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"content": "\u003cp>You’ve probably never wondered what the classical composer Richard Wagner has in common with the Grateful Dead. I never did, myself. But in 2018, when I saw San Francisco Opera’s production of the \u003cem>Ring\u003c/em> cycle—Wagner’s 17-hour epic opera of gods, nymphs, giants and valkyries—I couldn’t help but notice the crowd in the $10 standing-room-only peanut gallery at the War Memorial Opera House. These were people decked in flamboyant outfits, who’d camped out in line for cheap tickets, who sometimes slept on the floor during intermissions and who, I learned, \u003ca href=\"https://www.cbc.ca/radio/sunday/the-sunday-edition-for-october-27-2019-1.5335017/ring-heads-of-the-world-unite-1.5335022\" target=\"_blank\" rel=\"noopener noreferrer\">regularly traveled around the world\u003c/a> to see as many stagings of \u003cem>The Ring\u003c/em> as possible.\u003c/p>\n\u003cp>In other words: They were Deadheads. But for opera.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener noreferrer\">being transformed by \u003cem>The Ring\u003c/em>\u003c/a>, especially director Francesca Zambello’s dynamic, modern staging of it, I understood where they were coming from. Like a dewy-eyed Deadhead waxing rhapsodic about Jerry Garcia, I turned into a proselytizing \u003cem>Ring\u003c/em> zealot, urging anyone within earshot to give this slow-moving, 17-hour, 162-year-old opera a chance.\u003c/p>\n\u003cfigure id=\"attachment_13835972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835972\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg\" alt=\"Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner's 'Siegfried.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/SiegfriedBrunnhildeSleeping.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Iréne Theorin as Brünnhilde and Daniel Brenna as the title role in Wagner’s ‘Siegfried.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is why I’m here to tell you: \u003cem>The Ring\u003c/em> is coming back. For free. All through the month of March, San Francisco Opera is streaming its 2018 production of \u003cem>The Ring\u003c/em>, in its entirety—one of each four parts each weekend, \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>. For those that couldn’t score a miracle ticket in 2018, it’s the perfect opportunity to see this thrilling staging.\u003c/p>\n\u003cp>In addition, SF Opera is hosting \u003cem>The Ring Festival\u003c/em>, a series of talks and interviews from actors, authors and those behind the scenes all about \u003cem>The Ring\u003c/em>‘s themes and impact. Those streams are just $15 each, and also run through the month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And who knows? After March, you too might be putting on a horned helmet and waiting in line at the Opera House next time \u003cem>The Ring\u003c/em> comes around… and you might even see me there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Ring’ streams for free, one installment each weekend, in March. \u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>In 1991, three friends—Keith Hennessey, Michael “Med-O” Whitson, and Todd Eugene—co-founded an underground performance venue on Divisadero Street known as 848 Community Space. A hub for body-based art and activism, including dance, pagan sex rituals, and performance art, 848 was a place where queer and sex-positive San Francisco could gather, perform, and create among allies. Born during a time when AIDS was still a full-blown public health crisis—a portent of pandemics to come—848 provided a safe haven of radical access and acceptance to its artists and audiences alike.\u003c/p>\n\u003cp>“One of the powerful aspects of 848 was that people lived there,” recalls Rick Darnell, CounterPulse’s current Associate Director of Neighborhood Arts, who performed at 848 in the early years with his own dance company—the High Risk Group. “People waking, making art, sleeping, and loving there really blessed the space…truly epic, authentic, vision-grade stuff.”\u003c/p>\n\u003cp>Now, 30 years, three spaces, and a name change later, CounterPulse may have lost some of its original outsider shine, but it’s gained an expansive constellation of resident artists, fiscal sponsees and co-presenters whose points of inquiry remain both the body and transformative experiences. Now located in the heart of the Tenderloin’s \u003ca href=\"https://en.wikipedia.org/wiki/Compton%27s_Transgender_Cultural_District\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Transgender Cultural District\u003c/a>, CounterPulse continues to expand its vision even as COVID-19 has contracted its in-person programming.\u003c/p>\n\u003cfigure id=\"attachment_13893067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyond Gravity and Performing Diaspora performer Chibueze Crouch on the streets of the Tenderloin. \u003ccite>(courtesy of CounterPulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While planning any season comes with myriad challenges, planning an anniversary season in the middle of a global pandemic is definitely next-level hard. Hedging their bets, CounterPulse—like many other performing arts companies around the Bay—released their Spring season schedule just weeks ago, mostly without set dates. This precaution, Artistic and Executive Director Julie Phelps points out, was prescient, as several announced presentations, including their Spring Festival, have already been quietly withdrawn and pushed to the fall.\u003c/p>\n\u003cp>“Postponement has become a whole new feature of programming, and it feels less like ‘postponed’ and more like we’re ‘ongoing trying to find a place to situate this thing that we’re going to do,’” Phelps says. “When they made the announcement about the potential that the entire Bay Area would be vaccinated potentially as soon as August… I don’t know if we can have hope in that…or how we can expect that to change audience behavior, or what staff will feel comfortable with.” (Indeed, just days after we spoke, CounterPulse announced that this month’s Gravity Dance performance, scheduled as a virtual presentation, had also been postponed.)\u003c/p>\n\u003cfigure id=\"attachment_13893068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien.jpg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyond Gravity performer and founder of Topsy-Turvy Queer Circus India Sky Davis in ‘Wavelength.’ \u003ccite>(Kali Ma Julien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One performance that’s still scheduled to go on as planned—though the granular details of the presentation format are in ongoing conversation—is April’s Combustible residency, with StratoFyzika and Pseuda. Rescheduled from 2020, this double bill features two companies devising at the intersections of dance and technology. For their piece \u003cem>Human/ID,\u003c/em> Europe’s StratoFyzika draws inspiration from the laws of physics and the inner workings of the human mind, and the Bay Area’s Pseuda presents work combining the immersive qualities of an installation piece with the isolating effects of screens and “rapidly evolving” technologies. The aspect of isolation is leavened somewhat, creator Nicholas Navarro adds, by the evolving realization that in the pandemic, virtual connection also provides “beauty and importance and power…in terms of visibility, representation, community and mobilizing people.”\u003c/p>\n\u003cfigure id=\"attachment_13893063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13893063 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pseuda rehearsal on CounterPulse mainstage with Kim Ip and Taurin Barrera. \u003ccite>(Nicholas Navarro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The pandemic started out as a speed bump in our path to enjoying in-person dance rehearsals and viewing our process through the lens of IRL rehearsal,” Navarro’s collaborator and choreographer Kim Ip reflects. “(But) once Nick and I realized our piece pertains to the social dilemma of socializing on screens, we understood that rehearsing online was the safest and most apropos—to the concept—option.” Now meeting and filming in small groups at CounterPulse in anticipation of their presentation, they look forward to sharing the results.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The evolving role of technology has also manifested in CounterPulse’s neighborhood arts programming facilitated by Darnell, though with its own unique set of challenges. Designed to engage directly with the Tenderloin neighborhood—of which Darnell is a resident—TenderArts has included block parties, mural painting, workshops, skill-shares, open mics and other in-person performance opportunities. By partnering with community-based service organizations and inviting SRO residents and other Tenderloin-dwellers to participate in creative work, TenderArts had grown into a highly visible component of the CounterPulse calendar.\u003c/p>\n\u003cp>“The Tenderloin has really allowed CounterPulse to stretch our social justice muscle in ways that are authentic, loving, and community-centered,” Darnell asserts. Some of that has been through computer donations to low-income SRO residents in the neighborhood, and offering stipends to participants for upcoming workshops. But, Darnell readily admits, it’s impossible to keep the engagement with his neighborhood with the same frequency virtually as in-person.\u003c/p>\n\u003cp>“It’s actually painful to not be engaged in activities at the level of we were at…We’ll get back to the level of engagement we once enjoyed in about another year, I think.”\u003c/p>\n\u003cfigure id=\"attachment_13893065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TenderArts workshop at CounterPulse on planting seedlings hosted by Associate Director of Neighborhood Arts, Rick Darnell. \u003ccite>(courtesy of CounterPulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges, an event currently in the works is TenderFest (scheduled for March 11), a large-scale collaboration with Larkin Street Youth Services, the Tenderloin Museum and Skywatchers, a Tenderloin-based performance company. Focused on devised works and own voices, Skywatchers has performed several times at CounterPulse, and their shared commitments to the Tenderloin arts scene makes them ideal collaborators. In fact, Malia Byrne, Skywatchers’ Associate co-Artistic Director, mentions, the idea for TenderFest happened early on in the pandemic: a conversation between arts organizations working together to support each other and share their creative resources.\u003c/p>\n\u003cp>“Art is \u003cem>thriving\u003c/em> in the Tenderloin,” emphasizes Byrne. “and…coming together and sharing is what provides abundance. That’s something that Skywatchers’ work really centers around and…that is sort of what we’re sort of centralizing this event around.” By foregrounding a creative response to the pandemic year, Skywatchers’ festival offering will be video-oriented, with clips of past works and footage of Zoom rehearsals—an inquiry and a document of a unique time in history.\u003c/p>\n\u003cfigure id=\"attachment_13893093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-800x533.jpg\" alt=\"Lawanna Bracy, Joel Yates, and Shavonne Allen in Skywatchers' 'Came Here to Live' at CounterPulse (2019).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lawanna Bracy, Joel Yates, and Shavonne Allen in Skywatchers’ ‘Came Here to Live’ at CounterPulse (2019). \u003ccite>(Dierdre Visser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working remotely has been a much slower process than creating together in a room might be, according to Skywatchers ensemble member Shavonne Allen, it’s still been a generative one. Through facilitated two-hour Zoom meetings where ideas are brainstormed and workshopped, and time spent alone developing the ideas into moments of movement, music, and spoken text, Skywatchers continues to create together from a physical—but not a social—distance.\u003c/p>\n\u003cp>Sometimes the work even takes the form of visual art, such as the ongoing Opulence project, a collaborative series of portraits of Tenderloin residents channeling their inner power, which will hopefully live in the kiosks along Market Street sometime in the next year.\u003c/p>\n\u003cp>“The idea is to envision yourself as your highest self,” explains Allen. “Something that you want to own and possess something within you. The idea is to claim the heroes that we see in our community and to post them up so that we can have an opportunity to see each other. And also for the rest of the city, our neighbors, to see us…in a different light.”\u003c/p>\n\u003cp>By helping to amplify that light, CounterPulse continues to be a safe haven in a dark time, while building towards a still-emergent future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watch for CounterPulse’s 30-year Anniversary programming all year\u003ca href=\"https://www.counterpulse.org\"> here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1991, three friends—Keith Hennessey, Michael “Med-O” Whitson, and Todd Eugene—co-founded an underground performance venue on Divisadero Street known as 848 Community Space. A hub for body-based art and activism, including dance, pagan sex rituals, and performance art, 848 was a place where queer and sex-positive San Francisco could gather, perform, and create among allies. Born during a time when AIDS was still a full-blown public health crisis—a portent of pandemics to come—848 provided a safe haven of radical access and acceptance to its artists and audiences alike.\u003c/p>\n\u003cp>“One of the powerful aspects of 848 was that people lived there,” recalls Rick Darnell, CounterPulse’s current Associate Director of Neighborhood Arts, who performed at 848 in the early years with his own dance company—the High Risk Group. “People waking, making art, sleeping, and loving there really blessed the space…truly epic, authentic, vision-grade stuff.”\u003c/p>\n\u003cp>Now, 30 years, three spaces, and a name change later, CounterPulse may have lost some of its original outsider shine, but it’s gained an expansive constellation of resident artists, fiscal sponsees and co-presenters whose points of inquiry remain both the body and transformative experiences. Now located in the heart of the Tenderloin’s \u003ca href=\"https://en.wikipedia.org/wiki/Compton%27s_Transgender_Cultural_District\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Transgender Cultural District\u003c/a>, CounterPulse continues to expand its vision even as COVID-19 has contracted its in-person programming.\u003c/p>\n\u003cfigure id=\"attachment_13893067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893067\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_ChibuezeCrouch_credit_CounterPulse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyond Gravity and Performing Diaspora performer Chibueze Crouch on the streets of the Tenderloin. \u003ccite>(courtesy of CounterPulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While planning any season comes with myriad challenges, planning an anniversary season in the middle of a global pandemic is definitely next-level hard. Hedging their bets, CounterPulse—like many other performing arts companies around the Bay—released their Spring season schedule just weeks ago, mostly without set dates. This precaution, Artistic and Executive Director Julie Phelps points out, was prescient, as several announced presentations, including their Spring Festival, have already been quietly withdrawn and pushed to the fall.\u003c/p>\n\u003cp>“Postponement has become a whole new feature of programming, and it feels less like ‘postponed’ and more like we’re ‘ongoing trying to find a place to situate this thing that we’re going to do,’” Phelps says. “When they made the announcement about the potential that the entire Bay Area would be vaccinated potentially as soon as August… I don’t know if we can have hope in that…or how we can expect that to change audience behavior, or what staff will feel comfortable with.” (Indeed, just days after we spoke, CounterPulse announced that this month’s Gravity Dance performance, scheduled as a virtual presentation, had also been postponed.)\u003c/p>\n\u003cfigure id=\"attachment_13893068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/BeyondGravity_IndiaSkyDavis_credit_KaliMaJulien.jpg 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyond Gravity performer and founder of Topsy-Turvy Queer Circus India Sky Davis in ‘Wavelength.’ \u003ccite>(Kali Ma Julien)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One performance that’s still scheduled to go on as planned—though the granular details of the presentation format are in ongoing conversation—is April’s Combustible residency, with StratoFyzika and Pseuda. Rescheduled from 2020, this double bill features two companies devising at the intersections of dance and technology. For their piece \u003cem>Human/ID,\u003c/em> Europe’s StratoFyzika draws inspiration from the laws of physics and the inner workings of the human mind, and the Bay Area’s Pseuda presents work combining the immersive qualities of an installation piece with the isolating effects of screens and “rapidly evolving” technologies. The aspect of isolation is leavened somewhat, creator Nicholas Navarro adds, by the evolving realization that in the pandemic, virtual connection also provides “beauty and importance and power…in terms of visibility, representation, community and mobilizing people.”\u003c/p>\n\u003cfigure id=\"attachment_13893063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13893063 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Pseuda_rehearsal_KimIp_TaurinBarerra_credit_NicholasNavarro.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pseuda rehearsal on CounterPulse mainstage with Kim Ip and Taurin Barrera. \u003ccite>(Nicholas Navarro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The pandemic started out as a speed bump in our path to enjoying in-person dance rehearsals and viewing our process through the lens of IRL rehearsal,” Navarro’s collaborator and choreographer Kim Ip reflects. “(But) once Nick and I realized our piece pertains to the social dilemma of socializing on screens, we understood that rehearsing online was the safest and most apropos—to the concept—option.” Now meeting and filming in small groups at CounterPulse in anticipation of their presentation, they look forward to sharing the results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The evolving role of technology has also manifested in CounterPulse’s neighborhood arts programming facilitated by Darnell, though with its own unique set of challenges. Designed to engage directly with the Tenderloin neighborhood—of which Darnell is a resident—TenderArts has included block parties, mural painting, workshops, skill-shares, open mics and other in-person performance opportunities. By partnering with community-based service organizations and inviting SRO residents and other Tenderloin-dwellers to participate in creative work, TenderArts had grown into a highly visible component of the CounterPulse calendar.\u003c/p>\n\u003cp>“The Tenderloin has really allowed CounterPulse to stretch our social justice muscle in ways that are authentic, loving, and community-centered,” Darnell asserts. Some of that has been through computer donations to low-income SRO residents in the neighborhood, and offering stipends to participants for upcoming workshops. But, Darnell readily admits, it’s impossible to keep the engagement with his neighborhood with the same frequency virtually as in-person.\u003c/p>\n\u003cp>“It’s actually painful to not be engaged in activities at the level of we were at…We’ll get back to the level of engagement we once enjoyed in about another year, I think.”\u003c/p>\n\u003cfigure id=\"attachment_13893065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/TenderArts_Plants_credit_CounterPulse.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TenderArts workshop at CounterPulse on planting seedlings hosted by Associate Director of Neighborhood Arts, Rick Darnell. \u003ccite>(courtesy of CounterPulse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the challenges, an event currently in the works is TenderFest (scheduled for March 11), a large-scale collaboration with Larkin Street Youth Services, the Tenderloin Museum and Skywatchers, a Tenderloin-based performance company. Focused on devised works and own voices, Skywatchers has performed several times at CounterPulse, and their shared commitments to the Tenderloin arts scene makes them ideal collaborators. In fact, Malia Byrne, Skywatchers’ Associate co-Artistic Director, mentions, the idea for TenderFest happened early on in the pandemic: a conversation between arts organizations working together to support each other and share their creative resources.\u003c/p>\n\u003cp>“Art is \u003cem>thriving\u003c/em> in the Tenderloin,” emphasizes Byrne. “and…coming together and sharing is what provides abundance. That’s something that Skywatchers’ work really centers around and…that is sort of what we’re sort of centralizing this event around.” By foregrounding a creative response to the pandemic year, Skywatchers’ festival offering will be video-oriented, with clips of past works and footage of Zoom rehearsals—an inquiry and a document of a unique time in history.\u003c/p>\n\u003cfigure id=\"attachment_13893093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-800x533.jpg\" alt=\"Lawanna Bracy, Joel Yates, and Shavonne Allen in Skywatchers' 'Came Here to Live' at CounterPulse (2019).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Skywatchers_CameHereToLive_LawannaBracy_JoelYates_ShavonneAllen_credit_DeirdreVisser.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lawanna Bracy, Joel Yates, and Shavonne Allen in Skywatchers’ ‘Came Here to Live’ at CounterPulse (2019). \u003ccite>(Dierdre Visser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working remotely has been a much slower process than creating together in a room might be, according to Skywatchers ensemble member Shavonne Allen, it’s still been a generative one. Through facilitated two-hour Zoom meetings where ideas are brainstormed and workshopped, and time spent alone developing the ideas into moments of movement, music, and spoken text, Skywatchers continues to create together from a physical—but not a social—distance.\u003c/p>\n\u003cp>Sometimes the work even takes the form of visual art, such as the ongoing Opulence project, a collaborative series of portraits of Tenderloin residents channeling their inner power, which will hopefully live in the kiosks along Market Street sometime in the next year.\u003c/p>\n\u003cp>“The idea is to envision yourself as your highest self,” explains Allen. “Something that you want to own and possess something within you. The idea is to claim the heroes that we see in our community and to post them up so that we can have an opportunity to see each other. And also for the rest of the city, our neighbors, to see us…in a different light.”\u003c/p>\n\u003cp>By helping to amplify that light, CounterPulse continues to be a safe haven in a dark time, while building towards a still-emergent future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watch for CounterPulse’s 30-year Anniversary programming all year\u003ca href=\"https://www.counterpulse.org\"> here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One-Man Show Examines a Life Spent Studying Viruses in 'The Catastrophist'",
