to decide to move to Nashville, Tennessee in 2022. While Page’s announcement of her pending retirement from the company she’s called her artistic home for over a decade comes a full year before her departure, the search for her replacements has already begun. The company plans to hire an Executive Director in July, and then an Artistic Director by January of 2022, giving each new leader time to overlap with Page, whose institutional knowledge of the company and its many operations runs deep.\u003c/p>\n\u003cfigure id=\"attachment_13898102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898102\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page in her award-winning role in ‘How Does That Make You Feel,’ with Killing My Lobster. \u003ccite>(Clinton Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Page is no stranger to the work of leading a company with limited resources and staff. At the age of 18 she applied to direct the high school fall production in her hometown of Thief River Falls, Minn., after the theater teacher retired. This early success gave her the momentum to found her own community theater company—Big Al’s Traveling Theatre— which she ran for five years until moving to San Francisco in 2008. To raise money for her productions, Page would participate in medical trials.\u003c/p>\n\u003cp>“I’d take these not-name-brand versions of drugs to test their side effects against the name brand version and be locked in, basically, a hospital for a month,” she remembers. “But I got…five grand out of that so I could produce a show.” After arriving in San Francisco, she became a cast member for the long-running \u003cem>Tony and Tina’s Wedding\u003c/em>, did stand-up comedy, and participated in playwriting ventures such as Pint Sized Plays, Diva Fest, and the SF Olympians Festival. In 2010 she was part of the ensemble cast for \u003cem>KML Preaches to the Choir\u003c/em>, and has been active with the company since.\u003c/p>\n\u003cfigure id=\"attachment_13898104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page, second from left, in ‘KML Presents 1997,’ with Killing My Lobster. \u003ccite>(James Jordan Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One initiative Page is particularly proud to have implemented early in her tenure as staff are the Diversity in Comedy Fellowships, currently offered to BIPOC and LGBTQIA+ applicants both in comedy writing and comedy acting. These fellowships were designed, Page says, in order to ensure that these communities were represented in the writer’s room and the acting pool—as fellows are guaranteed a spot on a show after “graduating” from the program. Some have gone on to be instructors at KML, founded their own companies and ensembles, and even moved out of the Bay Area to pursue opportunities in LA and elsewhere.\u003c/p>\n\u003cp>“If you can create a system where more people are getting to have experiences that they’ve not been able to have before, and then use those experiences to not only push themselves forward—but also to bring other people along for the ride—that’s always going to be better for everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13898103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898103\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page in the director’s seat at Killing My Lobster. \u003ccite>(James Jordan Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for her own ride, Page isn’t sure what her future holds, or even if she’ll stay in theater. But what she hopes for KML is that it will continue to be a place that “prioritizes, the needs and passions of the artists who work there.” Recently the company released an Artists’ Bill of Rights (inspired by HUGE Improv Theater in Minneapolis), a Student Bill of Rights, a “Needs to Create” access questionnaire, and an update on their DEI and anti-racism action plans. All of which, Page points put, is work-in-progress, but work she hopes will become normalized across the industry.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s complicated because just to tell people what their rights are or to ask them what they need does not necessarily mean that they’ll believe that they have those rights, or they’ll believe that you believe they should have them,” she muses. “But they’re something that hopefully someone who’s never worked with us before would come in and see and go ‘Okay, I feel at the very least, like maybe it’s okay that I’m here.’”\u003c/p>\n\n",
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"excerpt": "Sean San José and Allison Page discuss their roles at Magic Theatre and Killing My Lobster.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year of massive fluctuation throughout the Bay Area theatrical ecosystem, several leadership transitions at notable companies have been announced—most recently the appointment of Sean San José as the new Artistic Director of Magic Theatre, and the stepping down of Allison Page, currently both the Executive Director and Artistic Director of Killing My Lobster.\u003c/p>\n\u003cp>For Sean San José, stepping in as Artistic Director of Magic Theatre is a full-circle moment. He’d first acquired his equity card at Magic Theatre in 1990, while working on Erin Cressida Wilson’s \u003cem>Soiled Eyes of a Ghost\u003c/em>—a significant flex for a working-class kid from the Mission district of San Francisco.\u003c/p>\n\u003cp>“San Francisco (is) such a union town, the idea of a union meant a lot to me,” San José reminisces. Three years later, during an early production of \u003cem>Giants Have Us in Their Books\u003c/em>, by José Rivera, San José met actor Margo Hall, and the rest, one could say, is history. As founding members (with Michael Torres and Luis Saguar) of Campo Santo, a theatre collective dedicated to community development of new work, the two have been collaborators and artistic leaders for over 25 years.\u003c/p>\n\u003cfigure id=\"attachment_13898100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898100\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJose%CC%81_photocredit_JenniferReiley-800x610.jpg\" alt=\"\" width=\"800\" height=\"610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-800x610.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-1020x778.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-768x586.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley-1536x1171.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/OedipusElRey2019_GendellHing-Hernandez_SeanSanJosé_photocredit_JenniferReiley.jpg 1818w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gendell Hing-Hernandez and Sean San José in Oedipus El Rey, the 2019 revival, at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San José’s affinity for new works complements the Magic Theatre’s own emphasis on new plays and cultivating long-term relationships with various playwrights. In fact, many of Magic Theatre’s most artistically exciting collaborations in recent years have been with playwrights who’ve developed significant work with Campo Santo—including Octavio Solis, Luis Alfaro, Jessica Hagedorn, and Richard Montoya.\u003c/p>\n\u003cp>A welcome outcome of San José’s appointment is that of making Campo Santo a company-in-residence—ending a long period of homelessness precipitated by their loss of their long residency with Intersection for the Arts. And it’s this idea of making Magic Theatre a home—not just for Campo but for the greater Bay Area—that really has San José excited for the future of the space. A future that includes public readings, live music, creative partnerships, and a concentrated push to make Fort Mason and Magic Theatre the destination place that San José remembers it as being.\u003c/p>\n\u003cfigure id=\"attachment_13898101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898101\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/BRUJA_SeanSanJose%CC%81_SabinaZunigaVarela_courtesy_MagicTheatre-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/BRUJA_SeanSanJosé_SabinaZunigaVarela_courtesy_MagicTheatre.