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"content": "\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.[aside postid='news_11824859']\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm[aside postid='arts_13882225']\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the country enters a third week of constant protests over the killing of George Floyd and Breonna Taylor and reckons with its racist structures, this year’s Juneteenth celebrations have seen increased interest.\u003c/p>\n\u003cp>An \u003ca href=\"https://www.kqed.org/news/11824859/juneteenth-2020-in-the-bay-area-what-to-know-where-to-go\" rel=\"noopener noreferrer\" target=\"_blank\">annual day observing the end of slavery in the south\u003c/a>, Juneteenth falls each year on June 19. This Friday’s celebrations get underway not only during a national uprising for racial justice, but during a global pandemic. Below, find ways to honor Juneteenth at home with streamed music and art, and view a select list of outdoor celebrations happening around the Bay Area.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by Dacia Mitchell.\u003c/em>\u003c/p>\n\u003ch2>Select Online Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>‘Polar Bears, Black Boys & Prairie Fringed Orchids’\u003c/strong>\u003cbr>\nThirty Bay Area theater companies come together for this streamed performance of Vincent Terrell Durham’s play, \u003cem>Polar Bears, Black Boys & Prairie Fringed Orchids\u003c/em>, a timely meditation on police killings of Black people and the Black Lives Matter movement. The play is presented as part of the PlayGround Zoom Fest and the Juneteenth Theatre Justice Project, a national movement spanning theaters across America. Starts at 7pm Pacific time; \u003ca href=\"https://playground-sf.org/juneteenth/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Marcus Shelby: Juneteenth and the Blues\u003c/strong>\u003cbr>\nCarrying on the tradition of figures like Charles Mingus and Archie Shepp, who infused jazz with politics, composer and bassist Marcus Shelby has presented jazz programs on Harriet Tubman, the Negro Leagues, the school-to-prison pipeline and more. In an hour-long Zoom presentation of live music, readings and poetry, Shelby delves into Juneteenth’s history and resonance today. Starts at 4pm Pacific time; \u003ca href=\"https://www.moadsf.org/event/talk-performance-juneteenth-and-the-blues-with-marcus-shelby/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg\" alt=\"A still from 'Take This Hammer,' featuring James Baldwin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Brody-TakeThisHammerBaldwin.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Take This Hammer,’ featuring James Baldwin. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Take This Hammer’\u003c/strong>\u003cbr>\nFilmed by KQED in 1963, \u003cem>Take This Hammer\u003c/em> follows James Baldwin around San Francisco as he speaks with young Black people and compasres the racial atmosphere in the so-called “progressive” city to the segregated south. The full director’s cut is available to stream; \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>NAACP Black Family Reunion\u003cbr>\nThe NAACP hosts a two-hour special about lives lost and personal stories from the Black community. Participants can submit their story for potential inclusion in advance. Starts at 1pm Pacific time; \u003ca href=\"https://naacp.org/juneteenth/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Music From Other Minds: Juneteenth\u003c/strong>\u003cbr>\nThe Other Minds radio show expands to two hours for a Juneteenth special with the music of Black American composers including Matana Roberts, Moor Mother, Ben LaMar Gay, LOAN (Tongo Eisen-Martin & Chris Peck) and more. Hosted by Liam Herb, the special starts at 10pm Pacific time; \u003ca href=\"https://www.otherminds.org/mfom/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/strong>\u003cbr>\nElizabeth Pepin Silva and Lewis Watts, authors of the book \u003cem>Harlem of the West: The San Francisco Fillmore Jazz Era\u003c/em>, discuss the neighborhood’s robust history of Black culture, which urban renewal erased in the 1960s and 1970s. Starts at noon Pacific time; \u003ca href=\"https://bit.ly/HarlemWestJune2020\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Select Outdoor Juneteenth Events on June 19\u003c/h2>\n\u003cp>\u003cstrong>Oakland\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.juneteenthspt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth West Coast Port Shutdown\u003c/a> & Caravan to Frank Ogawa Plaza – 10am\u003c/p>\n\u003cp>Second Annual \u003ca href=\"https://www.instagram.com/p/CBWcTrTBwMc/\" target=\"_blank\" rel=\"noopener noreferrer\">Bike 4 Justice Rally\u003c/a> in West Oakland – 12:30pm to 4pm\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBb2gBLhIYF/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth at the Lake\u003c/a> – Meet at Alameda County Courthouse & March around Lake Merritt – 1pm to Sunset\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/balck-youth-march-people-liberation/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Youth for the People’s