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"content": "\u003cp>Named by \u003cem>American Theatre\u003c/em> as the most-produced playwright in America in 2017 and 2019, the Bay Area’s Lauren Gunderson returns this month with her latest play, \u003cem>The Catastrophist\u003c/em>. Based on the life and work of virologist Nathan Wolfe, \u003cem>The Catastrophist\u003c/em> dives into his story in a pre-COVID world. \u003c/p>\n\u003cp>Wolfe was named one of TIME’s 100 Most Influential People in the World in 2011 for his work tracking Ebola and swine flu, and proposed the concept of pandemic insurance long before COVID-19. For the past eight years, he’s also been married to Gunderson, whose 70-minute play follows Wolfe’s life as he contends with professional and personal challenges. \u003c/p>\n\u003cp>\u003cem>The Catastrophist\u003c/em> is strikingly contemporary and relevant in both content and production. As one-man show (Wolfe is played by William DeMeritt, in a performance \u003cem>The Economist\u003c/em> calls “\u003ca href=\"https://www.economist.com/prospero/2021/01/28/a-new-play-examines-attitudes-towards-risk-and-disaster\" rel=\"noopener noreferrer\" target=\"_blank\">mesmerizing\u003c/a>”), its physical and metaphorical isolation of Wolfe’s character evokes that of current-day COVID guidelines and stay-at-home orders. \u003c/p>\n\u003cp>Gunderson, playwright-in-residence at Marin Theatre Company, is a winner of the Berrilla Kerr Award for American Theatre, Global Age Project, Young Playwright’s Award, Eric Bentley New Play Award, Essential Theatre Prize, and more.\u003c/p>\n\u003cp>\u003cem>‘The Catastrophist’ streams online through Feb. 28 through the Marin Theatre Company and Round House Theatre. \u003ca href=\"https://www.marintheatre.org/productions/the-catastrophist#overview\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Named by \u003cem>American Theatre\u003c/em> as the most-produced playwright in America in 2017 and 2019, the Bay Area’s Lauren Gunderson returns this month with her latest play, \u003cem>The Catastrophist\u003c/em>. Based on the life and work of virologist Nathan Wolfe, \u003cem>The Catastrophist\u003c/em> dives into his story in a pre-COVID world. \u003c/p>\n\u003cp>Wolfe was named one of TIME’s 100 Most Influential People in the World in 2011 for his work tracking Ebola and swine flu, and proposed the concept of pandemic insurance long before COVID-19. For the past eight years, he’s also been married to Gunderson, whose 70-minute play follows Wolfe’s life as he contends with professional and personal challenges. \u003c/p>\n\u003cp>\u003cem>The Catastrophist\u003c/em> is strikingly contemporary and relevant in both content and production. As one-man show (Wolfe is played by William DeMeritt, in a performance \u003cem>The Economist\u003c/em> calls “\u003ca href=\"https://www.economist.com/prospero/2021/01/28/a-new-play-examines-attitudes-towards-risk-and-disaster\" rel=\"noopener noreferrer\" target=\"_blank\">mesmerizing\u003c/a>”), its physical and metaphorical isolation of Wolfe’s character evokes that of current-day COVID guidelines and stay-at-home orders. \u003c/p>\n\u003cp>Gunderson, playwright-in-residence at Marin Theatre Company, is a winner of the Berrilla Kerr Award for American Theatre, Global Age Project, Young Playwright’s Award, Eric Bentley New Play Award, Essential Theatre Prize, and more.\u003c/p>\n\u003cp>\u003cem>‘The Catastrophist’ streams online through Feb. 28 through the Marin Theatre Company and Round House Theatre. \u003ca href=\"https://www.marintheatre.org/productions/the-catastrophist#overview\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Greg Sarris' 'Citizen' a Highlight of Word for Wordcast's Adaptations of Short Fiction",
"headTitle": "Greg Sarris’ ‘Citizen’ a Highlight of Word for Wordcast’s Adaptations of Short Fiction | KQED",
"content": "\u003cp>Cars rush along River Road, past a lot where day laborers wait to be selected. A memory of a restless spirit haunts the highways. A yearning for a restless mother haunts the heart of her abandoned son. The joyful sounds of morning birdsong punctuate a narrator’s rapturous description of vineyards and purple lupine.\u003c/p>\n\u003cp>So begins the latest Word for Wordcast, a two-part narration of Greg Sarris’ \u003cem>Citizen\u003c/em>, directed by company member Gendell Hing-Hernández. In a semi-regular series of podcasts, Word for Word’s unique adaptation process is given the radio play treatment in Word for Wordcast, which began with September’s three-part production of E.M. Forster’s \u003cem>The Machine Stops\u003c/em> and continues in February with \u003cem>Books and Roses\u003c/em> by Helen Oyeyemi.\u003c/p>\n\u003cp>As with a staged Word for Word play, each word of each page is read aloud, interpreted by various cast members from the point of view of their respective characters. This gives the podcast versions the effect of an audiobook as much as of a radio play—albeit with multiple actors. While during a full Word for Word production the narrated characters stride across the stage in full regalia and three solid dimensions, in the audio version these dimensions are dependent on an individual’s ability to conjure them up at home, an exercise in focus. A workout for the imagination.\u003c/p>\n\u003cfigure id=\"attachment_13891761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec-800x545.jpg\" alt=\"\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec.jpg 844w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edie Flores in 2020’s Word for Word production of ‘Retablos.’ Flores stars in Word for Wordcast’s latest recording of Greg Sarris’ ‘Citizen,’ as Salvador. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Salvador, the aforementioned abandoned son, Edie Flores smoothly moves the bulk of the narrative forward, his voice coloring each passage with a golden resonance. Through him we learn of Salvador’s abandonment, first by his mother, and then by his older brother. His struggles to earn money and restart his life in Santa Rosa, where he stays with his aunt Eldine (Carolyn Dunn), are warmly described by Flores in a lilting—if sometimes lulling—cadence.\u003c/p>\n\u003cp>His reliance on Eldine and her boarder Marcos (Carlos Aguirre)—who first takes Salvador to the day labor lineup to find work—encapsulates the experiences of so many new immigrants who rely on tenuous connections with distant family to establish themselves in their new home. That Salvador is U.S.-born, and therefore a returning citizen, is both a source of relief and impedance. It’s hard for him to connect with his newly found family members and unfamiliar terrain. And without English language skills, even most low-wage work is out of reach. All in all, he discovers that the holding pattern of his old life has followed him into the new, but he remains hopeful, relishing each small victory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sarris came onto the literary stage with 1994’s \u003cem>Grand Avenue\u003c/em>—an acclaimed short-story collection that was \u003ca href=\"https://www.youtube.com/watch?v=654ALPKSJcY\" rel=\"noopener noreferrer\" target=\"_blank\">adapted for the screen\u003c/a> by HBO. It, too, was set in Santa Rosa. (As the Chairman of the Federated Indians of Graton Rancheria, Sarris is now in charge of the popular Graton Rancheria Casino, just south of Santa Rosa.) Echoes of other Sarris stories are found in \u003cem>Citizen\u003c/em>‘s characters, such as Salvador’s “great-great-Grandfather Tom Duke,” an indigenous medicine man credited with creating “an earthquake that destroyed everything, even San Francisco,” in 1906.\u003c/p>\n\u003cp>In \u003cem>Citizen\u003c/em>, Tom Duke serves as a proxy for Sarris’ own ancestor and muse Tom Smith, and Salvador’s found family also feels like familiar ground for Sarris, himself an adoptee. Reuniting several key cast members from last year’s \u003cem>Retablos\u003c/em>, \u003cem>Citizen\u003c/em> creates an atmosphere of comfortable intimacy between its many voices—and as Sarris is a member of Word for Word’s Author’s Council, it marks \u003cem>Citizen\u003c/em> as a family affair.\u003c/p>\n\u003cfigure id=\"attachment_13891760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-800x485.png\" alt=\"\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-800x485.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-1020x619.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Word for Wordcast’s ‘Citizen,’ by Greg Sarris. \u003ccite>(courtesy of Word for Word)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sarris’ densely descriptive prose is well-suited to adapt into theater for its vivid portraiture of the everyday, yet somewhat daunting to dive into as a radio play. The plot is minimal, elongated, and with very little dialogue; stripped of the riotous highs and lows and banter that bring classic radio dramas to vivid life. On the plus side, there’s a richness to the language that imbues the aural experience of it with poetry and purpose. The overall effect of listening to both halves of \u003cem>Citizen\u003c/em> back to back is one of letting the flow of words—like the cars on River Road—rush by impressionistically. After a while, it’s less about individual scenes or voices standing out, but about the shifting moods of a Santa Rosa summer, the thrumming of human hearts in transit.\u003c/p>\n\u003cfigure id=\"attachment_13891757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-800x552.jpg\" alt=\"\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author of ‘Citizen,’ Greg Sarris. \u003ccite>(Chris Coughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What saves \u003cem>Citizen\u003c/em> from drifting totally unmoored from the physical plane is David R. Molina’s evocative soundscape. Tightly woven scraps of sound effects, strands of music and ethereal voices comprise a crucial framework that underpins the narration and colors in the blanks. A bonus feature—original music featuring Aguirre as Emcee Infinite—caps off Part 1 with a welcome, if unexpected, jolt; like that moment on the radio when the DJ ends a shift and plays a banger for you to remember them by. As an epilogue, it lacks cohesion. But as a portal back to the present moment, it’s an artful approach.\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>Word for Wordcasts are \u003ca href=\"http://www.zspace.org/pod\" rel=\"noopener noreferrer\" target=\"_blank\">available online here\u003c/a> through the end of 2021, and are free to access and listen to.\u003c/em>\u003c/p>\n\n",
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"title": "Greg Sarris' 'Citizen' a Highlight of Word for Wordcast's Adaptations of Short Fiction | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cars rush along River Road, past a lot where day laborers wait to be selected. A memory of a restless spirit haunts the highways. A yearning for a restless mother haunts the heart of her abandoned son. The joyful sounds of morning birdsong punctuate a narrator’s rapturous description of vineyards and purple lupine.\u003c/p>\n\u003cp>So begins the latest Word for Wordcast, a two-part narration of Greg Sarris’ \u003cem>Citizen\u003c/em>, directed by company member Gendell Hing-Hernández. In a semi-regular series of podcasts, Word for Word’s unique adaptation process is given the radio play treatment in Word for Wordcast, which began with September’s three-part production of E.M. Forster’s \u003cem>The Machine Stops\u003c/em> and continues in February with \u003cem>Books and Roses\u003c/em> by Helen Oyeyemi.\u003c/p>\n\u003cp>As with a staged Word for Word play, each word of each page is read aloud, interpreted by various cast members from the point of view of their respective characters. This gives the podcast versions the effect of an audiobook as much as of a radio play—albeit with multiple actors. While during a full Word for Word production the narrated characters stride across the stage in full regalia and three solid dimensions, in the audio version these dimensions are dependent on an individual’s ability to conjure them up at home, an exercise in focus. A workout for the imagination.\u003c/p>\n\u003cfigure id=\"attachment_13891761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec-800x545.jpg\" alt=\"\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_EdieFlores_inRetablos_photocredit_LorenzoFernandez-Kopec.jpg 844w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edie Flores in 2020’s Word for Word production of ‘Retablos.’ Flores stars in Word for Wordcast’s latest recording of Greg Sarris’ ‘Citizen,’ as Salvador. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Salvador, the aforementioned abandoned son, Edie Flores smoothly moves the bulk of the narrative forward, his voice coloring each passage with a golden resonance. Through him we learn of Salvador’s abandonment, first by his mother, and then by his older brother. His struggles to earn money and restart his life in Santa Rosa, where he stays with his aunt Eldine (Carolyn Dunn), are warmly described by Flores in a lilting—if sometimes lulling—cadence.\u003c/p>\n\u003cp>His reliance on Eldine and her boarder Marcos (Carlos Aguirre)—who first takes Salvador to the day labor lineup to find work—encapsulates the experiences of so many new immigrants who rely on tenuous connections with distant family to establish themselves in their new home. That Salvador is U.S.-born, and therefore a returning citizen, is both a source of relief and impedance. It’s hard for him to connect with his newly found family members and unfamiliar terrain. And without English language skills, even most low-wage work is out of reach. All in all, he discovers that the holding pattern of his old life has followed him into the new, but he remains hopeful, relishing each small victory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sarris came onto the literary stage with 1994’s \u003cem>Grand Avenue\u003c/em>—an acclaimed short-story collection that was \u003ca href=\"https://www.youtube.com/watch?v=654ALPKSJcY\" rel=\"noopener noreferrer\" target=\"_blank\">adapted for the screen\u003c/a> by HBO. It, too, was set in Santa Rosa. (As the Chairman of the Federated Indians of Graton Rancheria, Sarris is now in charge of the popular Graton Rancheria Casino, just south of Santa Rosa.) Echoes of other Sarris stories are found in \u003cem>Citizen\u003c/em>‘s characters, such as Salvador’s “great-great-Grandfather Tom Duke,” an indigenous medicine man credited with creating “an earthquake that destroyed everything, even San Francisco,” in 1906.\u003c/p>\n\u003cp>In \u003cem>Citizen\u003c/em>, Tom Duke serves as a proxy for Sarris’ own ancestor and muse Tom Smith, and Salvador’s found family also feels like familiar ground for Sarris, himself an adoptee. Reuniting several key cast members from last year’s \u003cem>Retablos\u003c/em>, \u003cem>Citizen\u003c/em> creates an atmosphere of comfortable intimacy between its many voices—and as Sarris is a member of Word for Word’s Author’s Council, it marks \u003cem>Citizen\u003c/em> as a family affair.\u003c/p>\n\u003cfigure id=\"attachment_13891760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-800x485.png\" alt=\"\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-800x485.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-1020x619.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord-768x466.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_castOfCitizen_courtesyofWordForWord.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Word for Wordcast’s ‘Citizen,’ by Greg Sarris. \u003ccite>(courtesy of Word for Word)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sarris’ densely descriptive prose is well-suited to adapt into theater for its vivid portraiture of the everyday, yet somewhat daunting to dive into as a radio play. The plot is minimal, elongated, and with very little dialogue; stripped of the riotous highs and lows and banter that bring classic radio dramas to vivid life. On the plus side, there’s a richness to the language that imbues the aural experience of it with poetry and purpose. The overall effect of listening to both halves of \u003cem>Citizen\u003c/em> back to back is one of letting the flow of words—like the cars on River Road—rush by impressionistically. After a while, it’s less about individual scenes or voices standing out, but about the shifting moods of a Santa Rosa summer, the thrumming of human hearts in transit.\u003c/p>\n\u003cfigure id=\"attachment_13891757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-800x552.jpg\" alt=\"\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/WordForWord_GregSarris_photocredit_ChrisCoughlin.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author of ‘Citizen,’ Greg Sarris. \u003ccite>(Chris Coughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What saves \u003cem>Citizen\u003c/em> from drifting totally unmoored from the physical plane is David R. Molina’s evocative soundscape. Tightly woven scraps of sound effects, strands of music and ethereal voices comprise a crucial framework that underpins the narration and colors in the blanks. A bonus feature—original music featuring Aguirre as Emcee Infinite—caps off Part 1 with a welcome, if unexpected, jolt; like that moment on the radio when the DJ ends a shift and plays a banger for you to remember them by. As an epilogue, it lacks cohesion. But as a portal back to the present moment, it’s an artful approach.\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>Word for Wordcasts are \u003ca href=\"http://www.zspace.org/pod\" rel=\"noopener noreferrer\" target=\"_blank\">available online here\u003c/a> through the end of 2021, and are free to access and listen to.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'In & Of Itself' is a Study of Identity and Magic",