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sean San José and Sabina Zuniga Varela in Luis Alfaro’s Bruja at Magic Theatre. \u003ccite>(courtesy of Magic Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t believe in the sustainability of the LORT season structure,” he explains. “’We do a play and we’re open when the play’s happening. And then we’re not doing the play (so) nothing’s happening.’ But to me, like, some of the most beautiful stuff happens when you’re building, when you’re creating, when you’re learning. And then the dance at the end of the night is the premiere of the play.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And while San José stresses that he didn’t “set out” to lead an institution like Magic Theatre, he’s confident in the necessity of a vision centering BIPOC experiences and voices. A “POC power move,” as one of his collaborators termed his ascendancy.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People have to understand that empowerment is beauty,” he emphasizes. “Empowerment is love and creativity and openness. That’s a beautiful gesture, that’s a beautiful act…I don’t want to be so bold as to say ‘revolutionary,’ but in a certain respect it is, in that we’re going to believe in that over brick-and-mortar, over finance, over a known history.”\u003c/p>\n\u003cp>For Allison Page, the Executive Artistic Director for Killing My Lobster, San Francisco’s 24 year-old sketch comedy company, the pandemic brought an unexpected realization. Accustomed to operating in almost constant motion (in addition to her myriad duties with Killing My Lobster (KML), Page is also a playwright and sometime performer), being stuck in what she describes as the “limbo” of the slow, uncertain push towards reopening live performances exhausted her in new ways.\u003c/p>\n\u003cp>The pandemic shutdown gave her time to examine other aspects of her life, too, leading to her and her musician husband Al Kong to decide to move to Nashville, Tennessee in 2022. While Page’s announcement of her pending retirement from the company she’s called her artistic home for over a decade comes a full year before her departure, the search for her replacements has already begun. The company plans to hire an Executive Director in July, and then an Artistic Director by January of 2022, giving each new leader time to overlap with Page, whose institutional knowledge of the company and its many operations runs deep.\u003c/p>\n\u003cfigure id=\"attachment_13898102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898102\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Photo-by-Clinton-Nelson-from-2019s-How-Does-That-Make-You-Feel.jpeg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page in her award-winning role in ‘How Does That Make You Feel,’ with Killing My Lobster. \u003ccite>(Clinton Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Page is no stranger to the work of leading a company with limited resources and staff. At the age of 18 she applied to direct the high school fall production in her hometown of Thief River Falls, Minn., after the theater teacher retired. This early success gave her the momentum to found her own community theater company—Big Al’s Traveling Theatre— which she ran for five years until moving to San Francisco in 2008. To raise money for her productions, Page would participate in medical trials.\u003c/p>\n\u003cp>“I’d take these not-name-brand versions of drugs to test their side effects against the name brand version and be locked in, basically, a hospital for a month,” she remembers. “But I got…five grand out of that so I could produce a show.” After arriving in San Francisco, she became a cast member for the long-running \u003cem>Tony and Tina’s Wedding\u003c/em>, did stand-up comedy, and participated in playwriting ventures such as Pint Sized Plays, Diva Fest, and the SF Olympians Festival. In 2010 she was part of the ensemble cast for \u003cem>KML Preaches to the Choir\u003c/em>, and has been active with the company since.\u003c/p>\n\u003cfigure id=\"attachment_13898104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/L-to-R-Devin-OBrien-Alllison-Page-Derek-Jones-Kaeli-Quick-Michael-Phillis-and-Manie-Grewal-in-KML-Presents-1997-photo-by-James-Jordan-Pictures.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page, second from left, in ‘KML Presents 1997,’ with Killing My Lobster. \u003ccite>(James Jordan Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One initiative Page is particularly proud to have implemented early in her tenure as staff are the Diversity in Comedy Fellowships, currently offered to BIPOC and LGBTQIA+ applicants both in comedy writing and comedy acting. These fellowships were designed, Page says, in order to ensure that these communities were represented in the writer’s room and the acting pool—as fellows are guaranteed a spot on a show after “graduating” from the program. Some have gone on to be instructors at KML, founded their own companies and ensembles, and even moved out of the Bay Area to pursue opportunities in LA and elsewhere.\u003c/p>\n\u003cp>“If you can create a system where more people are getting to have experiences that they’ve not been able to have before, and then use those experiences to not only push themselves forward—but also to bring other people along for the ride—that’s always going to be better for everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13898103\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13898103\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Allison-in-director-mode-photo-by-James-Jordan-Pictures.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Page in the director’s seat at Killing My Lobster. \u003ccite>(James Jordan Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for her own ride, Page isn’t sure what her future holds, or even if she’ll stay in theater. But what she hopes for KML is that it will continue to be a place that “prioritizes, the needs and passions of the artists who work there.” Recently the company released an Artists’ Bill of Rights (inspired by HUGE Improv Theater in Minneapolis), a Student Bill of Rights, a “Needs to Create” access questionnaire, and an update on their DEI and anti-racism action plans. All of which, Page points put, is work-in-progress, but work she hopes will become normalized across the industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The hit musical \u003cem>Hamilton\u003c/em> will return to San Francisco in August. \u003c/p>\n\u003cp>The four-week run of \u003cem>Hamilton\u003c/em>, from Aug. 10-Sept. 5, 2021, will mark the official reopening of the Orpheum Theatre, shuttered ever since it was forced to close by the coronavirus pandemic last March. (The show that had been running there last year, but \u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">closed early\u003c/a>? \u003cem>Hamilton\u003c/em>.)\u003c/p>\n\u003cp>Hamilton will also run for three weeks at San Jose’s Center for the Performing Arts from Oct. 12–31, 2021. Tickets for both the San Francisco and San Jose run go on sale Wednesday, June 2. Tickets range from $49 to $179, with premium seats from $199 to $299. \u003ca href=\"https://hamilton.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>In addition to Hamilton, upcoming shows at the Orpheum and Golden Gate theatres include \u003cem>The Prom, Hadestown, Moulin Rouge, To Kill a MockingBird, The Band’s Visit, Ain’t Too Proud—The Life and Times of the Temptations, Jesus Christ Superstar, Oklahoma! and My Fair Lady\u003c/em>. \u003cem>Mean Girls\u003c/em>, originally scheduled for July and August, will return at a later date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hit musical \u003cem>Hamilton\u003c/em> will return to San Francisco in August. \u003c/p>\n\u003cp>The four-week run of \u003cem>Hamilton\u003c/em>, from Aug. 10-Sept. 5, 2021, will mark the official reopening of the Orpheum Theatre, shuttered ever since it was forced to close by the coronavirus pandemic last March. (The show that had been running there last year, but \u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" rel=\"noopener noreferrer\" target=\"_blank\">closed early\u003c/a>? \u003cem>Hamilton\u003c/em>.)