Liberation\u003c/a> Protest at deFremery Park – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBe819Oh0J6/\" target=\"_blank\" rel=\"noopener noreferrer\">California Nurses Assoc. Black Lives Matter Protest\u003c/a> – at Kaiser on Broadway – 4pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBVBduHhUUA/\" target=\"_blank\" rel=\"noopener noreferrer\">Lake Merritt Amphitheater Juneteenth Celebration\u003c/a> – 4pm to 7pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/justice-juneteenth-lakemerritt/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Juneteenth \u003c/a>at Lake Merritt – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://hueypnewtonfoundation.org/initiatives\" target=\"_blank\" rel=\"noopener noreferrer\">Rally for Huey P. Newton Monument\u003c/a> with Fredrika Newton at Alameda County Courthouse – 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/funcheap/photos/p.10156909708402504/10156909708402504/?type=3&av=327396872503&eav=AfZ5kPmE0-C1VtLOp9LqpPcbLt1c78rut53h4mwMK1lSdSC28es2LLLFvjaVap3CjuA&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Park Blvd. Juneteenth Protest\u003c/a> at Park Blvd. between I-580 and CA13. – 5-6pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBWu88Yhtmu/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Black Mass’ Juneteenth Spoken Word & Drum Circle\u003c/a> at Lake Merritt Amphitheater – 7pm\u003c/p>\n\u003cp>\u003cstrong>San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/events/566725343925258/?event_time_id=566725350591924\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom & Justice\u003c/a> from Ferry Building to City Hall – Noon\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-caravan-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Caravan Protest\u003c/a> – location TBD – 10am–1pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBRiLPwBw5h/\" target=\"_blank\" rel=\"noopener noreferrer\">“Kicking for Freedom”\u003c/a> three-mile skate through SF starting at Ferry Building – 1 to 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://dothebay.com/events/2020/6/19/sf-qbar-juneteenth-reunion-black-queer-rally\" rel=\"noopener noreferrer\" target=\"_blank\">Rally Celebrating Black Queer Joy\u003c/a> at QBar in the Castro – 3pm\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CBf_p41h-jd/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Rally\u003c/a> at City Hall – 1pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/sf-peaceful-yoga-protest/\" target=\"_blank\" rel=\"noopener noreferrer\">Yoga Protest at Dolores Park\u003c/a> – 4pm to 5pm\u003c/p>\n\u003cp>\u003ca href=\"https://sf.funcheap.com/bay-swimmers-in-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Swimmers in Solidarity Floating Protest\u003c/a> at Aquatic Park – 5:30pm\u003c/p>\n\u003cp>\u003cstrong>Antioch\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBe9AOJBkr5/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Peace Walk, Arts & Music\u003c/a> from City Hall to 6th & A St. – 11am to 3pm\u003c/p>\n\u003cp>\u003cstrong>Santa Rosa\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWPC7tBVV_/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth Festival \u003c/a>at Pioneer Park – Noon\u003c/p>\n\u003cp>\u003cstrong>Fremont\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/juneteenth-march-for-justice-fremont/\" target=\"_blank\" rel=\"noopener noreferrer\">Juneteenth March for Justice\u003c/a> to City Hall – 1pm\u003c/p>\n\u003cp>\u003cstrong>Santa Clara\u003c/strong>\u003cbr>\n\u003ca href=\"https://sf.funcheap.com/march-for-freedom/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Freedom Day\u003c/a> at Santa Clara University- 3pm to 5pm\u003c/p>\n\u003cp>\u003cstrong>Pittsburg\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBWVqluheJt/\" target=\"_blank\" rel=\"noopener noreferrer\">March for Justice\u003c/a> from Buchanan Park to Marina – 3pm\u003c/p>\n\u003cp>\u003cstrong>Livermore\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.instagram.com/p/CBcjmTdhXS1/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter Protest\u003c/a> at City Hall with speeches and march to Carnegie Park – 4pm\u003c/p>\n\u003cp>\u003cstrong>Palo Alto\u003c/strong>\u003cbr>\n\u003ca href=\"https://act.sixnineteen.com/event/action/86?source=map&akid=\" target=\"_blank\" rel=\"noopener noreferrer\">Defend Black Lives Protest\u003c/a> at King Plaza, City Hall – 5pm\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Keeping the Magic Alive: How Magicians Have Adapted to Socially-Distant Shows",
"headTitle": "Keeping the Magic Alive: How Magicians Have Adapted to Socially-Distant Shows | KQED",