"headTitle": "‘In & Of Itself’ is a Study of Identity and Magic | KQED",
"content": "\u003cp>\u003cem>Who are you?\u003c/em>\u003c/p>\n\u003cp>If you saw Derek DelGaudio’s \u003cem>In & Of Itself \u003c/em>in its original incarnation as live theater, the first thing that happened was that as you went into the Daryl Roth Theatre, you passed a wall with little cards hanging on it, and you were meant to choose one. They said “I AM” on the top half, and then there was a word or a phrase on the bottom half. So you could choose “I AM the life of the party,” or “I AM a father,” or “I AM an accountant.” The first time I went to see it in October 2017, I had sold my book only a couple of months earlier, and it was a year and a half away from publication. I chose “I AM a novelist.” They collected the cards and tore them—you kept your I AM half, they kept the other half. The cards they kept were placed in a little stack. That’s how it started.\u003c/p>\n\u003cp>I ultimately saw the show one more time with a friend in January 2018 (that time, I believe I chose “I AM a gamechanger” or something), because I couldn’t bear that no one I was close to had seen it and could talk about it with me. Now, a filmed adaptation is available on Hulu. And they’ve managed to do something that’s always hard with filmed theater and seemed like it was going to be almost impossible here: They’ve made this version feel very, very much the way one of the most powerful theatrical experiences I’ve ever had felt when I was in the room.\u003c/p>\n\u003cp>DelGaudio is … well, he’s a storyteller, and he’s a performer, and he’s a magician. You’ll hear \u003cem>In & Of Itself \u003c/em>referred to as conceptual magic or interactive theater or a one-man show. Those things are all technically true, but they’re desperately incomplete. I might describe it as a series of vignettes, punctuated by some basic sleight-of-hand, some card tricks, and two of the most extraordinary audience-involved sequences I ever expect to see. I don’t understand—at all—how either was done. I have tried not to make too many guesses. I don’t want people to tell me their guesses. I know both sequences have earthly explanations, but I don’t need them. I don’t want them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_62BeXxd_jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t mean to stall with the basics; I want to describe the show to you, because of how badly I want to persuade you to watch the film. But I knew essentially nothing when I first saw it except that it was kind of magic-adjacent and several people I trusted had recommended it. I want that for you. So I don’t want to tell you too much about the elephant, or the brick, or the boat, or the moment in the film when you can see a familiar audience member’s hand shaking with emotion. (The film is assembled from several live performances, so you’ll glimpse a handful of the many famous people who made their way into the theater at some point or another, but no attention is drawn to them unless you’re looking for it.) [aside postid='arts_13882001']\u003c/p>\n\u003cp>One of the traps of watching magic is that it can be like watching fireworks: At the beginning, there’s the startle that comes from just being reminded that a particular thing—explosions, or card tricks—can be really impressive and grand. But once you see that a couple of times, the effect quickly fades. And with magic, what are your choices once you’ve seen something flashy other than to either forget about it or fuss over how it was done? Once it’s over, what can you do with it, with the fact of it, other than try to ruin it for yourself? What’s special about this magic relative to a lot of lesser presentations is that it’s \u003cem>about \u003c/em>something. It’s about seeing people and being seen by them, and about how your own narrative of who you are—I AM a novelist, I AM a gamechanger—collides with stories about who you are that you didn’t get to write.\u003c/p>\n\u003cp>The place of magic in \u003cem>In & Of Itself\u003c/em> is not to amaze for amazement’s sake, although I was certainly stunned by some of what happened. It’s that the unreal is used to create the super-real: an experience you know not to take literally creates a truthful feeling of connectedness in an audience. You’ll see that feeling in the climax of the show, which starts about 15 minutes from the end of the film, and I can honestly, truly tell you it felt just like that to me when I saw it. The things you’re seeing aren’t literally what they seem, in the same way a body is not literally being sawed in half in another show, or a rabbit isn’t really spontaneously appearing in a hat. But the feeling was entirely genuine, in that it activated a part of me that craved that moment of being seen and identified and recognized as \u003cem>myself\u003c/em>, and that’s what you see in the often emotional reactions of DelGaudio’s audience in the film.\u003c/p>\n\u003cp>(Stay for the credits; there’s a series of photos and videos that reflect the way the show sends a bit of itself out into the world, out into the places where its specific illusions don’t persist.)\u003c/p>\n\u003cp>Not often but occasionally, you’ll see quick cuts through the same moment in the show as it happened during a bunch of performances, generally to demonstrate how it looked with all different people in the audience. 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In less expert hands, that could break the film by making each individual moment feel interchangeable, but director Frank Oz—who was also DelGaudio’s partner in the production of the original show—knows how to deploy those techniques sparingly, so that you’re just briefly reminded that this reality was created over and over, and it was always a little different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m probably always going to want to know how some of this was done, but I try not to think about it. Do not tell me. I prefer to sit quietly with my not-understanding, which is to say, my wonder. I AM a skeptic; I AM a critic; I AM a novelist; I AM satisfied.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the traps of watching magic is that it can be like watching fireworks: At the beginning, there’s the startle that comes from just being reminded that a particular thing—explosions, or card tricks—can be really impressive and grand. But once you see that a couple of times, the effect quickly fades. And with magic, what are your choices once you’ve seen something flashy other than to either forget about it or fuss over how it was done? Once it’s over, what can you do with it, with the fact of it, other than try to ruin it for yourself? What’s special about this magic relative to a lot of lesser presentations is that it’s \u003cem>about \u003c/em>something. It’s about seeing people and being seen by them, and about how your own narrative of who you are—I AM a novelist, I AM a gamechanger—collides with stories about who you are that you didn’t get to write.\u003c/p>\n\u003cp>The place of magic in \u003cem>In & Of Itself\u003c/em> is not to amaze for amazement’s sake, although I was certainly stunned by some of what happened. It’s that the unreal is used to create the super-real: an experience you know not to take literally creates a truthful feeling of connectedness in an audience. You’ll see that feeling in the climax of the show, which starts about 15 minutes from the end of the film, and I can honestly, truly tell you it felt just like that to me when I saw it. The things you’re seeing aren’t literally what they seem, in the same way a body is not literally being sawed in half in another show, or a rabbit isn’t really spontaneously appearing in a hat. But the feeling was entirely genuine, in that it activated a part of me that craved that moment of being seen and identified and recognized as \u003cem>myself\u003c/em>, and that’s what you see in the often emotional reactions of DelGaudio’s audience in the film.\u003c/p>\n\u003cp>(Stay for the credits; there’s a series of photos and videos that reflect the way the show sends a bit of itself out into the world, out into the places where its specific illusions don’t persist.)\u003c/p>\n\u003cp>Not often but occasionally, you’ll see quick cuts through the same moment in the show as it happened during a bunch of performances, generally to demonstrate how it looked with all different people in the audience. It’s an effective technique, partly because it can put to rest some theories about how some of the show’s magic might have been accomplished (no, it was not the same person in that seat or in this situation every night) and partly to emphasize over and over one of the things that makes live theater special, which is that each performance only exists relative to its audience, especially with something like this. You never see \u003cem>the \u003c/em>show, only \u003cem>your \u003c/em>show. You see your show on your night, with your company, in your mood. In less expert hands, that could break the film by making each individual moment feel interchangeable, but director Frank Oz—who was also DelGaudio’s partner in the production of the original show—knows how to deploy those techniques sparingly, so that you’re just briefly reminded that this reality was created over and over, and it was always a little different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Although we may not be able to gather physically to experience it, the Bay Area’s creative spirit and artistic drive has persisted throughout the pandemic. On Jan. 28, KQED and its partners present a unique opportunity to congregate virtually and keep that spirit alive during the third San Francisco edition of the Night of Ideas. An initiative of the Institut Français, more than 200 Night of Ideas will occur on one evening in over 35 cities across the world, from Finland to Sydney to South Africa. \u003c/p>\n\u003cp>While typically held in person at the San Francisco Public Library as a seven-hour marathon of speakers and performances, this year’s event has been adapted into a free two-hour virtual event featuring some of the Bay Area’s most prominent leaders, thinkers, and artists. Meditating on the theme of “closing the distance,” San Francisco’s performers and speakers will explore how we can create a better future with more inclusive and equitable civic spaces. \u003c/p>\n\u003cp>The program includes a special conversation between KQED’s own Mina Kim and San Francisco Mayor London Breed, an intergenerational collaboration between the Destiny Arts Youth Performance Company and the Elders Project, performances from young poets with Youth Speaks and Chapter 510, and much more. Taking full advantage of the virtual format, speakers from beyond the Bay Area will participate as well, including farmer, artist, and writer Nikiko Masumoto, who will join from her family farm in the Central Valley. \u003c/p>\n\u003cp>To be broadcast globally from France as part of a 24-hour program by the Institut Français, San Francisco’s Night of Ideas also includes tributes to our essential workers and artists, and features some of the Bay Area’s iconic scenery. “This Night of Ideas will remind us of everything that we love about our city,” said Mayor Breed. “And hopefully provide some fun and joy during an otherwise challenging time.”\u003c/p>\n\u003cp>\u003cem>The third annual Night of Ideas takes place on Jan. 28, from 7-9pm PST. \u003ca href=\"https://www.nightofideassf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although we may not be able to gather physically to experience it, the Bay Area’s creative spirit and artistic drive has persisted throughout the pandemic. On Jan. 28, KQED and its partners present a unique opportunity to congregate virtually and keep that spirit alive during the third San Francisco edition of the Night of Ideas. An initiative of the Institut Français, more than 200 Night of Ideas will occur on one evening in over 35 cities across the world, from Finland to Sydney to South Africa. \u003c/p>\n\u003cp>While typically held in person at the San Francisco Public Library as a seven-hour marathon of speakers and performances, this year’s event has been adapted into a free two-hour virtual event featuring some of the Bay Area’s most prominent leaders, thinkers, and artists. Meditating on the theme of “closing the distance,” San Francisco’s performers and speakers will explore how we can create a better future with more inclusive and equitable civic spaces. \u003c/p>\n\u003cp>The program includes a special conversation between KQED’s own Mina Kim and San Francisco Mayor London Breed, an intergenerational collaboration between the Destiny Arts Youth Performance Company and the Elders Project, performances from young poets with Youth Speaks and Chapter 510, and much more. Taking full advantage of the virtual format, speakers from beyond the Bay Area will participate as well, including farmer, artist, and writer Nikiko Masumoto, who will join from her family farm in the Central Valley. \u003c/p>\n\u003cp>To be broadcast globally from France as part of a 24-hour program by the Institut Français, San Francisco’s Night of Ideas also includes tributes to our essential workers and artists, and features some of the Bay Area’s iconic scenery. “This Night of Ideas will remind us of everything that we love about our city,” said Mayor Breed. “And hopefully provide some fun and joy during an otherwise challenging time.”\u003c/p>\n\u003cp>\u003cem>The third annual Night of Ideas takes place on Jan. 28, from 7-9pm PST. \u003ca href=\"https://www.nightofideassf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As Inauguration Day inches closer, so does the reported promise of a “new deal” presidency to combat the devastation of COVID-19 and the proposed cuts in arts funding from the outgoing administration. But rather than waiting on a promise that may never be entirely realized, artists and community organizers across the country have coalesced around a grassroots new deal of their own—the People’s WPA.\u003c/p>\n\u003cp>Conceived and organized by the \u003ca href=\"https://usdac.us/\">U.S. Department of Arts and Culture (USDAC)\u003c/a>, the People’s WPA is a project designed to address the creative needs of culture workers and change-makers with more immediacy than any official government program could provide. Since 2013, the USDAC has specialized in creating toolkits and policy papers for community-based creatives to apply to their own projects. By assuming the trappings of an official government entity (which it emphatically is not), the USDAC makes a compelling case for the importance of the arts as community and capacity-building hubs.[aside postID='arts_13890207']\u003c/p>\n\u003cp>Should the government be interested in replicating any of their cohort-based projects and policy demands, their materials are as in-depth as they are practical. As People’s WPA organizer Carol Zou points out, the pandemic has been for many artists and culture-workers a “portal moment.”\u003c/p>\n\u003cp>“We’ve seen that a lot of people wanted to step up and change the system,” Zou says. “They saw that there was no going back to these old and broken systems that have failed us, and so they really wanted to be future-focused.” So rather than serve specifically as a blueprint for future government programs, the USDAC is content to serve their network of activist artists and organizers directly.\u003c/p>\n\u003cp>While Zou admits that the group doesn’t have a lot of money available for direct grants, what they can provide is networking and educational opportunities—workshops on grant-writing, for example. Also, in the spirit of the original WPA of the 1930s, which famously gave over 40,000 artists paid creative work, the People’s WPA has paired each cohort member with a visual artist who’s been commissioned to create a poster of their project. The group is also creating a booklet assembling information about each project and artist involved for public distribution in the Spring of 2021.[aside postID='arts_13890679']\u003c/p>\n\u003cp>Multi-cultural, multi-ethnic, and multi-generational, the USDAC as an organization embodies the ethos of diversity. Going even further, the USDAC works to balance each project geographically and disciplinarily. So it is with the People’s WPA: from Michigan to Maryland, South Dakota to Guam, the cohort hails from every possible corner of the nation, representing on-the-ground community organizers and culture-shapers from each. Even the California-based projects represent a broad diversity of tactics and missions within their respective regions.\u003c/p>\n\u003cfigure id=\"attachment_13891022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward-800x534.jpeg\" alt=\"L.M. Bogad's 'Economusic,' a project supported by the People's WPA, translates economic charts into musical scores.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.M. Bogad’s ‘Economusic,’ a project supported by the People’s WPA, translates economic charts into musical scores. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take East Bay-based activist-artist L.M. Bogad, who chairs the Theatre and Dance department at UC Davis, and is the USDAC’s “Minister of Tactical Performance.” For the People’s WPA, Bogad is working on beefing up his long-running \u003cem>Economusic\u003c/em> project, and spearheading the creation of \u003cem>Delivering Democracy\u003c/em>, a cohort of dancing mailboxes first deployed in Pennsylvania in order to encourage voting by mail.\u003c/p>\n\u003cp>Bogad’s stock-in-trade is that of public intervention and the creation of moments using a “tactical” perspective in their deployment. Something he emphasizes in his practice is what he terms “the irresistible image.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You create an image that tells your idea… it contains your point that you’re trying to make and it’s so beautiful or troubling or \u003cem>weird\u003c/em> that everybody reproduces the image, including people who don’t like you. That’s when you \u003cem>know…\u003c/em>ok we’re onto something.” With \u003cem>Delivering Democracy, \u003c/em>photos of his band of merry mailboxes showed up in the \u003cem>New York Times\u003c/em>, while on the ground, they distributed flyers in Joe Biden’s birthplace of Scranton, Pennsylvania detailing how to get votes in by mail. With \u003cem>Economusic\u003c/em>, he uses charts of economic data translated into music scores to create live performances of dissonance with an audience participation component.\u003c/p>\n\u003cp>“It’s a different way (for the audience) to get the numbers and learn the data,” he explains, adding that he himself is no economist—and no musician. But by encouraging the audience to embody the charts he presents, they’re able to internalize their peaks and valleys, highs and lows.\u003c/p>\n\u003cfigure id=\"attachment_13891023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Tirado speaking in Clarion Alley to commemorate an anti-displacement mural, a partnership between the Clarion Alley Mural Project and the Anti-Eviction Mapping Project in 2015. \u003ccite>(courtesy of the AEMP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the Anti-Eviction Mapping Project (AEMP), founded in 2013 in the Bay Area and since expanded to LA and NYC, has fused data and interdisciplinary artistic practices for years. As described by the co-director of the L.A. chapter, Elana Eden, these include the collection and presentation of oral histories and portraits of those fighting eviction and displacement; the creation of protest art; and audio, lighting, and projection installations. (The group will soon publish a book with PM Press titled \u003cem>Counterpoints: A San Francisco Bay Area Atlas of Displacement & Resistance\u003c/em>.)\u003c/p>\n\u003cp>But, as the AEMP has helped document, the arts can also be used to accelerate gentrification. Citing a recent collaboration between the Boyle Heights Alliance Against Artwashing and Displacement (BHAAAD) and the AEMP, Eden describes the distinction they’ve drawn between grassroots-level artist communities and an influx of capital-backed galleries and real estate speculators. That’s why the group has focused their advocacy to support the many “homegrown” projects and organizations that are “not just excluded but actively quashed by the state, or the city, or whoever is interested in moving capital through that space.”