\u003c/p>\n\u003cp>Hamilton will also run for three weeks at San Jose’s Center for the Performing Arts from Oct. 12–31, 2021. Tickets for both the San Francisco and San Jose run go on sale Wednesday, June 2. Tickets range from $49 to $179, with premium seats from $199 to $299. \u003ca href=\"https://hamilton.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>In addition to Hamilton, upcoming shows at the Orpheum and Golden Gate theatres include \u003cem>The Prom, Hadestown, Moulin Rouge, To Kill a MockingBird, The Band’s Visit, Ain’t Too Proud—The Life and Times of the Temptations, Jesus Christ Superstar, Oklahoma! and My Fair Lady\u003c/em>. \u003cem>Mean Girls\u003c/em>, originally scheduled for July and August, will return at a later date.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘This American Wife’ is a Dazzling Remix of ‘Real Housewives’",
"headTitle": "‘This American Wife’ is a Dazzling Remix of ‘Real Housewives’ | KQED",
"content": "\u003cp>An opulent mansion glows invitingly in the twilight, stuffed with rose-gold questionable taste and more cutesy accent pillows than a Pier 1 Imports. Inside, a trio of actors—Michael Breslin, Patrick Foley, and Jakeem Dante Powell—saunter through gleaming corridors dressed in soft pinks and whites. Eyeshadow sparkling, foreheads moist, they scream invectives and point accusatory fingers. They croon at each other and tease the cameras, flicking their wrists and rolling their eyes. Their lines, lifted verbatim from multiple seasons of the \u003cem>Real Housewives\u003c/em> franchise, shoot from their heavily glossed lips like bullets. High drama is in the air, and these performers are clearly relishing the opportunity to stir it up.\u003c/p>\n\u003cfigure id=\"attachment_13897737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897737\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/TAW_04cNina_Goodheart-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_04cNina_Goodheart-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_04cNina_Goodheart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_04cNina_Goodheart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_04cNina_Goodheart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Foley and Michael Breslin dine on influencer-perfect lemons in ‘This American Wife.’ \u003ccite>(Nina Goodheart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This followup to Brooklyn-based Fake Friends’ “viral” internet hit of 2020, \u003cem>Circle Jerk\u003c/em>, \u003cem>This American Wife\u003c/em> was actually first performed live in 2018. But after the critical and commercial success of \u003cem>Circle Jerk\u003c/em>, which sold over 5,000 tickets, and the ongoing uncertainty of when or how live performances would return to physical venues, it made sense to keep making theater for their newly-minted digital audience. After a detour into the land of crowd-sourced musical material (writing the libretto for \u003cem>Ratatouille: The TikTok Musical\u003c/em>, which raised over two million dollars for the Actor’s Fund), Fake Friends opened \u003cem>This American Wife\u003c/em> this past weekend as a partially scripted, partially improvised, meta-reality show extravaganza.\u003c/p>\n\u003cp>As a company whose work had already included multi-media elements and sensibilities, Fake Friends has had a pandemic advantage over other theater companies struggling to reimagine their practice for virtual platforms. And a creative and personal association with playwright and producer Jeremy O. Harris—whose recent two-year contract with HBO included a “discretionary fund” earmarked for theater production—gave them a good chunk of the money necessary to fully translate their meticulously dramaturged, tech-savvy work to a multi-camera, livestream environment. In both \u003cem>Circle Jerk \u003c/em>and \u003cem>This American Wife\u003c/em> there are moments where the cameras pull back to reveal the “backstage”—rooms full of equipment and producers, costumes and green screens. A revelatory peek behind the curtain, as it were, of the Fake Friends internet theater production machine.\u003c/p>\n\u003cfigure id=\"attachment_13897736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Breslin and Jakeem Dante Powell flip the script and turn the cameras in ‘This American Wife.’\u003c/figcaption>\u003c/figure>\n\u003cp>Can anyone deny the grip that reality television has on popular discourse? Surely the act of electing a former reality television star to the presidency is indicative of the power of this frequently messy, highly-produced “reality” that celebrates our most incorrigible and monstrous impulses. I can’t talk authoritatively about the Real Housewives—but the lines repeated by Breslin, Foley, and Powell could easily have been gleaned from any of dozens of other reality shows. They could be bachelorettes, survivors, drag queens, or apprentices, cattily tearing into each other’s morals and aesthetics, competing to confess the most harrowing personal narrative, flouncing from room to room like television royalty, and inspiring equal measures of envy and repulsion from their captive audiences, who seemingly can’t get enough. The cast covers quite a bit of terrain—from Jersey to Beverly Hills—with Powell playing the Black housewives (frequently squabbling with himself as most of the Atlanta cast)—and Breslin and Foley playing pretty much everyone else.\u003c/p>\n\u003cfigure id=\"attachment_13897739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/TAW_10cNina_Goodheart-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_10cNina_Goodheart-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_10cNina_Goodheart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_10cNina_Goodheart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_10cNina_Goodheart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jakeem Dante Powell channels his inner housewife in ‘This American Wife.’ \u003ccite>(Nina Goodheart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After cycling through a few juicy rounds of “name that catchphrase,” the trio hoist cameras of their own onto their shoulders and begin “producing” each other. Patrick trains his camera on Michael, encouraging him to talk about his childhood and his favorite \u003cem>Housewives\u003c/em> mansions. “This is how we get to know each other,” he cajoles, pressing Michael for juicier details. Michael then turns the camera onto Jakeem, and Jakeem onto Patrick, each scene becoming progressively more uncomfortably intimate and emotionally loaded. It should be noted that this section of the play is also entirely improvised (an element I confirmed for myself by watching the production on two separate nights). While each performer hits certain pre-arranged moments and storylines, the crackling excitement of a well-executed improvisation emanates from the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s this energy that infuses \u003cem>This American Wife\u003c/em> with that elusive element best described as “theatricality.” And it doesn’t take long to draw the same connection to the reality television experience in general. Is that why we love it so much? Because it transcends its medium, embracing the ways that a constructed reality can feel so immediate and so deeply relevant?