"content": "\u003cp>In a world full of self-declared “experts,” magic is a great leveler. Even if you once dabbled in magic as a child, or think you’re quick enough to spot how a trick is done, professional magicians still have the power to amaze—not just through speed and sleight-of-hand, but through their commitment to selling a trick. And while television magicians can use spectacle and sleek production values to create a suspension of disbelief, a stage magician relies on the force of their charm, and, frequently, on the personalization of the encounter. A magician asks an individual to pick a card, any card; that person draws a physical card. A tangible connection is made, and the foundation for trust is built.\u003c/p>\n\u003cp>Part of the joy of magic for an audience member is to be \u003cem>right there\u003c/em> as a familiar object you held in your own hands—or in your mind—is transformed by the magician into an experience. But can that wonderment translate across digital platforms in the same way? Magicians around the Bay Area are rising to the challenge.\u003c/p>\n\u003cfigure id=\"attachment_13882151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ChristianCagigal_TarotCards_credit_JulieMichelle-800x533.jpg\" alt='Christian Cagigal has already readied his act for the road—so it was only a matter of \"re-choreographing\" it for Zoom.' width=\"800\" height=\"533\" class=\"size-medium wp-image-13882151\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_TarotCards_credit_JulieMichelle.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_TarotCards_credit_JulieMichelle-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_TarotCards_credit_JulieMichelle-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Cagigal has already readied his act for the road—so it was only a matter of “re-choreographing” it for Zoom. \u003ccite>(Julie Michelle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Stage and Reworked Show\u003c/h2>\n\u003cp>For longtime Daly City-based magician Christian Cagigal, the pivot to digital has been an interesting undertaking, in part because he’s spent many years deliberately crafting shows that hearken to a pre-computer age. Think \u003cem>Wunderkammer \u003c/em>and antique music boxes and a Victorian parlor aesthetic. Even his “semi-autobiographical” show, \u003cem>Now and at the Hour\u003c/em>—which he committed to camera with the help of filmmaker H.P. Mendoza—incorporated a live audience, and his close-up-magic-on-camera show \u003ca href=\"https://www.christiancagigal.com/obscura.html\">\u003cem>Obscura\u003c/em>\u003c/a> also relied on the physical presence of its rapt attendees.\u003c/p>\n\u003cp>Fortunately, in order to be able to tour as a magician, Cagigal had already worked up a set of more standard, less atmospheric magic that could easily be adapted to a number of stages and lineups. For the last two years he’s traveled between New York City and the Bay Area, establishing himself bi-coastally at events such as Speakeasy Magick at the McKittrick Hotel, Odd Salon, and as the owner of the \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\">San Francisco Ghost Hunt\u003c/a>. Thus prepared, he’s thrown himself into repurposing his material even further for an online audience.\u003c/p>\n\u003cfigure id=\"attachment_13882002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-800x413.png\" alt=\"\" width=\"800\" height=\"413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-800x413.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-768x397.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-1020x527.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern.png 1102w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Cagigal performs a magic trick over Zoom. \u003ccite>(Screenshot by Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cagigal’s experience setting up his magic table and filming it live for \u003cem>Obscura\u003c/em> comes in handy here. He’s already learned a lot about positioning his camera for the best angles, and making his hands the star of the show as they swiftly manipulate cards, coins, photographs, and envelopes within unobstructed view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I don’t have to reinvent my material,” Cagigal clarifies as we chat over Zoom. “I just have to re-choreograph it.” Fellow magicians have been a good source of information on video-conferencing basics, home lighting, and tweaking certain tricks to fit their screens. Ultimately, though, it’s the audiences themselves who have been the best barometers of a particular bit’s success. And according to Cagigal, they’ve been pretty accommodating of his limitations.\u003c/p>\n\u003cp>“People allow us a little bit of extra leeway… and not be suspicious of every single thing,” he explains. “Because they know we’re all trapped in our space, and this is not the situation we are trying to create.”\u003c/p>\n\u003cfigure id=\"attachment_13882150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/MagicalNathaniel_CorporateCloseUpMagic_credit_JimVetter-800x532.jpg\" alt=\"Magical Nathaniel has had to pivot during the pandemic from in-person parties (above) to Zoom, where he's found a worldwide audience. \" width=\"800\" height=\"532\" class=\"size-medium wp-image-13882150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_CorporateCloseUpMagic_credit_JimVetter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_CorporateCloseUpMagic_credit_JimVetter-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_CorporateCloseUpMagic_credit_JimVetter-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Magical Nathaniel has had to pivot during the pandemic from in-person parties (above) to Zoom, where he’s found a worldwide audience. \u003ccite>(Jim Vetter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Everybody’s Zooming Into the Act\u003c/h2>\n\u003cp>For Magical Nathaniel—currently located in Oakland—adapting to the moment has been challenging and inspiring in equal measure. A predominantly local performer with a penchant for family gatherings and birthday parties, the 25 year-old performed his first full magic show in third grade (“a disaster!”), and developed his chops over the years as a resident magician at El Cerrito’s Playland-not-at-the-Beach, where he estimates he performed over 1,000 shows before it closed in 2018.