\u003c/p>\n\u003cfigure id=\"attachment_13891025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-800x767.jpeg\" alt=\"\" width=\"800\" height=\"767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-800x767.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-1020x978.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-160x153.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-768x736.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-1536x1472.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-2048x1963.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-1920x1841.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CoFED Racial Justice fellow Yahdi Harris of Unbound Growing, a project supported by the People’s WPA. \u003ccite>(courtesy of Yahdi Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of several People’s WPA projects centering food and land justice is Santa Rosa’s Cooperative Food Empowerment Directive (CoFED). Since 2011, the group has worked to develop food and land cooperatives across the United States and Canada. For the People’s WPA, Yahdi Harris—a CoFED Racial Justice Fellow—brought their project, Unbound Growing, to the cohort. Building kits for micro-gardening in urban and low-light spaces (kits include a lightbulb), Harris’ ultimate goal is to encourage BIPOC connection to the healing potential of land access and plant cultivation.\u003c/p>\n\u003cp>With the People’s WPA, the USDAC hopes to continue to strengthen a national network for under-resourced artists and communities in the spirit of a public works initiative, but one designed by the arts workers, not a room of bureaucrats. While there is some \u003ca href=\"https://www.kqed.org/arts/13890905/a-biden-cabinet-secretary-for-arts-advocates-are-hopeful\">hope that a legislative “new deal” will include the arts in a meaningful way\u003c/a>, the projects participating in the USDAC’s cohort represent artists and culture workers using their own vision in order to create the future \u003cem>they\u003c/em> wish to see in the world—no matter who occupies the Oval Office.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Find out more about a People’s WPA project near you \u003ca href=\"https://usdac.us/peopleswpa\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "The People’s WPA Isn’t Waiting Around for a Future 'New Deal' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Inauguration Day inches closer, so does the reported promise of a “new deal” presidency to combat the devastation of COVID-19 and the proposed cuts in arts funding from the outgoing administration. But rather than waiting on a promise that may never be entirely realized, artists and community organizers across the country have coalesced around a grassroots new deal of their own—the People’s WPA.\u003c/p>\n\u003cp>Conceived and organized by the \u003ca href=\"https://usdac.us/\">U.S. Department of Arts and Culture (USDAC)\u003c/a>, the People’s WPA is a project designed to address the creative needs of culture workers and change-makers with more immediacy than any official government program could provide. Since 2013, the USDAC has specialized in creating toolkits and policy papers for community-based creatives to apply to their own projects. By assuming the trappings of an official government entity (which it emphatically is not), the USDAC makes a compelling case for the importance of the arts as community and capacity-building hubs.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Should the government be interested in replicating any of their cohort-based projects and policy demands, their materials are as in-depth as they are practical. As People’s WPA organizer Carol Zou points out, the pandemic has been for many artists and culture-workers a “portal moment.”\u003c/p>\n\u003cp>“We’ve seen that a lot of people wanted to step up and change the system,” Zou says. “They saw that there was no going back to these old and broken systems that have failed us, and so they really wanted to be future-focused.” So rather than serve specifically as a blueprint for future government programs, the USDAC is content to serve their network of activist artists and organizers directly.\u003c/p>\n\u003cp>While Zou admits that the group doesn’t have a lot of money available for direct grants, what they can provide is networking and educational opportunities—workshops on grant-writing, for example. Also, in the spirit of the original WPA of the 1930s, which famously gave over 40,000 artists paid creative work, the People’s WPA has paired each cohort member with a visual artist who’s been commissioned to create a poster of their project. The group is also creating a booklet assembling information about each project and artist involved for public distribution in the Spring of 2021.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Multi-cultural, multi-ethnic, and multi-generational, the USDAC as an organization embodies the ethos of diversity. Going even further, the USDAC works to balance each project geographically and disciplinarily. So it is with the People’s WPA: from Michigan to Maryland, South Dakota to Guam, the cohort hails from every possible corner of the nation, representing on-the-ground community organizers and culture-shapers from each. Even the California-based projects represent a broad diversity of tactics and missions within their respective regions.\u003c/p>\n\u003cfigure id=\"attachment_13891022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward-800x534.jpeg\" alt=\"L.M. Bogad's 'Economusic,' a project supported by the People's WPA, translates economic charts into musical scores.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_LarryBogadEconomusic_photocredit_ThatcherHayward.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.M. Bogad’s ‘Economusic,’ a project supported by the People’s WPA, translates economic charts into musical scores. \u003ccite>(Thatcher Hayward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Take East Bay-based activist-artist L.M. Bogad, who chairs the Theatre and Dance department at UC Davis, and is the USDAC’s “Minister of Tactical Performance.” For the People’s WPA, Bogad is working on beefing up his long-running \u003cem>Economusic\u003c/em> project, and spearheading the creation of \u003cem>Delivering Democracy\u003c/em>, a cohort of dancing mailboxes first deployed in Pennsylvania in order to encourage voting by mail.\u003c/p>\n\u003cp>Bogad’s stock-in-trade is that of public intervention and the creation of moments using a “tactical” perspective in their deployment. Something he emphasizes in his practice is what he terms “the irresistible image.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You create an image that tells your idea… it contains your point that you’re trying to make and it’s so beautiful or troubling or \u003cem>weird\u003c/em> that everybody reproduces the image, including people who don’t like you. That’s when you \u003cem>know…\u003c/em>ok we’re onto something.” With \u003cem>Delivering Democracy, \u003c/em>photos of his band of merry mailboxes showed up in the \u003cem>New York Times\u003c/em>, while on the ground, they distributed flyers in Joe Biden’s birthplace of Scranton, Pennsylvania detailing how to get votes in by mail. With \u003cem>Economusic\u003c/em>, he uses charts of economic data translated into music scores to create live performances of dissonance with an audience participation component.\u003c/p>\n\u003cp>“It’s a different way (for the audience) to get the numbers and learn the data,” he explains, adding that he himself is no economist—and no musician. But by encouraging the audience to embody the charts he presents, they’re able to internalize their peaks and valleys, highs and lows.\u003c/p>\n\u003cfigure id=\"attachment_13891023\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891023\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeoplesWPA_AEMP_ClarionAlley2015_ClaudiaTirado_photocredit_courtesyoftheAEMP-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Tirado speaking in Clarion Alley to commemorate an anti-displacement mural, a partnership between the Clarion Alley Mural Project and the Anti-Eviction Mapping Project in 2015. \u003ccite>(courtesy of the AEMP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, the Anti-Eviction Mapping Project (AEMP), founded in 2013 in the Bay Area and since expanded to LA and NYC, has fused data and interdisciplinary artistic practices for years. As described by the co-director of the L.A. chapter, Elana Eden, these include the collection and presentation of oral histories and portraits of those fighting eviction and displacement; the creation of protest art; and audio, lighting, and projection installations. (The group will soon publish a book with PM Press titled \u003cem>Counterpoints: A San Francisco Bay Area Atlas of Displacement & Resistance\u003c/em>.)\u003c/p>\n\u003cp>But, as the AEMP has helped document, the arts can also be used to accelerate gentrification. Citing a recent collaboration between the Boyle Heights Alliance Against Artwashing and Displacement (BHAAAD) and the AEMP, Eden describes the distinction they’ve drawn between grassroots-level artist communities and an influx of capital-backed galleries and real estate speculators. That’s why the group has focused their advocacy to support the many “homegrown” projects and organizations that are “not just excluded but actively quashed by the state, or the city, or whoever is interested in moving capital through that space.”\u003c/p>\n\u003cfigure id=\"attachment_13891025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-800x767.jpeg\" alt=\"\" width=\"800\" height=\"767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-800x767.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-1020x978.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-160x153.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-768x736.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-1536x1472.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-2048x1963.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/PeopledWPA_YahdiHarris_UnboundGrowing_courtesyofYahdiHarris-1920x1841.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CoFED Racial Justice fellow Yahdi Harris of Unbound Growing, a project supported by the People’s WPA. \u003ccite>(courtesy of Yahdi Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of several People’s WPA projects centering food and land justice is Santa Rosa’s Cooperative Food Empowerment Directive (CoFED). Since 2011, the group has worked to develop food and land cooperatives across the United States and Canada. For the People’s WPA, Yahdi Harris—a CoFED Racial Justice Fellow—brought their project, Unbound Growing, to the cohort. Building kits for micro-gardening in urban and low-light spaces (kits include a lightbulb), Harris’ ultimate goal is to encourage BIPOC connection to the healing potential of land access and plant cultivation.\u003c/p>\n\u003cp>With the People’s WPA, the USDAC hopes to continue to strengthen a national network for under-resourced artists and communities in the spirit of a public works initiative, but one designed by the arts workers, not a room of bureaucrats. While there is some \u003ca href=\"https://www.kqed.org/arts/13890905/a-biden-cabinet-secretary-for-arts-advocates-are-hopeful\">hope that a legislative “new deal” will include the arts in a meaningful way\u003c/a>, the projects participating in the USDAC’s cohort represent artists and culture workers using their own vision in order to create the future \u003cem>they\u003c/em> wish to see in the world—no matter who occupies the Oval Office.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Find out more about a People’s WPA project near you \u003ca href=\"https://usdac.us/peopleswpa\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained?",
"headTitle": "Livestreaming Defined the Performing Arts in 2020. How Can it Be Sustained? | KQED",
"content": "\u003cp>The last in-person performance I saw in \u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">2020 was \u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a>—a show that opened and closed on the same night in early March, right before the city implemented its first, strict, stay-at-home orders of the COVID-19 pandemic.\u003c/p>\n\u003cp>Since it wasn’t clear in those early weeks just how long the shutdown would last, theaters continued to be optimistic about their fall and winter shows, and in the interim, many branched out into broadcasting previously filmed shows (\u003cem>Toni Stone\u003c/em> among them), as well as staging readings, discussions, and original content on Zoom—a web-conferencing software many had never used before.\u003c/p>\n\u003cp>While those first heady weeks of streaming \u003cem>everything\u003c/em> available were fun, a saturation point was quickly reached, and performers watched audience numbers dwindle as their own enthusiasm for the limited capabilities of streamed content waned. As drag performer Honey Mahogany mentioned recently on KQED Forum, discussing the Stud’s regular livestreams on Twitch, “The numbers have been going down week after week. It’s really unsustainable.”\u003c/p>\n\u003cp>Even so,\u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\"> just like local music venues\u003c/a>, it’s unclear when theater spaces will be able to open their doors again to live performance. So continuing to innovate new ways of creating and presenting their works in the interim is crucial to their continued survival.\u003c/p>\n\u003ch2>New Formats, New Platforms\u003c/h2>\n\u003cp>For many, July 4 means opening day of the San Francisco Mime Troupe’s annual show in Dolores Park. This year, while other theaters were still tentatively trying to figure out whether or not they could schedule any shows at all, the Mime Troupe had their decision made for them in April, when the City told them they couldn’t have a permit to present in the park.\u003c/p>\n\u003cfigure id=\"attachment_13890059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg\" alt=\"\" width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1020x513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1536x772.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1920x965.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe’s Velina Brown and Micheal Gene Sullivan recording ‘A Red Carol’ at home. \u003ccite>(Zachary Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lifelong love of radio plays offered an idea to the company’s chief playwright, Michael Gene Sullivan. He’d already toyed with the idea of a show in which four interconnected stories come together in a blockbuster ending. Why not write it for the radio? When he brought the idea to the rest of the company, they quickly approved, and the company’s 10-episode serial radio drama, \u003ca href=\"http://www.sfmt.org/talesoftheresistance\">\u003cem>Tales of the Resistance\u003c/em>\u003c/a>, was born.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As company member, Velina Brown had already been on deck to direct their live show this year, and she gamely took the lead on directing the radio series, working closely with sound engineer Taylor Gonzalez and music director Daniel Savio. After becoming frustrated with Zoom as a rehearsal platform due to its delays and bandwidth usage, they hit upon using Discord, a chatroom app popular with gamers. This made it possible, Brown says, to rehearse with fewer delays and glitches by using Discord’s audio-only features, all while developing their own radio play “vocabulary” as a group. That vocabulary was passed over to Sullivan, for directing their brand new holiday play, \u003ca href=\"http://www.sfmt.org/a-red-carol\">\u003cem>A Red Carol\u003c/em>\u003c/a> (which opened Dec. 11).\u003c/p>\n\u003cfigure id=\"attachment_13890057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-768x423.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern.png 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drunk Theatre Company on the PianoFight Gather “mainstage.” \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Discord isn’t the only gaming interface being used by theater-makers. Companies such as PianoFight, Dragon Productions, and Mystic Ventures Collective have all built out virtual spaces in retro-cute, pixelated graphics on a program called \u003ca href=\"https://gather.town/\" target=\"_blank\" rel=\"noopener noreferrer\">Gather\u003c/a>. For myself, rolling up to \u003ca href=\"http://www.pianofight.com\">PianoFight’s pre-Halloween fundraising party\u003c/a> felt almost exactly the same as in person. I staked out a hiding place in the bar and watched the crowd trickle in, and once everyone had found someone else to socialize with, made a beeline for the main stage to watch some Drunk Theatre Company. That’s one of the big upsides of a Gather space: being able to move around and encounter fellow attendees spontaneously, without losing the ability to watch the entertainment.\u003c/p>\n\u003cfigure id=\"attachment_13890061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Cat Productions sending out packages of postcards to campaign participants. \u003ccite>(Queer Cat Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bringing it All Back Home\u003c/h2>\n\u003cp>Exploring tangibility as a theatrical imperative was the driving force behind \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>’ pre-election postcard campaign in October, Faultline Theater’s \u003ca href=\"https://www.faultlinetheater.com/merch/fck-2020-bingo-game\">F*CK 2020 Bingo Game\u003c/a>, and \u003ca href=\"http://www.playonkit.com\">\u003cem>Play On!\u003c/em>\u003c/a>, the latest project from Bay Area Children’s Theater. Recognizing a need to move “zoomed-out” children away from their screens, BACT’s narrative activity kits come with all of the materials kids need to develop and stage their own shows at home.\u003c/p>\n\u003cp>“As we created the kits, we really put the process through a traditional theatrical design lens,” BACT’s executive director, Nina Meehan, explained in an email. “So each element is created with the notion that the story will activate the imagination and the element will support that activation.” For example, in their holiday edition, \u003cem>The Gingerbread Family\u003c/em>, families embark on an interactive adventure to “Grandma’s” house, accompanied by a stuffed purple reindeer and a suite of physical activities, crafts, board games, and singalongs.\u003c/p>\n\u003cfigure id=\"attachment_13890062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg\" alt=\"\" width=\"800\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-768x637.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Children’s Theater debuted their Play On! kits, including this holiday-inspired one, ‘The Gingerbread Family.’ \u003ccite>(Nina Meehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Artist-Oriented Streaming Models\u003c/h2>\n\u003cp>For many performers—such as comedy artists \u003ca href=\"http://www.potatoesmashed.com\">Edna Mira Raia\u003c/a> and \u003ca href=\"http://www.margagomez.com\">Marga Gomez\u003c/a>—the pandemic has meant brushing up on tech skills and upgrading personal equipment in order to stream live from home (Raia on OBS, Gomez on ECAMM). But Raia, who performs most often as a pantheon of comedic characters and drag personae, has found filming and editing comedy videos for YouTube to be ultimately more satisfying, although not without its drawbacks.\u003c/p>\n\u003cp>“Recording allows me to make mistakes and correct them, which I can’t do onstage,” she admitted. “The advantages are that editing gives a soloist more room to play multiple characters or easily change costumes…the downside is that the audience feedback is so delayed because you have to wait for people to watch on their own time to leave a comment, if they say anything at all. I miss hearing laughter and applause.”