\u003c/p>\n\u003cfigure id=\"attachment_13897735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/TAW_03cNina_Goodheart-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_03cNina_Goodheart-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_03cNina_Goodheart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_03cNina_Goodheart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_03cNina_Goodheart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Breslin having an epic dance moment in ‘This American Wife.’ \u003ccite>(Nina Goodheart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But lest you think this is all the surprise that \u003cem>This American Wife\u003c/em> has in store for you, it bears noting that this is just the first Act. Ahead lie a beachfront property set in a dishwasher, an in-depth production history that unfolds like the most captivating crime caper, glorious transformations, cruel betrayals, a beautifully mythic dance number, a flagrant appropriation of social justice vocabulary, and Powell’s stunning revelation that he’s been bullied the entire production, waving a gold-striped binder full of “receipts.” It’s rigorous and ridiculous, combined in a dizzying spiral of self-possession and screen obsession, funneling the grossest excesses of our collective id into a 90-minute crash course on reality vs. realism. It’s also completely essential viewing for anyone looking to discover the theatrical potential of the online experience. You might be surprised to learn it’s been there all along.\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>‘This American Wife’ runs live through May 29; on demand May 30–June 6. \u003ca href=\"https://www.thisamericanwife.live\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The reality show sendup-slash-homage is a triumph of online theatre’s potential.",
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"title": "‘This American Wife’ is a Dazzling Remix of ‘Real Housewives’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An opulent mansion glows invitingly in the twilight, stuffed with rose-gold questionable taste and more cutesy accent pillows than a Pier 1 Imports. Inside, a trio of actors—Michael Breslin, Patrick Foley, and Jakeem Dante Powell—saunter through gleaming corridors dressed in soft pinks and whites. Eyeshadow sparkling, foreheads moist, they scream invectives and point accusatory fingers. They croon at each other and tease the cameras, flicking their wrists and rolling their eyes. Their lines, lifted verbatim from multiple seasons of the \u003cem>Real Housewives\u003c/em> franchise, shoot from their heavily glossed lips like bullets. High drama is in the air, and these performers are clearly relishing the opportunity to stir it up.\u003c/p>\n\u003cfigure id=\"attachment_13897737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897737\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/TAW_04cNina_Goodheart-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_04cNina_Goodheart-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_04cNina_Goodheart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_04cNina_Goodheart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_04cNina_Goodheart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Foley and Michael Breslin dine on influencer-perfect lemons in ‘This American Wife.’ \u003ccite>(Nina Goodheart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This followup to Brooklyn-based Fake Friends’ “viral” internet hit of 2020, \u003cem>Circle Jerk\u003c/em>, \u003cem>This American Wife\u003c/em> was actually first performed live in 2018. But after the critical and commercial success of \u003cem>Circle Jerk\u003c/em>, which sold over 5,000 tickets, and the ongoing uncertainty of when or how live performances would return to physical venues, it made sense to keep making theater for their newly-minted digital audience. After a detour into the land of crowd-sourced musical material (writing the libretto for \u003cem>Ratatouille: The TikTok Musical\u003c/em>, which raised over two million dollars for the Actor’s Fund), Fake Friends opened \u003cem>This American Wife\u003c/em> this past weekend as a partially scripted, partially improvised, meta-reality show extravaganza.\u003c/p>\n\u003cp>As a company whose work had already included multi-media elements and sensibilities, Fake Friends has had a pandemic advantage over other theater companies struggling to reimagine their practice for virtual platforms. And a creative and personal association with playwright and producer Jeremy O. Harris—whose recent two-year contract with HBO included a “discretionary fund” earmarked for theater production—gave them a good chunk of the money necessary to fully translate their meticulously dramaturged, tech-savvy work to a multi-camera, livestream environment. In both \u003cem>Circle Jerk \u003c/em>and \u003cem>This American Wife\u003c/em> there are moments where the cameras pull back to reveal the “backstage”—rooms full of equipment and producers, costumes and green screens. A revelatory peek behind the curtain, as it were, of the Fake Friends internet theater production machine.\u003c/p>\n\u003cfigure id=\"attachment_13897736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_05cNina_Goodheart.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Breslin and Jakeem Dante Powell flip the script and turn the cameras in ‘This American Wife.’\u003c/figcaption>\u003c/figure>\n\u003cp>Can anyone deny the grip that reality television has on popular discourse? Surely the act of electing a former reality television star to the presidency is indicative of the power of this frequently messy, highly-produced “reality” that celebrates our most incorrigible and monstrous impulses. I can’t talk authoritatively about the Real Housewives—but the lines repeated by Breslin, Foley, and Powell could easily have been gleaned from any of dozens of other reality shows. They could be bachelorettes, survivors, drag queens, or apprentices, cattily tearing into each other’s morals and aesthetics, competing to confess the most harrowing personal narrative, flouncing from room to room like television royalty, and inspiring equal measures of envy and repulsion from their captive audiences, who seemingly can’t get enough. The cast covers quite a bit of terrain—from Jersey to Beverly Hills—with Powell playing the Black housewives (frequently squabbling with himself as most of the Atlanta cast)—and Breslin and Foley playing pretty much everyone else.\u003c/p>\n\u003cfigure id=\"attachment_13897739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/TAW_10cNina_Goodheart-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_10cNina_Goodheart-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_10cNina_Goodheart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_10cNina_Goodheart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_10cNina_Goodheart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jakeem Dante Powell channels his inner housewife in ‘This American Wife.’ \u003ccite>(Nina Goodheart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After cycling through a few juicy rounds of “name that catchphrase,” the trio hoist cameras of their own onto their shoulders and begin “producing” each other. Patrick trains his camera on Michael, encouraging him to talk about his childhood and his favorite \u003cem>Housewives\u003c/em> mansions. “This is how we get to know each other,” he cajoles, pressing Michael for juicier details. Michael then turns the camera onto Jakeem, and Jakeem onto Patrick, each scene becoming progressively more uncomfortably intimate and emotionally loaded. It should be noted that this section of the play is also entirely improvised (an element I confirmed for myself by watching the production on two separate nights). While each performer hits certain pre-arranged moments and storylines, the crackling excitement of a well-executed improvisation emanates from the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s this energy that infuses \u003cem>This American Wife\u003c/em> with that elusive element best described as “theatricality.” And it doesn’t take long to draw the same connection to the reality television experience in general. Is that why we love it so much? Because it transcends its medium, embracing the ways that a constructed reality can feel so immediate and so deeply relevant?