\u003c/p>\n\u003cfigure id=\"attachment_13890060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edna Mira Raia and Jamin Jollo clown for the camera. \u003ccite>(Edna Mira Raia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That loss of interactivity with an audience, as well as with other performers, is one of artists’ biggest gripes about Zoom. But artist-led technology projects are in the works, being designed to specifically address those particular aspects of the user experience. One of these, \u003ca href=\"https://pineappl.studio\">Pineappl\u003c/a>, being developed by long-time improv artists Chris Griswold and Michael Parlato, is currently in its beta-testing stage. In a tour conducted by Griswold, he showed how easily performers could interact on the screen, as well as maintain (or swap) position. Backgrounds can be preset and easily switched around, and it’s easier for multiple people to speak at the same time.\u003c/p>\n\u003cp>“There are types of improv that I teach that were not translating well to Zoom,” Griswold said about the impetus behind his custom app. “So we built a tool that we could do all kinds of things on!”\u003c/p>\n\u003cfigure id=\"attachment_13890075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Griswold and Michael Parlato test-drive Pineappl with friends. \u003ccite>(Chris Griswold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Back on Stage\u003c/h2>\n\u003cp>Meanwhile, in a considerable leap back towards performer interaction, \u003ca href=\"http://www.sfplayhouse.org\">San Francisco Playhouse\u003c/a> was recently given a green light from Actor’s Equity to film shows on their physical stage with rigorous testing and social distancing protocols in place.\u003c/p>\n\u003cp>“Our space has a capacity of 700, so limiting it to ten people in the room at any given time feels really safe,” explained producing director Susi Damilano as she described the three-camera shoots of live-staged performances. To date they’ve presented Yasmina Reza’s \u003cem>Art\u003c/em>, and Brian Copeland’s \u003cem>The Jewelry Box\u003c/em>, and opened \u003cem>Songs for a New World\u003c/em>, by Jason Robert Brown, on December 12.\u003c/p>\n\u003cp>If there’s one thing that artists are uniquely suited for, its creative problem-solving in the face of adversity. And while it’s impossible at this point to make a solid prediction for what the face of theater will look like in 2021, what is certain is that there are still surprising discoveries to be made, as artists continue to build new methods and tools for themselves to create with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This has been an incredible time for theater, keeping it alive while the ground keeps shifting,” reflected Damilano. “It really feels like we are all in this together and by holding each other up, we will come out of this stronger than ever.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last in-person performance I saw in \u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">2020 was \u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a>—a show that opened and closed on the same night in early March, right before the city implemented its first, strict, stay-at-home orders of the COVID-19 pandemic.\u003c/p>\n\u003cp>Since it wasn’t clear in those early weeks just how long the shutdown would last, theaters continued to be optimistic about their fall and winter shows, and in the interim, many branched out into broadcasting previously filmed shows (\u003cem>Toni Stone\u003c/em> among them), as well as staging readings, discussions, and original content on Zoom—a web-conferencing software many had never used before.\u003c/p>\n\u003cp>While those first heady weeks of streaming \u003cem>everything\u003c/em> available were fun, a saturation point was quickly reached, and performers watched audience numbers dwindle as their own enthusiasm for the limited capabilities of streamed content waned. As drag performer Honey Mahogany mentioned recently on KQED Forum, discussing the Stud’s regular livestreams on Twitch, “The numbers have been going down week after week. It’s really unsustainable.”\u003c/p>\n\u003cp>Even so,\u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\"> just like local music venues\u003c/a>, it’s unclear when theater spaces will be able to open their doors again to live performance. So continuing to innovate new ways of creating and presenting their works in the interim is crucial to their continued survival.\u003c/p>\n\u003ch2>New Formats, New Platforms\u003c/h2>\n\u003cp>For many, July 4 means opening day of the San Francisco Mime Troupe’s annual show in Dolores Park. This year, while other theaters were still tentatively trying to figure out whether or not they could schedule any shows at all, the Mime Troupe had their decision made for them in April, when the City told them they couldn’t have a permit to present in the park.\u003c/p>\n\u003cfigure id=\"attachment_13890059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg\" alt=\"\" width=\"800\" height=\"402\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-800x402.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1020x513.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-768x386.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1536x772.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan-1920x965.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/SFMT_VelinaBrown_MichaelGeneSullivan_photocredit_ZacharySullivan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe’s Velina Brown and Micheal Gene Sullivan recording ‘A Red Carol’ at home. \u003ccite>(Zachary Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lifelong love of radio plays offered an idea to the company’s chief playwright, Michael Gene Sullivan. He’d already toyed with the idea of a show in which four interconnected stories come together in a blockbuster ending. Why not write it for the radio? When he brought the idea to the rest of the company, they quickly approved, and the company’s 10-episode serial radio drama, \u003ca href=\"http://www.sfmt.org/talesoftheresistance\">\u003cem>Tales of the Resistance\u003c/em>\u003c/a>, was born.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As company member, Velina Brown had already been on deck to direct their live show this year, and she gamely took the lead on directing the radio series, working closely with sound engineer Taylor Gonzalez and music director Daniel Savio. After becoming frustrated with Zoom as a rehearsal platform due to its delays and bandwidth usage, they hit upon using Discord, a chatroom app popular with gamers. This made it possible, Brown says, to rehearse with fewer delays and glitches by using Discord’s audio-only features, all while developing their own radio play “vocabulary” as a group. That vocabulary was passed over to Sullivan, for directing their brand new holiday play, \u003ca href=\"http://www.sfmt.org/a-red-carol\">\u003cem>A Red Carol\u003c/em>\u003c/a> (which opened Dec. 11).\u003c/p>\n\u003cfigure id=\"attachment_13890057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890057\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png\" alt=\"\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-800x440.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-1020x561.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern-768x423.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PianoFight_DrunkImprov_Gather_Screenshot_NicoleGluckstern.png 1152w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drunk Theatre Company on the PianoFight Gather “mainstage.” \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Discord isn’t the only gaming interface being used by theater-makers. Companies such as PianoFight, Dragon Productions, and Mystic Ventures Collective have all built out virtual spaces in retro-cute, pixelated graphics on a program called \u003ca href=\"https://gather.town/\" target=\"_blank\" rel=\"noopener noreferrer\">Gather\u003c/a>. For myself, rolling up to \u003ca href=\"http://www.pianofight.com\">PianoFight’s pre-Halloween fundraising party\u003c/a> felt almost exactly the same as in person. I staked out a hiding place in the bar and watched the crowd trickle in, and once everyone had found someone else to socialize with, made a beeline for the main stage to watch some Drunk Theatre Company. That’s one of the big upsides of a Gather space: being able to move around and encounter fellow attendees spontaneously, without losing the ability to watch the entertainment.\u003c/p>\n\u003cfigure id=\"attachment_13890061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/QueerCatProductions_postcardpackages_courtesyQCP.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queer Cat Productions sending out packages of postcards to campaign participants. \u003ccite>(Queer Cat Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bringing it All Back Home\u003c/h2>\n\u003cp>Exploring tangibility as a theatrical imperative was the driving force behind \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>’ pre-election postcard campaign in October, Faultline Theater’s \u003ca href=\"https://www.faultlinetheater.com/merch/fck-2020-bingo-game\">F*CK 2020 Bingo Game\u003c/a>, and \u003ca href=\"http://www.playonkit.com\">\u003cem>Play On!\u003c/em>\u003c/a>, the latest project from Bay Area Children’s Theater. Recognizing a need to move “zoomed-out” children away from their screens, BACT’s narrative activity kits come with all of the materials kids need to develop and stage their own shows at home.\u003c/p>\n\u003cp>“As we created the kits, we really put the process through a traditional theatrical design lens,” BACT’s executive director, Nina Meehan, explained in an email. “So each element is created with the notion that the story will activate the imagination and the element will support that activation.” For example, in their holiday edition, \u003cem>The Gingerbread Family\u003c/em>, families embark on an interactive adventure to “Grandma’s” house, accompanied by a stuffed purple reindeer and a suite of physical activities, crafts, board games, and singalongs.\u003c/p>\n\u003cfigure id=\"attachment_13890062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg\" alt=\"\" width=\"800\" height=\"663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-800x663.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-160x133.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan-768x637.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/BACT_PlayOnHolidayKit_photocredit_NinaMeehan.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Children’s Theater debuted their Play On! kits, including this holiday-inspired one, ‘The Gingerbread Family.’ \u003ccite>(Nina Meehan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Artist-Oriented Streaming Models\u003c/h2>\n\u003cp>For many performers—such as comedy artists \u003ca href=\"http://www.potatoesmashed.com\">Edna Mira Raia\u003c/a> and \u003ca href=\"http://www.margagomez.com\">Marga Gomez\u003c/a>—the pandemic has meant brushing up on tech skills and upgrading personal equipment in order to stream live from home (Raia on OBS, Gomez on ECAMM). But Raia, who performs most often as a pantheon of comedic characters and drag personae, has found filming and editing comedy videos for YouTube to be ultimately more satisfying, although not without its drawbacks.\u003c/p>\n\u003cp>“Recording allows me to make mistakes and correct them, which I can’t do onstage,” she admitted. “The advantages are that editing gives a soloist more room to play multiple characters or easily change costumes…the downside is that the audience feedback is so delayed because you have to wait for people to watch on their own time to leave a comment, if they say anything at all. I miss hearing laughter and applause.”\u003c/p>\n\u003cfigure id=\"attachment_13890060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg\" alt=\"\" width=\"800\" height=\"650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/EdnaMiraRaia_JaminJollo_photocredit_EdnaMiraRaia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edna Mira Raia and Jamin Jollo clown for the camera. \u003ccite>(Edna Mira Raia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That loss of interactivity with an audience, as well as with other performers, is one of artists’ biggest gripes about Zoom. But artist-led technology projects are in the works, being designed to specifically address those particular aspects of the user experience. One of these, \u003ca href=\"https://pineappl.studio\">Pineappl\u003c/a>, being developed by long-time improv artists Chris Griswold and Michael Parlato, is currently in its beta-testing stage. In a tour conducted by Griswold, he showed how easily performers could interact on the screen, as well as maintain (or swap) position. Backgrounds can be preset and easily switched around, and it’s easier for multiple people to speak at the same time.\u003c/p>\n\u003cp>“There are types of improv that I teach that were not translating well to Zoom,” Griswold said about the impetus behind his custom app. “So we built a tool that we could do all kinds of things on!”\u003c/p>\n\u003cfigure id=\"attachment_13890075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890075\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png\" alt=\"\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/ChrisGriswoldMichaelParlato_PineapplScreenshot_ChrisGriswold.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Griswold and Michael Parlato test-drive Pineappl with friends. \u003ccite>(Chris Griswold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Back on Stage\u003c/h2>\n\u003cp>Meanwhile, in a considerable leap back towards performer interaction, \u003ca href=\"http://www.sfplayhouse.org\">San Francisco Playhouse\u003c/a> was recently given a green light from Actor’s Equity to film shows on their physical stage with rigorous testing and social distancing protocols in place.\u003c/p>\n\u003cp>“Our space has a capacity of 700, so limiting it to ten people in the room at any given time feels really safe,” explained producing director Susi Damilano as she described the three-camera shoots of live-staged performances. To date they’ve presented Yasmina Reza’s \u003cem>Art\u003c/em>, and Brian Copeland’s \u003cem>The Jewelry Box\u003c/em>, and opened \u003cem>Songs for a New World\u003c/em>, by Jason Robert Brown, on December 12.\u003c/p>\n\u003cp>If there’s one thing that artists are uniquely suited for, its creative problem-solving in the face of adversity. And while it’s impossible at this point to make a solid prediction for what the face of theater will look like in 2021, what is certain is that there are still surprising discoveries to be made, as artists continue to build new methods and tools for themselves to create with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This has been an incredible time for theater, keeping it alive while the ground keeps shifting,” reflected Damilano. “It really feels like we are all in this together and by holding each other up, we will come out of this stronger than ever.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation",
"headTitle": "The 12 Plays of Christmas: Or, How to Spend Your Winter Vacation | KQED",
"content": "\u003cp>Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13889792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac gets saucy with the holidays. \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Don We Now Our Gay Apparel\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">Holiday Sauce…Pandemic!\u003c/a>‘\u003c/strong>\u003cbr>\nCurran Theatre \u003c/p>\n\u003cp>Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented \u003cem>Holiday Sauce\u003c/em> on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to \u003ca href=\"http://www.openhousesf.org\">Openhouse\u003c/a>, a local community resource for LGBTQ+ seniors.\u003c/p>\n\u003cp>\u003cem>Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Girls LIVE: Christmas Episodes\u003c/a>‘\u003c/strong>\u003cbr>\nSF Oasis\u003c/p>\n\u003cp>A beloved San Francisco holiday tradition, \u003cem>Golden Girls LIVE: Christmas Episodes\u003c/em> offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.\u003c/p>\n\u003cp>\u003cem>Dec. 17-20, times vary. $30-$50. Info and tickets \u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>‘\u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>A Mighty Queer Virtual Variety Show\u003c/strong>\u003c/a>‘\u003cbr>\nNew Conservatory Theatre Center\u003c/p>\n\u003cp>Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.\u003c/p>\n\u003cp>\u003cem>Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets \u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13889789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Claus (Glen Micheletti) is here to save Christmas for you. \u003ccite>(JW Darwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Home Alone\u003c/h2>\n\u003cp>\u003ca href=\"http://www.getsantaclaus.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Get Santa Claus\u003c/strong>\u003c/a>\u003cbr>\nGlen A. Micheletti\u003c/p>\n\u003cp>Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.\u003c/p>\n\u003cp>\u003cem>Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings\u003ca href=\"http://www.getsantaclaus.com\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Jewelry Box\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Playhouse\u003c/p>\n\u003cp>If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s \u003cem>Not a Genuine Black Man\u003c/em>, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.\u003c/p>\n\u003cp>\u003cem>Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets \u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://cltc.org/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nCity Lights Theater Company\u003c/p>\n\u003cp>San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ \u003cem>A Christmas Carol\u003c/em> proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.\u003c/p>\n\u003cp>\u003cem>Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets\u003ca href=\"https://cltc.org/tickets/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘A Christmas Carol’ at A.C.T. in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tradition, Tradition\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://secure.act-sf.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol: On Air\u003c/a>‘\u003c/strong>\u003cbr>\nAmerican Conservatory Theater\u003c/p>\n\u003cp>This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production of\u003ca href=\"https://www.kqed.org/arts/13885920/alls-fair-game-in-love-and-warcraft\"> \u003cem>In Love and Warcraft\u003c/em>\u003c/a>). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.\u003c/p>\n\u003cp>\u003cem>Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets\u003ca href=\"https://secure.act-sf.org/events\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.koshercomedy.com\" rel=\"noopener noreferrer\" target=\"_blank\">28th Annual Kung Pao Kosher Comedy\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Buckle up \u003cem>bubbeleh\u003c/em>. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.\u003c/p>\n\u003cp>\u003cem>Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets \u003ca href=\"http://www.CityBoxOffice.com/KungPao\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Nutcracker Online\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Ballet\u003c/p>\n\u003cp>The first U.S. company to perform the “full” version of \u003cem>Nutcracker\u003c/em>, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, \u003ca href=\"https://video.kqed.org/video/great-performances-san-francisco-ballets-nutcracker-preview\">and filmed by KQED in 2007\u003c/a>. Features the luminous Yuan Yuan Tan as the Snow Queen.\u003c/p>\n\u003cp>\u003cem>Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets \u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13816058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg\" alt=\"Kitka does its annual 'Wintersongs' tour around the Bay Area\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitka does its annual ‘Wintersongs’ tour around the Bay Area. \u003ccite>(Photo: Tomas Pacha/Kitka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter Wonderland\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.kitka.org/wintersongs2020\" rel=\"noopener noreferrer\" target=\"_blank\">Wintersongs 2020\u003c/a>‘\u003c/strong>\u003cbr>\nKitka\u003c/p>\n\u003cp>Get into the fun tradition of counting down to Christmas with Kitka’s gift of \u003ca href=\"https://www.kqed.org/forum/2010101868688/live-performance-kitka-sings-wintersongs-of-eastern-europe\">Wintersong\u003c/a>. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).\u003c/p>\n\u003cp>\u003cem>Through Dec. 31. Free. Info and songs \u003ca href=\"http://www.kitka.org/wintersongs2020\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://theatreworks.org/simplegifts/\" rel=\"noopener noreferrer\" target=\"_blank\">Simple Gifts\u003c/a>‘\u003c/strong>\u003cbr>\nTheatreWorks Silicon Valley\u003c/p>\n\u003cp>When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With \u003cem>Simple Gifts\u003c/em>, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.\u003c/p>\n\u003cp>\u003cem>Dec. 10–28. Times vary. $10+. Info and tickets\u003ca href=\"https://theatreworks.org/simplegifts/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://manualcinema.com/christmascarol\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nManual Cinema\u003c/p>\n\u003cp>‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).\u003c/p>\n\u003cp>\u003cem>Dec. 17-19, times vary, livestream. Info and tickets\u003ca href=\"https://calperformances.org/events/2020-21/at-home/manual-cinema-a-christmas-carol/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Holiday traditions like 'Nutcracker' and 'A Christmas Carol' meet new, dynamic productions in our livestreamed theater roundup. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rejoice, rejoice. While being home for the holidays might seem like a redundant concept this year, you don’t have to spend them in total isolation. Here are 12 ways to give yourself the gift of a little escapist pleasure at the end of this unprecedented year while supporting the Bay Area’s heavily impacted performing arts.\u003c/p>\n\u003cfigure id=\"attachment_13889792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/TaylorMac_HolidaySauce_credit_LittleFang-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac gets saucy with the holidays. \u003ccite>(Little Fang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Don We Now Our Gay Apparel\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\" rel=\"noopener noreferrer\" target=\"_blank\">Holiday Sauce…Pandemic!\u003c/a>‘\u003c/strong>\u003cbr>\nCurran Theatre \u003c/p>\n\u003cp>Fans of full-spectrum spectacle need look no further than the works of MacArthur Fellow Taylor Mac, whose shows embody an expansive vision of queer abundance (and abundant queers). A regular visitor to the Bay Area, Mac first presented \u003cem>Holiday Sauce\u003c/em> on the Curran stage in 2018, a sumptuous romp through holiday memories and songs. All proceeds of this year’s virtual offering will go to \u003ca href=\"http://www.openhousesf.org\">Openhouse\u003c/a>, a local community resource for LGBTQ+ seniors.\u003c/p>\n\u003cp>\u003cem>Livestream Dec. 12 at 7pm only. On demand until Jan. 2. $10. Info and tickets\u003ca href=\"http://sfcurran.com/shows/taylor-mac-holiday-sauce-pandemic\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Girls LIVE: Christmas Episodes\u003c/a>‘\u003c/strong>\u003cbr>\nSF Oasis\u003c/p>\n\u003cp>A beloved San Francisco holiday tradition, \u003cem>Golden Girls LIVE: Christmas Episodes\u003c/em> offers nostalgia, drag hilarity, and genuine heart all wrapped up in a Betty White-channeling bow. Co-starring Heklina (Dorothy), Matthew Martin (Blanche), D’Arcy Drollinger (Rose) and Holotta Tymes (Sophia) as our quirky quartet, this year’s episodes will be streamed live from SF Oasis headquarters, complete with a virtual sing-along and VIP meet-and-greet with the cast.\u003c/p>\n\u003cp>\u003cem>Dec. 17-20, times vary. $30-$50. Info and tickets \u003ca href=\"http://www.stellartickets.com/events/the-golden-girls-live/the-golden-girls-live-the-christmas-episodes\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>‘\u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>A Mighty Queer Virtual Variety Show\u003c/strong>\u003c/a>‘\u003cbr>\nNew Conservatory Theatre Center\u003c/p>\n\u003cp>Poets, performance artists, drag stars and circus acts alike appear on the New Conservatory Theatre Center’s virtual stage. Wrangled by Epic Party Theatre’s Richard A. Mosqueda, and hosted by operatic drag diva Dusty Pörn, this festive holiday sampler will fill you with holiday cheer. With Azuah, SevanKelee Lucky 7 Boult, Baruch Porras Hernandez, SNJV, and aerialist Joey The Tiger.\u003c/p>\n\u003cp>\u003cem>Dec. 13–Jan. 3, on demand. $10-$40. Info and tickets \u003ca href=\"http://www.nctcsf.org/events/A-Mighty-Queer-Virtual-Variety-Show\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13889789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/SantaGlen_photocredit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santa Claus (Glen Micheletti) is here to save Christmas for you. \u003ccite>(JW Darwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Home Alone\u003c/h2>\n\u003cp>\u003ca href=\"http://www.getsantaclaus.com\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Get Santa Claus\u003c/strong>\u003c/a>\u003cbr>\nGlen A. Micheletti\u003c/p>\n\u003cp>Worried about how the kiddies are going to get Santa their wishlist this year? Let expert magician and professional Santa Claus Glen A. Micheletti help. Like so many other performers, Santa Glen has developed ways to bring his act online, and offers personalized virtual visits for individual family units, large family “gatherings” and company ho-ho-holiday parties.\u003c/p>\n\u003cp>\u003cem>Rates start at $150 for one screen. Custom pricing and packages available for groups. Info and bookings\u003ca href=\"http://www.getsantaclaus.com\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Jewelry Box\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Playhouse\u003c/p>\n\u003cp>If you’re one of the thousands of Bay Area denizens who’ve seen Brian Copeland’s \u003cem>Not a Genuine Black Man\u003c/em>, this holiday prequel is for you. A richly detailed portrait of Oakland city life as seen through the eyes of a six-year-old child on a quest to earn the perfect Christmas gift for his mother. Copeland’s performance is filmed live onstage at San Francisco Playhouse, and streamed on demand through Christmas Day.\u003c/p>\n\u003cp>\u003cem>Nov. 28–Dec. 25, 7pm. $15-$100. Info and tickets \u003ca href=\"http://www.sfplayhouse.org/sfph/get-tickets\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://cltc.org/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nCity Lights Theater Company\u003c/p>\n\u003cp>San Jose’s City Lights Theater Company has been finding all kinds of creative ways to keep active, as this solo performance of Charles Dickens’ \u003cem>A Christmas Carol\u003c/em> proves. Adapted and performed by prolific Bay Area actor and director Mark Anderson Phillips, this virtual tour de force will be mandatory viewing for those who enjoy their classics with a twist.\u003c/p>\n\u003cp>\u003cem>Dec. 15–Jan. 5, on demand. $10-$30 (or part of season pass). Info and tickets\u003ca href=\"https://cltc.org/tickets/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13889791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ACT_AChristmasCarol2018_photocredit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘A Christmas Carol’ at A.C.T. in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tradition, Tradition\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://secure.act-sf.org/events\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol: On Air\u003c/a>‘\u003c/strong>\u003cbr>\nAmerican Conservatory Theater\u003c/p>\n\u003cp>This beloved staple of Bay Area holiday tradition gets a socially distanced makeover in the form of a radio play adaptation, helmed by Peter J. Kuo (who also directed this summer’s successful Zoom production of\u003ca href=\"https://www.kqed.org/arts/13885920/alls-fair-game-in-love-and-warcraft\"> \u003cem>In Love and Warcraft\u003c/em>\u003c/a>). Starring the redoubtable James Carpenter as Ebenezer Scrooge, this tale of Christmas spirit(s) continues to stand the test of time and circumstance.\u003c/p>\n\u003cp>\u003cem>Dec. 4–31, 6pm listening parties and on demand. $40–$60. Info and tickets\u003ca href=\"https://secure.act-sf.org/events\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.koshercomedy.com\" rel=\"noopener noreferrer\" target=\"_blank\">28th Annual Kung Pao Kosher Comedy\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>Buckle up \u003cem>bubbeleh\u003c/em>. While gathering in restaurants in person may still be out of the question, there’s nothing stopping you from ordering up a few plates of Chinese food and hanging out with Lisa Geduldig and friends for the 28th annual Kung Pao Kosher Comedy show—the Christmas show by and for Jews. Featuring the award-winning talents of Judy Gold and Alex Edelman, and optional participant breakout rooms for schmoozing.\u003c/p>\n\u003cp>\u003cem>Dec. 24–26, times vary. Livestream. $25-$50. Info and tickets \u003ca href=\"http://www.CityBoxOffice.com/KungPao\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\" rel=\"noopener noreferrer\" target=\"_blank\">Nutcracker Online\u003c/a>‘\u003c/strong>\u003cbr>\nSan Francisco Ballet\u003c/p>\n\u003cp>The first U.S. company to perform the “full” version of \u003cem>Nutcracker\u003c/em>, in 1944, the San Francisco Ballet hosts an annual, all-ages fantasia that attracts some 75,000 audience members per year. This year, sugar plum lovers will be able to view a classic performance choreographed by Helgi Tomasson, \u003ca href=\"https://video.kqed.org/video/great-performances-san-francisco-ballets-nutcracker-preview\">and filmed by KQED in 2007\u003c/a>. Features the luminous Yuan Yuan Tan as the Snow Queen.\u003c/p>\n\u003cp>\u003cem>Nov. 27–Dec. 31. $49 for 48-hour access. Info and tickets \u003ca href=\"http://www.sfballet.org/productions/nutcracker-online/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13816058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg\" alt=\"Kitka does its annual 'Wintersongs' tour around the Bay Area\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kitka-in-the-woods-e1511990404540.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitka does its annual ‘Wintersongs’ tour around the Bay Area. \u003ccite>(Photo: Tomas Pacha/Kitka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Winter Wonderland\u003c/h2>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://www.kitka.org/wintersongs2020\" rel=\"noopener noreferrer\" target=\"_blank\">Wintersongs 2020\u003c/a>‘\u003c/strong>\u003cbr>\nKitka\u003c/p>\n\u003cp>Get into the fun tradition of counting down to Christmas with Kitka’s gift of \u003ca href=\"https://www.kqed.org/forum/2010101868688/live-performance-kitka-sings-wintersongs-of-eastern-europe\">Wintersong\u003c/a>. Each day until Dec. 31, this all-woman vocal ensemble—who specialize in excavating the traditional music of Eastern Europe and the Balkans—will release one new song online for all to enjoy, free of charge (donations accepted).\u003c/p>\n\u003cp>\u003cem>Through Dec. 31. Free. Info and songs \u003ca href=\"http://www.kitka.org/wintersongs2020\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"https://theatreworks.org/simplegifts/\" rel=\"noopener noreferrer\" target=\"_blank\">Simple Gifts\u003c/a>‘\u003c/strong>\u003cbr>\nTheatreWorks Silicon Valley\u003c/p>\n\u003cp>When Tim Bond took over the artistic leadership of TheatreWorks in July, he stepped into a season beset by unanticipated challenges from the pandemic shutdown of live theatre. With \u003cem>Simple Gifts\u003c/em>, he offers a welcome respite from the chaos, with a carefully chosen cast performing music from a diverse array of holiday traditions such as Kwanzaa, Christmas, Hanukkah, Noche Buena, Diwali and Las Posadas.\u003c/p>\n\u003cp>\u003cem>Dec. 10–28. Times vary. $10+. Info and tickets\u003ca href=\"https://theatreworks.org/simplegifts/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>‘\u003ca href=\"http://manualcinema.com/christmascarol\" rel=\"noopener noreferrer\" target=\"_blank\">A Christmas Carol\u003c/a>‘\u003c/strong>\u003cbr>\nManual Cinema\u003c/p>\n\u003cp>‘Tis the season to get Scrooged, and Manual Cinema’s original take on Dickens’ classic is poised to be one of this year’s most memorable. Created by Chicago-based Manual Cinema, who infuse their multimedia projects with elements of live performance, this daring adaptation includes shadow puppets, live actors, projections, immersive sound design and original music. Co-presented with Cal Performances for three nights (and other organizations from Dec. 3-20).\u003c/p>\n\u003cp>\u003cem>Dec. 17-19, times vary, livestream. Info and tickets\u003ca href=\"https://calperformances.org/events/2020-21/at-home/manual-cinema-a-christmas-carol/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future",
"headTitle": "Margo Hall Set to Lead the Lorraine Hansberry Theatre Into an Exciting New Future | KQED",
"content": "\u003cp>For Margo Hall, growing up in Detroit, Michigan meant an early exposure to the arts. Enrolled from a young age in “every dance class” and “every choir,” she says, and influenced by her Motown-employed stepfather and his circle of musician friends, Hall gained a strong foundation in the arts—even before she knew that she’d wind up dedicating her life to them.\u003c/p>\n\u003cp>Recently announced as the new artistic director for the Lorraine Hansberry Theatre, Hall brings a lifetime of learning, skill, and dedication to the role. And as the first woman to hold the position in the company, she’s ready to implement her vision of a program dedicated to nurturing the voices of young, Black female and non-binary playwrights, a welcome homage to the theater’s namesake.\u003c/p>\n\u003cfigure id=\"attachment_13889585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli.jpg 1933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘Barbeque’ by Robert O’Hara at SF Playhouse. Margo Hall in red. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Described by biographers as a “force of nature,” Lorraine Hansberry’s legacy lives on, despite the playwright and activist’s tragically early death from pancreatic cancer at the age of 34. One of those legacies has been carried forward in the form of the Lorraine Hansberry Theatre, founded in 1981 by Stanley Williams and Quentin Easter, who were determined to build to build an artistic home for Black theater-makers. And while the theater has experienced a series of material setbacks over the years—losing its Sutter Street space in 2007, and its founders within weeks of each other in 2010—its influence as an incubator for Black artists has remained intact.\u003c/p>\n\u003cp>One such artist is Hall, the Bay Area’s own force of nature. Although this will be her first time in the role of artistic director, it’s certainly not her first time creating and holding artistic space, a talent she’s cultivated over the course of many years—particularly with the long-running theater collective, Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1418.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall as Fe in ‘Stairway to Heaven,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with Campo Santo that Hall first made the leap from acting to directing, in a 1998 co-production with Word for Word. Although she was initially reluctant, her fellow company members (“my brothers,” she remarks fondly) talked her into it by telling her, “You tell us what to do all the time anyway, so you might as well just direct this play.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saying “yes” to unexpected opportunity—whether it’s been directing, teaching, or mentoring a new generation of artistic voices—has been a trademark of Hall’s multi-faceted career.\u003c/p>\n\u003cp>After the success of her directorial debut, Hall was determined to learn more about the craft, which she knew involved a lot more than the “hanging out,” as she refers to the process, with her Campo Santo family. This took the form of shadowing directors she admired, and learning the vocabulary of time management, and working with designers and production staff in bigger theaters.\u003c/p>\n\u003cp>“A lot of my directing aesthetic comes from being an actor and understanding how to work with actors,” she reflects. “I feel my strength is really pulling the work out of actors in a way that they feel appreciated.” Over the years she’s cultivated her skills in both, and her work has appeared in one capacity or another on pretty much every major Bay Area stage (as well as films like 2016’s \u003cem>Blindspotting\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in ‘Fences’ at California Shakespeare Theater. \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s common to refer to actors who also sing and dance as “triple threats,” and by extension, Hall could be considered a sextuple threat, at minimum: she also directs, teaches and writes. But artistic directorship has been one role she’s put off, even though this isn’t the first time over the past ten years that the Lorraine Hansberry has invited her to take it on. For one reason or another, she never felt the time was right.\u003c/p>\n\u003cp>“Even this time around, if you asked me six months ago if I thought I would be the artistic director of Lorraine Hansberry I would tell you no, that wasn’t my plan,” she admits. But her perspective shifted during the pandemic, causing her to reevaluate where she wanted to channel her energies. And so, this time when the company’s executive director Stephanie Shoffner offered her the position, she was ready to “once again…say yes to something I had no idea of what to do!”\u003c/p>\n\u003cp>While she’s still navigating the specifics of fundraising and day-to-day operations, she’s not short on artistic ideas. She hopes that the New Black Voices initiative for playwrights will eventually include full productions, and she’s eager to see a return to producing Black classics as well as contemporary, multi-disciplinary work, a particular strength of Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall in ‘Fe in the Desert,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a mentor and a leader, Hall exudes a self-possession instilled in her from a young age and honed over her long career.\u003c/p>\n\u003cp>“I grew up in a household where…being Black was the best thing ever,” she reminisces. “Not that we were better than anyone else, but that we were these powerful beings.” Learning to keep hold of her power, and “show up as herself” on every project has been a lifelong pursuit, and one with many levels and lessons. But now, she admits, she doesn’t know any other way.\u003c/p>\n\u003cp>“Just imagine if we all were confident in ourselves, and we came into a room together to create art in a collaborative way, with all of this confident powerful energy,” she enthuses. Having the opportunity to implement this vision of collaborative confidence at the Lorraine Hansberry Theatre is sure to be an inspiring legacy all its own.\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>More information about the Lorraine Hansberry Theatre and Margo Hall can be found \u003ca href=\"https://www.lhtsf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A veteran of the Bay Area stage, Margo Hall will serve as the company's first female artistic director. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Margo Hall, growing up in Detroit, Michigan meant an early exposure to the arts. Enrolled from a young age in “every dance class” and “every choir,” she says, and influenced by her Motown-employed stepfather and his circle of musician friends, Hall gained a strong foundation in the arts—even before she knew that she’d wind up dedicating her life to them.\u003c/p>\n\u003cp>Recently announced as the new artistic director for the Lorraine Hansberry Theatre, Hall brings a lifetime of learning, skill, and dedication to the role. And as the first woman to hold the position in the company, she’s ready to implement her vision of a program dedicated to nurturing the voices of young, Black female and non-binary playwrights, a welcome homage to the theater’s namesake.\u003c/p>\n\u003cfigure id=\"attachment_13889585\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889585\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_castofBarbeque_SFPlayhouseRobertOHara_photocredit_JessicaPalopoli.jpg 1933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of ‘Barbeque’ by Robert O’Hara at SF Playhouse. Margo Hall in red. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Described by biographers as a “force of nature,” Lorraine Hansberry’s legacy lives on, despite the playwright and activist’s tragically early death from pancreatic cancer at the age of 34. One of those legacies has been carried forward in the form of the Lorraine Hansberry Theatre, founded in 1981 by Stanley Williams and Quentin Easter, who were determined to build to build an artistic home for Black theater-makers. And while the theater has experienced a series of material setbacks over the years—losing its Sutter Street space in 2007, and its founders within weeks of each other in 2010—its influence as an incubator for Black artists has remained intact.\u003c/p>\n\u003cp>One such artist is Hall, the Bay Area’s own force of nature. Although this will be her first time in the role of artistic director, it’s certainly not her first time creating and holding artistic space, a talent she’s cultivated over the course of many years—particularly with the long-running theater collective, Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_Fe_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1418.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall as Fe in ‘Stairway to Heaven,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s with Campo Santo that Hall first made the leap from acting to directing, in a 1998 co-production with Word for Word. Although she was initially reluctant, her fellow company members (“my brothers,” she remarks fondly) talked her into it by telling her, “You tell us what to do all the time anyway, so you might as well just direct this play.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saying “yes” to unexpected opportunity—whether it’s been directing, teaching, or mentoring a new generation of artistic voices—has been a trademark of Hall’s multi-faceted career.\u003c/p>\n\u003cp>After the success of her directorial debut, Hall was determined to learn more about the craft, which she knew involved a lot more than the “hanging out,” as she refers to the process, with her Campo Santo family. This took the form of shadowing directors she admired, and learning the vocabulary of time management, and working with designers and production staff in bigger theaters.\u003c/p>\n\u003cp>“A lot of my directing aesthetic comes from being an actor and understanding how to work with actors,” she reflects. “I feel my strength is really pulling the work out of actors in a way that they feel appreciated.” Over the years she’s cultivated her skills in both, and her work has appeared in one capacity or another on pretty much every major Bay Area stage (as well as films like 2016’s \u003cem>Blindspotting\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in ‘Fences’ at California Shakespeare Theater. \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s common to refer to actors who also sing and dance as “triple threats,” and by extension, Hall could be considered a sextuple threat, at minimum: she also directs, teaches and writes. But artistic directorship has been one role she’s put off, even though this isn’t the first time over the past ten years that the Lorraine Hansberry has invited her to take it on. For one reason or another, she never felt the time was right.\u003c/p>\n\u003cp>“Even this time around, if you asked me six months ago if I thought I would be the artistic director of Lorraine Hansberry I would tell you no, that wasn’t my plan,” she admits. But her perspective shifted during the pandemic, causing her to reevaluate where she wanted to channel her energies. And so, this time when the company’s executive director Stephanie Shoffner offered her the position, she was ready to “once again…say yes to something I had no idea of what to do!”\u003c/p>\n\u003cp>While she’s still navigating the specifics of fundraising and day-to-day operations, she’s not short on artistic ideas. She hopes that the New Black Voices initiative for playwrights will eventually include full productions, and she’s eager to see a return to producing Black classics as well as contemporary, multi-disciplinary work, a particular strength of Campo Santo.\u003c/p>\n\u003cfigure id=\"attachment_13889587\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889587\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/MargoHall_FeInTheDesert_CampoSantoJessicaHagedorn_photocredit_JeffFohl.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall in ‘Fe in the Desert,’ by Jessica Hagedorn, with Campo Santo. \u003ccite>(Jeff Fohl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a mentor and a leader, Hall exudes a self-possession instilled in her from a young age and honed over her long career.\u003c/p>\n\u003cp>“I grew up in a household where…being Black was the best thing ever,” she reminisces. “Not that we were better than anyone else, but that we were these powerful beings.” Learning to keep hold of her power, and “show up as herself” on every project has been a lifelong pursuit, and one with many levels and lessons. But now, she admits, she doesn’t know any other way.\u003c/p>\n\u003cp>“Just imagine if we all were confident in ourselves, and we came into a room together to create art in a collaborative way, with all of this confident powerful energy,” she enthuses. Having the opportunity to implement this vision of collaborative confidence at the Lorraine Hansberry Theatre is sure to be an inspiring legacy all its own.\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>More information about the Lorraine Hansberry Theatre and Margo Hall can be found \u003ca href=\"https://www.lhtsf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Body Politic: 'Kristina Wong for Public Office' Wins This Election",
"headTitle": "The Body Politic: ‘Kristina Wong for Public Office’ Wins This Election | KQED",
"content": "\u003cp>What’s \u003cem>your\u003c/em> election day coping strategy? Will you obsessively watch as they count each electoral vote on national television? Or will you try to take your mind off the polls until the election’s been called one way or another? Either way, election season brings forth a spate of politically-inspired performance, and even in pandemic times there’s plenty to choose from.\u003c/p>\n\u003cp>Radio plays from the \u003ca href=\"https://www.sfmt.org/online-listening\">San Francisco Mime Troupe\u003c/a> and \u003ca href=\"https://www.berkeleyrep.org/season/2021/itcanthappenhere.asp\">Berkeley Repertory Theatre\u003c/a> in conjunction with over 90 nationwide broadcasting partners. Homebrewed web series such as Ross Travis’ satirical Lady Rona \u003ca href=\"https://www.youtube.com/watch?v=S8N-PhHAvU0\">Public Service Announcements\u003c/a>, and the newly rejuvenated \u003ca href=\"https://bacce.org/2020/09/01/so-soul-sf-black-art-salons-move-online\">\u003cem>So Soul SF\u003c/em> salons\u003c/a>, co-presented by the Black Artists Contemporary Cultural Experience and Brava Theatre. Zoom productions and cross-continental collaborations too numerous to list. All ready to do their political duty and offer solace to communities under pressure.\u003c/p>\n\u003cp>But one piece in particular stands out to me as being perfect both for election night stress-viewing, and post-election decompression, and that is \u003ca href=\"https://www.centertheatregroup.org/digitalstage/videos/kristina-wong/\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>. Not only is San Francisco-born performance artist Kristina Wong an insightful satirist—with two decades of politically-aware, socially-engaged work under her belt—but she’s an elected official on her neighborhood council in Los Angeles’ Koreatown. So her faux campaign performance is utterly grounded in the political processes it seeks to subvert.\u003c/p>\n\u003cfigure id=\"attachment_13888748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristina Wong in ‘Kristina Wong for Public Office’ captured at the Kirk Douglas Theatre in October 2020. \u003ccite>(Image courtesy of Center Theatre Group.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While plenty of artists create work \u003cem>about\u003c/em> politics, only a handful of them ever actually run for public office (“\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/238703\">there’s always room for Jello\u003c/a>”), and even fewer wind up getting elected. That Wong’s crowd-working campaign strategies garnered her just 72 votes still gives her extra insight into the machinations of the political process—even for a low-stakes, entirely voluntary seat on the Wilshire Center Koreatown Neighborhood Council. Even before she was elected she encountered some dubious tactics from supporters of one of her opponents, but by virtue of there being two seats available and a three-candidate pool, she won her spot and the real work began.\u003c/p>\n\u003cp>Serving on a neighborhood council is about as politically unglamorous as it gets, and yet, as a microcosm of the national political process, it’s highly instructive—both for Wong as an individual, and for the audience of her digital show (directed by Diana Wyenn, and filmed onstage at the Kirk Douglas Theatre for an in-house audience of empty chairs and a global audience of anyone with internet access and $10). Unlike most other political shows, \u003cem>Kristina Wong for Public Office\u003c/em> dares to set up not an us/them dichotomy or a call to some amorphous action heavy on rhetoric but light on specifics, but a practical, DIY guide to running a campaign of one’s own, and what to expect once you get into office.\u003c/p>\n\u003cfigure id=\"attachment_13888747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888747\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristina Wong in ‘Kristina Wong for Public Office,’ captured at the Kirk Douglas Theatre in October 2020. \u003ccite>(Image courtesy of Center Theatre Group.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A performer not afraid to fill up her available space, Wong stalks the perimeter of the Kirk Douglas Theatre stage like a prizefighter, an Elvis-style studded cape with her name stitched in sequins on the back fluttering in her wake. Her talents as a fabric artist are on proud display: a banner emblazoned with a rainbow-striped eagle and a marijuana leaf, hand-sewn stars and stripes draped over the podium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With simple but effective shifts in action and an evocative soundtrack designed by Mark McClain Wilson, Wong takes us through the tense personal moments leading to her political epiphany, and the call to her own action as an elected official. At times she appears quite flummoxed by the system she’s joined to improve—an experience I imagine most change-makers encounter along the way. But her persistence is tangibly rewarded by the end of the play, and also in the “real” world where she continues to serve on her council seat. It’s a notable example of the ways the arts can be leveraged in the service of the body politic.\u003c/p>\n\u003cp>“We all have the power to make symbols, until they become real life,” she assures her virtual audience, looking straight into the camera to make sure we feel that potential power coursing through our veins. “Say it with me,” she urges. “Culture is power!…\u003cem>We\u003c/em> are the ones we have been waiting for!”\u003c/p>\n\u003cp>For those who know that, as with the arts, the slow, iterative work of politics doesn’t stop even after the votes have been counted—this show’s for you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kristina Wong for Public Office’ runs online through Nov. 29, presented by Center Theatre Group. Info and tickets\u003ca href=\"https://www.centertheatregroup.org/digitalstage/videos/kristina-wong/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "An elected official in real life, Kristina Wong offers a one-woman show that proves politics is no joke.",
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"title": "The Body Politic: 'Kristina Wong for Public Office' Wins This Election | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s \u003cem>your\u003c/em> election day coping strategy? Will you obsessively watch as they count each electoral vote on national television? Or will you try to take your mind off the polls until the election’s been called one way or another? Either way, election season brings forth a spate of politically-inspired performance, and even in pandemic times there’s plenty to choose from.\u003c/p>\n\u003cp>Radio plays from the \u003ca href=\"https://www.sfmt.org/online-listening\">San Francisco Mime Troupe\u003c/a> and \u003ca href=\"https://www.berkeleyrep.org/season/2021/itcanthappenhere.asp\">Berkeley Repertory Theatre\u003c/a> in conjunction with over 90 nationwide broadcasting partners. Homebrewed web series such as Ross Travis’ satirical Lady Rona \u003ca href=\"https://www.youtube.com/watch?v=S8N-PhHAvU0\">Public Service Announcements\u003c/a>, and the newly rejuvenated \u003ca href=\"https://bacce.org/2020/09/01/so-soul-sf-black-art-salons-move-online\">\u003cem>So Soul SF\u003c/em> salons\u003c/a>, co-presented by the Black Artists Contemporary Cultural Experience and Brava Theatre. Zoom productions and cross-continental collaborations too numerous to list. All ready to do their political duty and offer solace to communities under pressure.\u003c/p>\n\u003cp>But one piece in particular stands out to me as being perfect both for election night stress-viewing, and post-election decompression, and that is \u003ca href=\"https://www.centertheatregroup.org/digitalstage/videos/kristina-wong/\">\u003cem>Kristina Wong for Public Office\u003c/em>\u003c/a>. Not only is San Francisco-born performance artist Kristina Wong an insightful satirist—with two decades of politically-aware, socially-engaged work under her belt—but she’s an elected official on her neighborhood council in Los Angeles’ Koreatown. So her faux campaign performance is utterly grounded in the political processes it seeks to subvert.\u003c/p>\n\u003cfigure id=\"attachment_13888748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888748\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_02_photocredit_CenterTheatreGroup.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristina Wong in ‘Kristina Wong for Public Office’ captured at the Kirk Douglas Theatre in October 2020. \u003ccite>(Image courtesy of Center Theatre Group.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While plenty of artists create work \u003cem>about\u003c/em> politics, only a handful of them ever actually run for public office (“\u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/238703\">there’s always room for Jello\u003c/a>”), and even fewer wind up getting elected. That Wong’s crowd-working campaign strategies garnered her just 72 votes still gives her extra insight into the machinations of the political process—even for a low-stakes, entirely voluntary seat on the Wilshire Center Koreatown Neighborhood Council. Even before she was elected she encountered some dubious tactics from supporters of one of her opponents, but by virtue of there being two seats available and a three-candidate pool, she won her spot and the real work began.\u003c/p>\n\u003cp>Serving on a neighborhood council is about as politically unglamorous as it gets, and yet, as a microcosm of the national political process, it’s highly instructive—both for Wong as an individual, and for the audience of her digital show (directed by Diana Wyenn, and filmed onstage at the Kirk Douglas Theatre for an in-house audience of empty chairs and a global audience of anyone with internet access and $10). Unlike most other political shows, \u003cem>Kristina Wong for Public Office\u003c/em> dares to set up not an us/them dichotomy or a call to some amorphous action heavy on rhetoric but light on specifics, but a practical, DIY guide to running a campaign of one’s own, and what to expect once you get into office.\u003c/p>\n\u003cfigure id=\"attachment_13888747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888747\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_09_photocredit_CenterTheatreGroup.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kristina Wong in ‘Kristina Wong for Public Office,’ captured at the Kirk Douglas Theatre in October 2020. \u003ccite>(Image courtesy of Center Theatre Group.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A performer not afraid to fill up her available space, Wong stalks the perimeter of the Kirk Douglas Theatre stage like a prizefighter, an Elvis-style studded cape with her name stitched in sequins on the back fluttering in her wake. Her talents as a fabric artist are on proud display: a banner emblazoned with a rainbow-striped eagle and a marijuana leaf, hand-sewn stars and stripes draped over the podium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With simple but effective shifts in action and an evocative soundtrack designed by Mark McClain Wilson, Wong takes us through the tense personal moments leading to her political epiphany, and the call to her own action as an elected official. At times she appears quite flummoxed by the system she’s joined to improve—an experience I imagine most change-makers encounter along the way. But her persistence is tangibly rewarded by the end of the play, and also in the “real” world where she continues to serve on her council seat. It’s a notable example of the ways the arts can be leveraged in the service of the body politic.\u003c/p>\n\u003cp>“We all have the power to make symbols, until they become real life,” she assures her virtual audience, looking straight into the camera to make sure we feel that potential power coursing through our veins. “Say it with me,” she urges. “Culture is power!…\u003cem>We\u003c/em> are the ones we have been waiting for!”\u003c/p>\n\u003cp>For those who know that, as with the arts, the slow, iterative work of politics doesn’t stop even after the votes have been counted—this show’s for you.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13888750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/Kristina_Wong_05_photocredit_CenterTheatreGroup.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kristina Wong for Public Office’ runs online through Nov. 29, presented by Center Theatre Group. Info and tickets\u003ca href=\"https://www.centertheatregroup.org/digitalstage/videos/kristina-wong/\"> here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Boys in the Band': Raging Gracefully",
"headTitle": "‘The Boys in the Band’: Raging Gracefully | KQED",