\u003c/p>\n\u003cfigure id=\"attachment_13897735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/TAW_03cNina_Goodheart-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_03cNina_Goodheart-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_03cNina_Goodheart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_03cNina_Goodheart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/TAW_03cNina_Goodheart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Breslin having an epic dance moment in ‘This American Wife.’ \u003ccite>(Nina Goodheart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But lest you think this is all the surprise that \u003cem>This American Wife\u003c/em> has in store for you, it bears noting that this is just the first Act. Ahead lie a beachfront property set in a dishwasher, an in-depth production history that unfolds like the most captivating crime caper, glorious transformations, cruel betrayals, a beautifully mythic dance number, a flagrant appropriation of social justice vocabulary, and Powell’s stunning revelation that he’s been bullied the entire production, waving a gold-striped binder full of “receipts.” It’s rigorous and ridiculous, combined in a dizzying spiral of self-possession and screen obsession, funneling the grossest excesses of our collective id into a 90-minute crash course on reality vs. realism. It’s also completely essential viewing for anyone looking to discover the theatrical potential of the online experience. You might be surprised to learn it’s been there all along.\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>‘This American Wife’ runs live through May 29; on demand May 30–June 6. \u003ca href=\"https://www.thisamericanwife.live\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Sends $1,000 in Monthly Relief to Artists, Critics Say Process ‘Inequitable’",
"headTitle": "SF Sends $1,000 in Monthly Relief to Artists, Critics Say Process ‘Inequitable’ | KQED",
"content": "\u003cp>\u003cem>UPDATE: May 21, 12.30pm: The San Francisco Mayor’s Office announced the Guaranteed Income Pilot for Artists just received a $3.46 million contribution from #StartSmall, Twitter founder and CEO Jack Dorsey’s philanthropic initiative to help extend the pilot by 12 months and support additional artists. According to a \u003ca href=\"https://ybca.org/guaranteed-income-pilot-expansion/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a> from YBCA, the new funding will also “go towards a new collaboration between YBCA and five high impact, historically underfunded San Francisco arts and culture organizations to select at least an additional 50 artists—10 from each organization—to also receive monthly payments of $1,000 a month for 18 months.”\u003c/em>\u003c/p>\n\u003cp>A total of 130 struggling San Francisco artists are expected to receive the first in a series of six $1,000 monthly payments starting Friday.\u003c/p>\n\u003cp>This cash relief program—called San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13894521/san-francisco-launches-guaranteed-income-pilot-program-for-struggling-artists\" target=\"_blank\" rel=\"noopener noreferrer\">Guaranteed Income Pilot for Artists\u003c/a>—is one of many Universal Basic Income (UBI)-type programs currently underway in cities across the country. In the Bay Area alone, the \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Abundant Birth Project\u003c/a> provides monthly income supplements for Black and Pacific Islander expectant mothers in San Francisco, and \u003ca href=\"https://www.kqed.org/news/11866002/following-stocktons-lead-guaranteed-income-programs-to-launch-in-oakland-and-marin-county\" target=\"_blank\" rel=\"noopener noreferrer\">guaranteed income programs\u003c/a> recently launched in Oakland and Marin County offer funds to low-income residents of color.\u003c/p>\n\u003cp>The funds will arrive as a check or a direct debit card distributed by the \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA). San Francisco city officials hope the small, taxpayer-funded \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-universal-basic-income\" target=\"_blank\" rel=\"noopener noreferrer\">Guaranteed Income Pilot\u003c/a> experiment reduces inequities for artists in San Francisco’s most vulnerable communities.\u003c/p>\n\u003cp>“This is a really important initiative, as it uplifts one of the mayor’s key priorities when it comes to intersecting arts and equity and making sure that creatives here in San Francisco have the opportunity to thrive and take care of themselves, given the impact of COVID-19,” said \u003ca href=\"https://www.racialequitysf.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Office of Racial Equity\u003c/a> Director Shakirah Simley at a public meeting held on April 7 to discuss the pilot.[aside postID='arts_13894521']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drawing on funds from the city’s \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Impact Endowment\u003c/a>, which is specifically earmarked to respond to community needs and reflect equity principles, the city of San Francisco aimed to reach BIPOC, AAPI, LGBTQ+ and disabled people, as well as immigrants, when it announced the Guaranteed Income Pilot.\u003c/p>\n\u003cp>Eligibility criteria stated applicants must be 18 or older, have an artistic practice “rooted in a historically marginalized community,” reside in one of 13 San Francisco zip codes “determined by the city of San Francisco’s data on areas hardest hit by the COVID-19 pandemic,” and not exceed a specified low-income threshold.\u003c/p>\n\u003cp>Roughly 2,500 people applied for the program. According to data obtained by KQED, 95% of the artists who will receive the cash relief identify with one or more of the target (BIPOC, AAPI, LGBTQ+, disabled, immigrant) groups.\u003c/p>\n\u003cp>But some arts advocates say the way in which the city and YBCA have rolled out the pilot has done more to highlight inequities than solve them.\u003c/p>\n\u003cp>“When you start off inequitably, your outcomes are going to be inequitable,” says T. Kebo Drew, managing director of the \u003ca href=\"https://qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Media Arts Project\u003c/a>. “That’s kind of how these things work.”\u003c/p>\n\u003ch2>Good Intentions, Challenging Process\u003c/h2>\n\u003cp>Drew says she understands the city was anxious to get money into the hands of needy artists, but that the rushed process was riddled with issues from the start.\u003c/p>\n\u003cp>Some of the criticisms relate to the rollout of the grant application itself, like the eligibility criteria and selection process that YBCA and the city used to pick the 130 grantees. Others extend back to the early planning stages and how the city went about coming up with the idea for the pilot, and deciding how the money to fund it would be managed. In both of these areas, some community arts advocates say they felt shut out of the process.\u003c/p>\n\u003cp>“A lot of these decisions get made, and it’s just like a fait accompli,” Drew says.\u003c/p>\n\u003cp>“The pilot just showed up,” says \u003ca href=\"https://www.apiculturalcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Pacific Islander Cultural Center\u003c/a> Executive Director Vinay Patel. “Then it was just funded really fast.”\u003c/p>\n\u003cp>Patel, Drew and other arts advocates who spoke to KQED say the city barreled ahead with its plan without initially involving input from the neighborhood cultural groups that directly serve the city’s most vulnerable artists.\u003c/p>\n\u003cp>When asked about community involvement in the early stages of the program, a \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> spokesperson said the general idea for putting cash in peoples’ pockets originally came out of \u003ca href=\"https://onesanfrancisco.org/sites/default/files/inline-files/ERTF%20Appendix%20D%20-%20CEL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">community focus groups\u003c/a> that were part of the city’s COVID-19 \u003ca href=\"https://onesanfrancisco.org/covid-19-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Taskforce\u003c/a> effort last summer. But KQED has not been able to obtain a list of focus group attendees, and no one interviewed for this story, including Economic Recovery Taskforce member and YBCA CEO Deborah Cullinan, seems to know who specifically came up the idea for the pilot, nor when the project itself was conceived and greenlit.\u003c/p>\n\u003cp>Regardless, once the city had come up with the program, it chose not to manage it. In a January Arts Commission \u003ca href=\"https://sfgov.org/arts//meeting/community-investments-committee-january-13-2021-minutes\" target=\"_blank\" rel=\"noopener noreferrer\">meeting\u003c/a>, commissioner Roberto Ordeñana talked about the importance of using a regranting structure and intermediary strategies in order to award funds as quickly as possible. He said these methods, rather than administering the grants independently, would lower the SFAC’s overhead.\u003c/p>\n\u003cp>“At the time there were a lot of things on the city’s plate,” says San Francisco Director of Cultural Affairs Ralph Remington, who came into his job after the pilot was conceived. “The thinking was, what’s the quickest way to be able to get these funds out the door to the artists that need it, and who could be a good community partner with facilitating that activity?”\u003c/p>\n\u003cp>But Remington also acknowledges the city’s ability to take on this type of programming. “\u003cb>\u003c/b>The city is certainly able to to do it directly,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018.\" width=\"320\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Go-Between\u003c/h2>\n\u003cp>The city put out a \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-universal-basic-income\" target=\"_blank\" rel=\"noopener noreferrer\">request for proposals\u003c/a> last October, asking local nonprofits to bid for the job of administering the Guaranteed Income Pilot. Applicants included The Center for Cultural Innovation, Q Foundation, Southern Exposure, Theatre Bay Area and YBCA. Organizations had less than a month to get their applications in. The Asian Pacific Islander Cultural Center’s Patel says he and many other leaders of small neighborhood arts and culture organizations felt they couldn’t compete.\u003c/p>\n\u003cp>“For small organizations, you have to sort of take a look and say, ‘What do we think it’s worth? Do we have the capacity?,’” Patel says. “We just felt that this wasn’t even worth applying for.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$870,000 grant\u003c/a> to manage the pilot went to YBCA. YBCA says it augmented the $877,000 in total city funds with $60,000 in additional direct expenses from its own coffers. It says $790,000 will go to the 130 pilot participants, with $60,000 going to community arts organizations, artist outreach workers and artist advocates, as well as to translation services for outreach efforts.\u003c/p>\n\u003cp>YBCA also won a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$250,000 grant\u003c/a> from the city to oversee another arts and culture-focused pandemic-relief program, the \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-arts-hub\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Hub\u003c/a>.\u003c/p>\n\u003cp>“We were highly encouraged to apply by a lot of different people,” says Cullinan, adding that although she was not involved in the early-stage planning of the Guaranteed Income Pilot, her organization has been discussing the UBI model for years as a possible way to help provide more financial security for artists.\u003c/p>\n\u003cp>The decision to award YBCA the grant didn’t thrill some community-based arts and culture advocates.\u003c/p>\n\u003cp>“Very large organizations that are not suited to take care of communities of color and poor communities should back off more,” says artist, curator and director of \u003ca href=\"https://www.emergingsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Arts Professionals San Francisco Bay Area\u003c/a> Rhiannon Evans MacFadyen. “They vie for this kind of money because they know they’re going to get it.”\u003c/p>\n\u003cp>MacFadyen says the city needs to shift its understanding of how communities of color and small organizations get things done.\u003c/p>\n\u003cp>“It needs to start trusting our communities to make decisions for ourselves and implement programs for ourselves,” MacFadyen says.\u003c/p>\n\u003ch2>Community Engagement Effort\u003c/h2>\n\u003cp>Cullinan says her organization did engage community leaders to help shape the program and act as ambassadors for it within their neighborhoods.\u003c/p>\n\u003cp>“We involved community members as soon as we were confirmed as the administrator of this program,” Cullinan says. “Community leaders are very important to our design and our process.”\u003c/p>\n\u003cp>But arts advocates like Patel say they didn’t appreciate being co-opted to help YBCA reach its target audience.\u003c/p>\n\u003cp>“They still have to go out and seek help on how to do this program from the very people that could have just done it themselves,” Patel says.\u003c/p>\n\u003cp>YBCA staffers listened to comments and responded to some questions from community members at a public meeting about the pilot presided over by the city’s Office of Racial Equity on April 7.\u003c/p>\n\u003cp>The organization, in partnership with the city, also made some tweaks to the pilot’s selection process and eligibility criteria based on community feedback, like allowing Chinatown residents to apply—a neighborhood that was originally left out of the eligibility criteria. YBCA also switched from rating the eligible applicants—of the 2,594 total applications, 1,409 met the eligibility criteria—to using a randomization tool to pick the final 130.\u003c/p>\n\u003cp>Even still, that lottery approach made some artists uncomfortable.\u003c/p>\n\u003cp>“If I was being judged on the merit of my contribution to the community, then I would certainly be near the top,” says Castro-based multimedia artist and handyman \u003ca href=\"https://windpoweredart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Burnside\u003c/a>, who applied for the pilot but was not selected. “But since it was random, and there were so many applicants, I didn’t think I was going to get it.”\u003c/p>\n\u003cp>“I don’t want to sound unappreciative,” says Tenderloin-based performer, teacher and graphic designer \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Gomez\u003c/a>, who did make the cut. “But I was a tiny bit let down that it was more lottery and not merit based.”\u003c/p>\n\u003ch2>Looking Ahead\u003c/h2>\n\u003cp>Gomez is relieved for the funding, though. The artist says the most they’ve made in a long while is $40,000 a year. In 2020, most of Gomez’s performing work disappeared. While some gigs are starting to trickle back, prospects for Gomez’s mainstay—teaching fashion classes at \u003ca href=\"https://www.ccsf.edu/academics/schools/business-fashion-hospitality/fashion-department/fashion-faculty\" target=\"_blank\" rel=\"noopener noreferrer\">City College\u003c/a>—are looking bleak, as the institution struggles with its own enormous financial challenges.\u003c/p>\n\u003cp>“So even with the YBCA grant, it’ll still be really hard,” Gomez says.\u003c/p>\n\u003cp>Unsurprisingly, Gomez says they plan to use their new monthly revenue stream to cover basics, like groceries and bills.