"content": "\u003cp>Inspired, at least in part, by critic Stanley Kauffman’s challenge to gay playwrights to ditch all the hinting and coding and veiled metaphor so as to honestly and openly depict the lives of homosexuals in their work, Mart Crowley’s \u003cem>The Boys in the Band \u003c/em>debuted off-Broadway in 1968.\u003c/p>\n\u003cp>The structure was simple and not, to any regular theatergoer, unfamiliar: Over the course of an evening, characters gather, get drunk and turn on one another. Things get said that cannot be unsaid. Secrets are revealed. Curtain, house lights up.\u003c/p>\n\u003cp>The difference, of course, was that 1. It was a group of gay men doing all that gathering and drinking and lashing out, and 2. The lives of gay men in 1968 being what they were, most of the lashing taking place on stage turned out to be self-flagellation. These characters were caustically funny, yes, but they were also wracked with guilt and shame and self-hatred.\u003c/p>\n\u003cp>The play was a hit, and was made into a stagey movie directed by William Friedkin in 1970. The movie was not a hit.\u003c/p>\n\u003cp>There were many reasons for that, but surely one of them must have been what happened in the year that fell \u003cem>between \u003c/em>the debut of the play and the premiere of the movie: the 1969 Stonewall riots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mood had changed. To many theatergoers in 1968, schlepping into the city from Scarsdale or Ronkonkoma to take in “the homosexual play” must have seemed like a way to dip a toe into the bohemian counterculture that \u003cem>Life \u003c/em>magazine was always going on about. After the Stonewall uprising, however, the queer community was flush with a sense of righteous anger and defiance. Suddenly, Crowley’s gaggle of inward-turning, neurotic, self-loathing yet exceedingly comfortable (mostly) white men no longer seemed like a bold statement. They felt like broad caricatures from the darkest, most self-conscious corner of the closet.\u003c/p>\n\u003cp>But Crowley’s decision to center a play on the lives of gay men in 1968 \u003cem>was \u003c/em>important, and remains so, in terms of media representation of marginalized groups. Depictions of queers in entertainment have generally followed the same slow, steady series of steps, over time, that depictions of women and people of color have:\u003c/p>\n\u003cp>First, we’re the villain—the enemy that the (white, straight, male) hero must vanquish, to re-establish the status quo.\u003c/p>\n\u003cp>Next, we’re the victim—the poor pitiable soul that the (white, straight, male) hero must selflessly defend (or, all too often, avenge) to establish his virtue.\u003c/p>\n\u003cp>Then, we’re the ally—the sidekick, the sassy friend who fires off a snappy line to encourage the hero to chase his dream.\u003c/p>\n\u003cp>Finally, if we’re lucky, after years of struggle, we get to be our own hero, telling our own stories.\u003c/p>\n\u003cp>\u003cem>The Boys in the Band\u003c/em> jumped the line. Crowley placed his gay men at the center of the stage, at the center of their own stories, and did so with an honesty that wasn’t interested in defensiveness, apology or self- justification. That’s because, crucially, the lens through which audiences saw the play’s action didn’t belong to the straight world, and made no concessions to it. The play barely even acknowledged the straight world, at least not in a manner that had characters railing against oppressive homophobia. But then, it didn’t need to, as Crowley’s point is that his characters have so internalized the cultural revulsion for homosexuality that they’ve become their own villains, victims and, only grudgingly, allies.\u003c/p>\n\u003cp>Over the years, both the play and the film have had their vocal defenders, but for a long time, many in the queer community held them in low esteem. Queer theater and queer cinema, which grew defiant in the years after Stonewall, took on a new sense of urgency and rage as AIDS ravaged the community. In the face of the epidemic, Crowley’s comfortable, cashmere queens trading their tired barbs seemed wildly inessential, even campy, and glib lines like “Show me a happy homosexual and I’ll show you a gay corpse” took on a new patina of tastelessness.\u003c/p>\n\u003cp>The film version of \u003cem>The Boys in the Band\u003c/em> that debuts today on Netflix is an adaptation of the brief, widely praised all-star, all-queer 2018 Broadway run that marked its 50th anniversary. I say adaptation; it’s more a cut-and-paste, as the entire Broadway cast remains intact, reprising their respective roles, along with director Joe Mantello. Attempts have been made to flesh out the play around its edges—the film begins with a montage of the various characters going about their day before heading to the birthday party. But \u003cem>The Boys in the Band \u003c/em>remains a stand-and-deliver endeavor in which characters are as apt to launch into monologues as they are to hold a conversation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=862Pb9oDDAo\u003c/p>\n\u003cp>The staginess is ameliorated somewhat by the film’s actors—who, more so than the 1970 film’s cast managed to do, calibrate their performances for the intimacy of the camera, instead of the back of the house. There’s an unforced quality to, say, Tuc Watkins’ portrayal of a buttoned-up, “straight-acting” man in the process of divorcing his wife in favor of Larry (Andrew Rannells), a louche free spirit who at one point delivers a monograph against monogamy.\u003c/p>\n\u003cp>But that slightly reined-in quality doesn’t serve everyone well: The disquietingly symmetrical Matt Bomer’s Donald—who is, on paper, an angst-ridden, neurotic mess—comes off as a calm, blandly handsome cipher, and his early expressions of nervousness ring false, as if he’s performatively voicing self-deprecation in an effort to endear himself to others. (A hottie made for the age of Twitter!)\u003c/p>\n\u003cp>The best thing about the play and film, structurally, is its central bait-and-switch: The birthday party in question is being thrown for Harold (Zachary Quinto) who doesn’t show up until the act break, allowing the other characters to talk up how nasty and vindictive he is before he arrives. But of course, it’s birthday-party-thrower Michael (Jim Parsons), our ostensibly sympathetic central character, who turns out to be the real bomb-thrower, as he descends into drunken, vituperative hostility. Quinto hangs at the play’s periphery, but puts an Eartha Kitt spin on his delivery, making his every line of dialogue describe a graceful, filigreed arc through the air of Michael’s cluttered West Village apartment. Parsons excavates the despair at the core of Michael’s wry persona, and he does drunk great (they don’t give Oscars for drunk-walking, but if they did, he’d walk away with one, overcorrecting for every tiny stumble along the way.)\u003c/p>\n\u003cp>Those are the big-name actors, but it’s the performers who get fewer lines—Robin de Jesús and Michael Benjamin Washington—who make the biggest impressions, late in the play when alcohol combines with a wildly ill-considered party game that leaves their characters emotionally wounded.\u003c/p>\n\u003cp>The heaviest lift, performance-wise, is shouldered by Brian Hutchinson, as Michael’s visiting, putatively heterosexual old college roommate. The character is thinly drawn—he’s just there to drive the plot—and his actions aren’t clearly motivated (never mind his assaulting of de Jesús’ character, \u003cem>why in Judy’s name doesn’t the guy just leave?\u003c/em>) but Hutchinson gamely attempts to connect the script’s disparate dots; he mostly succeeds.\u003c/p>\n\u003cp>What’s striking is how this play is likely to land, in 2020, with viewers who aren’t already familiar with it. Because it is likely to seem to them… oddly familiar.\u003c/p>\n\u003cp>The rhythms of Crowley’s dialogue, the archness of these bitchy one-liners, even the play’s central “the worst homophobes are secretly gay” narrative backbone—in the years since the play debuted, they’ve been taken up by hundreds, even thousands of other plays, films and television shows. To say that watching \u003cem>The Boys in the Band\u003c/em> today feels like uncovering a lost, extended, Very Special Episode of \u003cem>Will and Grace\u003c/em>—complete with celebrity stunt casting!—is not to denigrate Crowley’s play, but to address how much of its DNA has found its way into so many disparate aspects of culture.\u003c/p>\n\u003cp>Yes, his characters are types, who tend to announce the contours of their personalities immediately upon making their entrance. And yes, they go at each other with a kind of playful vindictiveness. And none of it will seem particularly groundbreaking or new to anyone who’s caught even a few minutes of \u003cem>RuPaul’s Drag Race:\u003c/em> \u003cem>Untucked\u003c/em>.\u003c/p>\n\u003cp>With greater queer representation comes a growing impatience with depictions of queer life that are too idealized, too scrubbed, too self-consciously styled to present us as role models or paragons, because to do so is to reduce us, to strip away our complexity and our humanity. It’s also to value the perceptions of an imagined straight audience over our authentic lives.\u003c/p>\n\u003cp>Crowley didn’t create the self-lacerating queens of \u003cem>The Boys in the Band\u003c/em> to reflect our \u003cem>best \u003c/em>selves, but to capture and display something essential about our \u003cem>true \u003c/em>selves, at a time when most gay men were still hiding theirs away. What he found was not, and is not, pretty (Bomer conspicuously excepted). But today, after generations of queer media depictions that have ranged from the strident and graphic defiance of New Queer Cinema to the schticky, thinly coded setups-and-punchlines of \u003cem>The Golden Girls,\u003c/em> the impression the now-52-year-old \u003cem>The Boys in the Band\u003c/em> leaves with you is no longer that of hopelessness and self-loathing. It’s been around too long. Whatever unique power it once possessed to speak to its cultural moment has faded with that moment, and the caustic nature of its characters has been softened by time, and by its many imitators.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Netflix film is content to let Crowley’s play remain a perfectly preserved artifact from a bad time, without struggling to impose contemporary parallels or meta-meanings atop it. And that’s the right impulse. Because it so ruthlessly targets the least flattering aspects of gay men’s inner lives, it doesn’t need to be topical. But it will always be relevant.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Boys+In+The+Band%27%3A+Raging+Gracefully+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspired, at least in part, by critic Stanley Kauffman’s challenge to gay playwrights to ditch all the hinting and coding and veiled metaphor so as to honestly and openly depict the lives of homosexuals in their work, Mart Crowley’s \u003cem>The Boys in the Band \u003c/em>debuted off-Broadway in 1968.\u003c/p>\n\u003cp>The structure was simple and not, to any regular theatergoer, unfamiliar: Over the course of an evening, characters gather, get drunk and turn on one another. Things get said that cannot be unsaid. Secrets are revealed. Curtain, house lights up.\u003c/p>\n\u003cp>The difference, of course, was that 1. It was a group of gay men doing all that gathering and drinking and lashing out, and 2. The lives of gay men in 1968 being what they were, most of the lashing taking place on stage turned out to be self-flagellation. These characters were caustically funny, yes, but they were also wracked with guilt and shame and self-hatred.\u003c/p>\n\u003cp>The play was a hit, and was made into a stagey movie directed by William Friedkin in 1970. The movie was not a hit.\u003c/p>\n\u003cp>There were many reasons for that, but surely one of them must have been what happened in the year that fell \u003cem>between \u003c/em>the debut of the play and the premiere of the movie: the 1969 Stonewall riots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mood had changed. To many theatergoers in 1968, schlepping into the city from Scarsdale or Ronkonkoma to take in “the homosexual play” must have seemed like a way to dip a toe into the bohemian counterculture that \u003cem>Life \u003c/em>magazine was always going on about. After the Stonewall uprising, however, the queer community was flush with a sense of righteous anger and defiance. Suddenly, Crowley’s gaggle of inward-turning, neurotic, self-loathing yet exceedingly comfortable (mostly) white men no longer seemed like a bold statement. They felt like broad caricatures from the darkest, most self-conscious corner of the closet.\u003c/p>\n\u003cp>But Crowley’s decision to center a play on the lives of gay men in 1968 \u003cem>was \u003c/em>important, and remains so, in terms of media representation of marginalized groups. Depictions of queers in entertainment have generally followed the same slow, steady series of steps, over time, that depictions of women and people of color have:\u003c/p>\n\u003cp>First, we’re the villain—the enemy that the (white, straight, male) hero must vanquish, to re-establish the status quo.\u003c/p>\n\u003cp>Next, we’re the victim—the poor pitiable soul that the (white, straight, male) hero must selflessly defend (or, all too often, avenge) to establish his virtue.\u003c/p>\n\u003cp>Then, we’re the ally—the sidekick, the sassy friend who fires off a snappy line to encourage the hero to chase his dream.\u003c/p>\n\u003cp>Finally, if we’re lucky, after years of struggle, we get to be our own hero, telling our own stories.\u003c/p>\n\u003cp>\u003cem>The Boys in the Band\u003c/em> jumped the line. Crowley placed his gay men at the center of the stage, at the center of their own stories, and did so with an honesty that wasn’t interested in defensiveness, apology or self- justification. That’s because, crucially, the lens through which audiences saw the play’s action didn’t belong to the straight world, and made no concessions to it. The play barely even acknowledged the straight world, at least not in a manner that had characters railing against oppressive homophobia. But then, it didn’t need to, as Crowley’s point is that his characters have so internalized the cultural revulsion for homosexuality that they’ve become their own villains, victims and, only grudgingly, allies.\u003c/p>\n\u003cp>Over the years, both the play and the film have had their vocal defenders, but for a long time, many in the queer community held them in low esteem. Queer theater and queer cinema, which grew defiant in the years after Stonewall, took on a new sense of urgency and rage as AIDS ravaged the community. In the face of the epidemic, Crowley’s comfortable, cashmere queens trading their tired barbs seemed wildly inessential, even campy, and glib lines like “Show me a happy homosexual and I’ll show you a gay corpse” took on a new patina of tastelessness.\u003c/p>\n\u003cp>The film version of \u003cem>The Boys in the Band\u003c/em> that debuts today on Netflix is an adaptation of the brief, widely praised all-star, all-queer 2018 Broadway run that marked its 50th anniversary. I say adaptation; it’s more a cut-and-paste, as the entire Broadway cast remains intact, reprising their respective roles, along with director Joe Mantello. Attempts have been made to flesh out the play around its edges—the film begins with a montage of the various characters going about their day before heading to the birthday party. But \u003cem>The Boys in the Band \u003c/em>remains a stand-and-deliver endeavor in which characters are as apt to launch into monologues as they are to hold a conversation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/862Pb9oDDAo'\n title='//www.youtube.com/embed/862Pb9oDDAo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The staginess is ameliorated somewhat by the film’s actors—who, more so than the 1970 film’s cast managed to do, calibrate their performances for the intimacy of the camera, instead of the back of the house. There’s an unforced quality to, say, Tuc Watkins’ portrayal of a buttoned-up, “straight-acting” man in the process of divorcing his wife in favor of Larry (Andrew Rannells), a louche free spirit who at one point delivers a monograph against monogamy.\u003c/p>\n\u003cp>But that slightly reined-in quality doesn’t serve everyone well: The disquietingly symmetrical Matt Bomer’s Donald—who is, on paper, an angst-ridden, neurotic mess—comes off as a calm, blandly handsome cipher, and his early expressions of nervousness ring false, as if he’s performatively voicing self-deprecation in an effort to endear himself to others. (A hottie made for the age of Twitter!)\u003c/p>\n\u003cp>The best thing about the play and film, structurally, is its central bait-and-switch: The birthday party in question is being thrown for Harold (Zachary Quinto) who doesn’t show up until the act break, allowing the other characters to talk up how nasty and vindictive he is before he arrives. But of course, it’s birthday-party-thrower Michael (Jim Parsons), our ostensibly sympathetic central character, who turns out to be the real bomb-thrower, as he descends into drunken, vituperative hostility. Quinto hangs at the play’s periphery, but puts an Eartha Kitt spin on his delivery, making his every line of dialogue describe a graceful, filigreed arc through the air of Michael’s cluttered West Village apartment. Parsons excavates the despair at the core of Michael’s wry persona, and he does drunk great (they don’t give Oscars for drunk-walking, but if they did, he’d walk away with one, overcorrecting for every tiny stumble along the way.)\u003c/p>\n\u003cp>Those are the big-name actors, but it’s the performers who get fewer lines—Robin de Jesús and Michael Benjamin Washington—who make the biggest impressions, late in the play when alcohol combines with a wildly ill-considered party game that leaves their characters emotionally wounded.\u003c/p>\n\u003cp>The heaviest lift, performance-wise, is shouldered by Brian Hutchinson, as Michael’s visiting, putatively heterosexual old college roommate. The character is thinly drawn—he’s just there to drive the plot—and his actions aren’t clearly motivated (never mind his assaulting of de Jesús’ character, \u003cem>why in Judy’s name doesn’t the guy just leave?\u003c/em>) but Hutchinson gamely attempts to connect the script’s disparate dots; he mostly succeeds.\u003c/p>\n\u003cp>What’s striking is how this play is likely to land, in 2020, with viewers who aren’t already familiar with it. Because it is likely to seem to them… oddly familiar.\u003c/p>\n\u003cp>The rhythms of Crowley’s dialogue, the archness of these bitchy one-liners, even the play’s central “the worst homophobes are secretly gay” narrative backbone—in the years since the play debuted, they’ve been taken up by hundreds, even thousands of other plays, films and television shows. To say that watching \u003cem>The Boys in the Band\u003c/em> today feels like uncovering a lost, extended, Very Special Episode of \u003cem>Will and Grace\u003c/em>—complete with celebrity stunt casting!—is not to denigrate Crowley’s play, but to address how much of its DNA has found its way into so many disparate aspects of culture.\u003c/p>\n\u003cp>Yes, his characters are types, who tend to announce the contours of their personalities immediately upon making their entrance. And yes, they go at each other with a kind of playful vindictiveness. And none of it will seem particularly groundbreaking or new to anyone who’s caught even a few minutes of \u003cem>RuPaul’s Drag Race:\u003c/em> \u003cem>Untucked\u003c/em>.\u003c/p>\n\u003cp>With greater queer representation comes a growing impatience with depictions of queer life that are too idealized, too scrubbed, too self-consciously styled to present us as role models or paragons, because to do so is to reduce us, to strip away our complexity and our humanity. It’s also to value the perceptions of an imagined straight audience over our authentic lives.\u003c/p>\n\u003cp>Crowley didn’t create the self-lacerating queens of \u003cem>The Boys in the Band\u003c/em> to reflect our \u003cem>best \u003c/em>selves, but to capture and display something essential about our \u003cem>true \u003c/em>selves, at a time when most gay men were still hiding theirs away. What he found was not, and is not, pretty (Bomer conspicuously excepted). But today, after generations of queer media depictions that have ranged from the strident and graphic defiance of New Queer Cinema to the schticky, thinly coded setups-and-punchlines of \u003cem>The Golden Girls,\u003c/em> the impression the now-52-year-old \u003cem>The Boys in the Band\u003c/em> leaves with you is no longer that of hopelessness and self-loathing. It’s been around too long. Whatever unique power it once possessed to speak to its cultural moment has faded with that moment, and the caustic nature of its characters has been softened by time, and by its many imitators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Netflix film is content to let Crowley’s play remain a perfectly preserved artifact from a bad time, without struggling to impose contemporary parallels or meta-meanings atop it. And that’s the right impulse. Because it so ruthlessly targets the least flattering aspects of gay men’s inner lives, it doesn’t need to be topical. But it will always be relevant.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Boys+In+The+Band%27%3A+Raging+Gracefully+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/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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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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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",
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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",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"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",
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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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"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",
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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",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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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",
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"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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