\u003c/p>\n\u003cp>“Nothing special,” Gomez says. “I’m not going on vacation, no.”\u003c/p>\n\u003cp>YBCA’s Cullinan says she welcomes all feedback and is committed to finding a future for the Guaranteed Income Pilot. The organization is planning monthly surveys of willing awardees to track changes over time in economic security, well-being, health and artistic activity, as well as conducting personal interviews with them to further understand the program’s impact.\u003c/p>\n\u003cp>“I think it’s important to understand that this is a pilot,” Cullinan says. “And a pilot or an experiment is a way to learn.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Officials hope the UBI-style experiment helps artists from city’s most vulnerable communities. But some arts advocates say it has done more to highlight inequities than solve them.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>UPDATE: May 21, 12.30pm: The San Francisco Mayor’s Office announced the Guaranteed Income Pilot for Artists just received a $3.46 million contribution from #StartSmall, Twitter founder and CEO Jack Dorsey’s philanthropic initiative to help extend the pilot by 12 months and support additional artists. According to a \u003ca href=\"https://ybca.org/guaranteed-income-pilot-expansion/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a> from YBCA, the new funding will also “go towards a new collaboration between YBCA and five high impact, historically underfunded San Francisco arts and culture organizations to select at least an additional 50 artists—10 from each organization—to also receive monthly payments of $1,000 a month for 18 months.”\u003c/em>\u003c/p>\n\u003cp>A total of 130 struggling San Francisco artists are expected to receive the first in a series of six $1,000 monthly payments starting Friday.\u003c/p>\n\u003cp>This cash relief program—called San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13894521/san-francisco-launches-guaranteed-income-pilot-program-for-struggling-artists\" target=\"_blank\" rel=\"noopener noreferrer\">Guaranteed Income Pilot for Artists\u003c/a>—is one of many Universal Basic Income (UBI)-type programs currently underway in cities across the country. In the Bay Area alone, the \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Abundant Birth Project\u003c/a> provides monthly income supplements for Black and Pacific Islander expectant mothers in San Francisco, and \u003ca href=\"https://www.kqed.org/news/11866002/following-stocktons-lead-guaranteed-income-programs-to-launch-in-oakland-and-marin-county\" target=\"_blank\" rel=\"noopener noreferrer\">guaranteed income programs\u003c/a> recently launched in Oakland and Marin County offer funds to low-income residents of color.\u003c/p>\n\u003cp>The funds will arrive as a check or a direct debit card distributed by the \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a> (YBCA). San Francisco city officials hope the small, taxpayer-funded \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-universal-basic-income\" target=\"_blank\" rel=\"noopener noreferrer\">Guaranteed Income Pilot\u003c/a> experiment reduces inequities for artists in San Francisco’s most vulnerable communities.\u003c/p>\n\u003cp>“This is a really important initiative, as it uplifts one of the mayor’s key priorities when it comes to intersecting arts and equity and making sure that creatives here in San Francisco have the opportunity to thrive and take care of themselves, given the impact of COVID-19,” said \u003ca href=\"https://www.racialequitysf.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Office of Racial Equity\u003c/a> Director Shakirah Simley at a public meeting held on April 7 to discuss the pilot.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drawing on funds from the city’s \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Impact Endowment\u003c/a>, which is specifically earmarked to respond to community needs and reflect equity principles, the city of San Francisco aimed to reach BIPOC, AAPI, LGBTQ+ and disabled people, as well as immigrants, when it announced the Guaranteed Income Pilot.\u003c/p>\n\u003cp>Eligibility criteria stated applicants must be 18 or older, have an artistic practice “rooted in a historically marginalized community,” reside in one of 13 San Francisco zip codes “determined by the city of San Francisco’s data on areas hardest hit by the COVID-19 pandemic,” and not exceed a specified low-income threshold.\u003c/p>\n\u003cp>Roughly 2,500 people applied for the program. According to data obtained by KQED, 95% of the artists who will receive the cash relief identify with one or more of the target (BIPOC, AAPI, LGBTQ+, disabled, immigrant) groups.\u003c/p>\n\u003cp>But some arts advocates say the way in which the city and YBCA have rolled out the pilot has done more to highlight inequities than solve them.\u003c/p>\n\u003cp>“When you start off inequitably, your outcomes are going to be inequitable,” says T. Kebo Drew, managing director of the \u003ca href=\"https://qwocmap.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Women of Color Media Arts Project\u003c/a>. “That’s kind of how these things work.”\u003c/p>\n\u003ch2>Good Intentions, Challenging Process\u003c/h2>\n\u003cp>Drew says she understands the city was anxious to get money into the hands of needy artists, but that the rushed process was riddled with issues from the start.\u003c/p>\n\u003cp>Some of the criticisms relate to the rollout of the grant application itself, like the eligibility criteria and selection process that YBCA and the city used to pick the 130 grantees. Others extend back to the early planning stages and how the city went about coming up with the idea for the pilot, and deciding how the money to fund it would be managed. In both of these areas, some community arts advocates say they felt shut out of the process.\u003c/p>\n\u003cp>“A lot of these decisions get made, and it’s just like a fait accompli,” Drew says.\u003c/p>\n\u003cp>“The pilot just showed up,” says \u003ca href=\"https://www.apiculturalcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Pacific Islander Cultural Center\u003c/a> Executive Director Vinay Patel. “Then it was just funded really fast.”\u003c/p>\n\u003cp>Patel, Drew and other arts advocates who spoke to KQED say the city barreled ahead with its plan without initially involving input from the neighborhood cultural groups that directly serve the city’s most vulnerable artists.\u003c/p>\n\u003cp>When asked about community involvement in the early stages of the program, a \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a> spokesperson said the general idea for putting cash in peoples’ pockets originally came out of \u003ca href=\"https://onesanfrancisco.org/sites/default/files/inline-files/ERTF%20Appendix%20D%20-%20CEL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">community focus groups\u003c/a> that were part of the city’s COVID-19 \u003ca href=\"https://onesanfrancisco.org/covid-19-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">Economic Recovery Taskforce\u003c/a> effort last summer. But KQED has not been able to obtain a list of focus group attendees, and no one interviewed for this story, including Economic Recovery Taskforce member and YBCA CEO Deborah Cullinan, seems to know who specifically came up the idea for the pilot, nor when the project itself was conceived and greenlit.\u003c/p>\n\u003cp>Regardless, once the city had come up with the program, it chose not to manage it. In a January Arts Commission \u003ca href=\"https://sfgov.org/arts//meeting/community-investments-committee-january-13-2021-minutes\" target=\"_blank\" rel=\"noopener noreferrer\">meeting\u003c/a>, commissioner Roberto Ordeñana talked about the importance of using a regranting structure and intermediary strategies in order to award funds as quickly as possible. He said these methods, rather than administering the grants independently, would lower the SFAC’s overhead.\u003c/p>\n\u003cp>“At the time there were a lot of things on the city’s plate,” says San Francisco Director of Cultural Affairs Ralph Remington, who came into his job after the pilot was conceived. “The thinking was, what’s the quickest way to be able to get these funds out the door to the artists that need it, and who could be a good community partner with facilitating that activity?”\u003c/p>\n\u003cp>But Remington also acknowledges the city’s ability to take on this type of programming. “\u003cb>\u003c/b>The city is certainly able to to do it directly,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13841237\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/09/Cullinan640.jpg\" alt=\"YBCA CEO Deborah Cullinan during the opening of 'Bay Area Now 9,' Sept. 7, 2018.\" width=\"320\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Cullinan640-520x780.jpg 520w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">YBCA CEO Deborah Cullinan during the opening of ‘Bay Area Now 9,’ Sept. 7, 2018. \u003ccite>(Courtesy Yerba Buena Center for the Arts; photo by Brittney Valdez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Go-Between\u003c/h2>\n\u003cp>The city put out a \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-universal-basic-income\" target=\"_blank\" rel=\"noopener noreferrer\">request for proposals\u003c/a> last October, asking local nonprofits to bid for the job of administering the Guaranteed Income Pilot. Applicants included The Center for Cultural Innovation, Q Foundation, Southern Exposure, Theatre Bay Area and YBCA. Organizations had less than a month to get their applications in. The Asian Pacific Islander Cultural Center’s Patel says he and many other leaders of small neighborhood arts and culture organizations felt they couldn’t compete.\u003c/p>\n\u003cp>“For small organizations, you have to sort of take a look and say, ‘What do we think it’s worth? Do we have the capacity?,’” Patel says. “We just felt that this wasn’t even worth applying for.”\u003c/p>\n\u003cp>The \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$870,000 grant\u003c/a> to manage the pilot went to YBCA. YBCA says it augmented the $877,000 in total city funds with $60,000 in additional direct expenses from its own coffers. It says $790,000 will go to the 130 pilot participants, with $60,000 going to community arts organizations, artist outreach workers and artist advocates, as well as to translation services for outreach efforts.\u003c/p>\n\u003cp>YBCA also won a \u003ca href=\"https://sfgov.org/arts/sites/default/files/FY21%20Arts%20Impact%20Endowment%20funding%20recommendations.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$250,000 grant\u003c/a> from the city to oversee another arts and culture-focused pandemic-relief program, the \u003ca href=\"https://www.sfartscommission.org/content/arts-impact-endowment-aie-grant-arts-hub\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Hub\u003c/a>.\u003c/p>\n\u003cp>“We were highly encouraged to apply by a lot of different people,” says Cullinan, adding that although she was not involved in the early-stage planning of the Guaranteed Income Pilot, her organization has been discussing the UBI model for years as a possible way to help provide more financial security for artists.\u003c/p>\n\u003cp>The decision to award YBCA the grant didn’t thrill some community-based arts and culture advocates.\u003c/p>\n\u003cp>“Very large organizations that are not suited to take care of communities of color and poor communities should back off more,” says artist, curator and director of \u003ca href=\"https://www.emergingsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Arts Professionals San Francisco Bay Area\u003c/a> Rhiannon Evans MacFadyen. “They vie for this kind of money because they know they’re going to get it.”\u003c/p>\n\u003cp>MacFadyen says the city needs to shift its understanding of how communities of color and small organizations get things done.\u003c/p>\n\u003cp>“It needs to start trusting our communities to make decisions for ourselves and implement programs for ourselves,” MacFadyen says.\u003c/p>\n\u003ch2>Community Engagement Effort\u003c/h2>\n\u003cp>Cullinan says her organization did engage community leaders to help shape the program and act as ambassadors for it within their neighborhoods.\u003c/p>\n\u003cp>“We involved community members as soon as we were confirmed as the administrator of this program,” Cullinan says. “Community leaders are very important to our design and our process.”\u003c/p>\n\u003cp>But arts advocates like Patel say they didn’t appreciate being co-opted to help YBCA reach its target audience.\u003c/p>\n\u003cp>“They still have to go out and seek help on how to do this program from the very people that could have just done it themselves,” Patel says.\u003c/p>\n\u003cp>YBCA staffers listened to comments and responded to some questions from community members at a public meeting about the pilot presided over by the city’s Office of Racial Equity on April 7.\u003c/p>\n\u003cp>The organization, in partnership with the city, also made some tweaks to the pilot’s selection process and eligibility criteria based on community feedback, like allowing Chinatown residents to apply—a neighborhood that was originally left out of the eligibility criteria. YBCA also switched from rating the eligible applicants—of the 2,594 total applications, 1,409 met the eligibility criteria—to using a randomization tool to pick the final 130.\u003c/p>\n\u003cp>Even still, that lottery approach made some artists uncomfortable.\u003c/p>\n\u003cp>“If I was being judged on the merit of my contribution to the community, then I would certainly be near the top,” says Castro-based multimedia artist and handyman \u003ca href=\"https://windpoweredart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Burnside\u003c/a>, who applied for the pilot but was not selected. “But since it was random, and there were so many applicants, I didn’t think I was going to get it.”\u003c/p>\n\u003cp>“I don’t want to sound unappreciative,” says Tenderloin-based performer, teacher and graphic designer \u003ca href=\"https://www.etsy.com/shop/DesignNurd\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Gomez\u003c/a>, who did make the cut. “But I was a tiny bit let down that it was more lottery and not merit based.”\u003c/p>\n\u003ch2>Looking Ahead\u003c/h2>\n\u003cp>Gomez is relieved for the funding, though. The artist says the most they’ve made in a long while is $40,000 a year. In 2020, most of Gomez’s performing work disappeared. While some gigs are starting to trickle back, prospects for Gomez’s mainstay—teaching fashion classes at \u003ca href=\"https://www.ccsf.edu/academics/schools/business-fashion-hospitality/fashion-department/fashion-faculty\" target=\"_blank\" rel=\"noopener noreferrer\">City College\u003c/a>—are looking bleak, as the institution struggles with its own enormous financial challenges.\u003c/p>\n\u003cp>“So even with the YBCA grant, it’ll still be really hard,” Gomez says.\u003c/p>\n\u003cp>Unsurprisingly, Gomez says they plan to use their new monthly revenue stream to cover basics, like groceries and bills.\u003c/p>\n\u003cp>“Nothing special,” Gomez says. “I’m not going on vacation, no.”\u003c/p>\n\u003cp>YBCA’s Cullinan says she welcomes all feedback and is committed to finding a future for the Guaranteed Income Pilot. The organization is planning monthly surveys of willing awardees to track changes over time in economic security, well-being, health and artistic activity, as well as conducting personal interviews with them to further understand the program’s impact.\u003c/p>\n\u003cp>“I think it’s important to understand that this is a pilot,” Cullinan says. “And a pilot or an experiment is a way to learn.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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