\u003c/p>\n\u003cp>Thanks to shelter-in-place and the internet, he’s been able to broaden his audience base to previously unimagined levels. Recently he performed for an after-school group of almost 200, including members as far away as China. He’s also performed custom shows and taught magic lessons for folks all around the country. In the spirit of embracing the unknown, he’s been adapting his performances to a variety of platforms, such as Instagram Live—where as many as 500 people might be watching at any given moment, and up to 23,000 for an entire set.\u003c/p>\n\u003cp>“Nobody knows what the future holds…but I think it’s going to be a very long time before we transition back,” Nathaniel muses. “And I don’t know that virtual shows will be transitioning out. I think they’re here to stay.”\u003c/p>\n\u003cp>Seated at a low table in front of a glittery curtain backdrop that used to travel with him to his live performances, Nathaniel matches his shirt and bowtie to his decor, and his patter to his mutable audience. Like Cagigal, he relies in part on the willingness of his virtual clients to trust him not to use camera manipulation. He gives off a wholesome, camp-counselor vibe, and even from a digital distance, there is a feeling of personal care in his routine.\u003c/p>\n\u003cfigure id=\"attachment_13882004\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Magical Nathaniel performs one of his signature tricks online. \u003ccite>(Courtesy of Magical Nathaniel.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up without a lot of extra money for the usual beginner props and gags, Nathaniel began building his own tricks at a young age. He demonstrates some of his favorites: one camera-friendly moment in which he makes money “fly,” and another using a series of sealed envelopes, which he opens one at a time with practiced aplomb. “I love envelopes,” he grins. When he finally pulls the card I’d been thinking of from the final envelope, I’m relieved—for myself and for him. Even from afar, this confident magic-maker has “read” my mind, and I’m appropriately impressed.\u003c/p>\n\u003cp>“We all need something, a sense of hope, a sense of wonder,” he emphasizes. “And that’s, I think, what will help get us through this—whatever we’re going through.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more information on upcoming shows and appearances, see the sites for \u003ca href=\"https://www.christiancagigal.com\">Christian Cagigal\u003c/a> and \u003ca href=\"https://www.magicalnathaniel.com\">Magical Nathaniel\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a world full of self-declared “experts,” magic is a great leveler. Even if you once dabbled in magic as a child, or think you’re quick enough to spot how a trick is done, professional magicians still have the power to amaze—not just through speed and sleight-of-hand, but through their commitment to selling a trick. And while television magicians can use spectacle and sleek production values to create a suspension of disbelief, a stage magician relies on the force of their charm, and, frequently, on the personalization of the encounter. A magician asks an individual to pick a card, any card; that person draws a physical card. A tangible connection is made, and the foundation for trust is built.\u003c/p>\n\u003cp>Part of the joy of magic for an audience member is to be \u003cem>right there\u003c/em> as a familiar object you held in your own hands—or in your mind—is transformed by the magician into an experience. But can that wonderment translate across digital platforms in the same way? Magicians around the Bay Area are rising to the challenge.\u003c/p>\n\u003cfigure id=\"attachment_13882151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ChristianCagigal_TarotCards_credit_JulieMichelle-800x533.jpg\" alt='Christian Cagigal has already readied his act for the road—so it was only a matter of \"re-choreographing\" it for Zoom.' width=\"800\" height=\"533\" class=\"size-medium wp-image-13882151\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_TarotCards_credit_JulieMichelle.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_TarotCards_credit_JulieMichelle-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_TarotCards_credit_JulieMichelle-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Cagigal has already readied his act for the road—so it was only a matter of “re-choreographing” it for Zoom. \u003ccite>(Julie Michelle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Stage and Reworked Show\u003c/h2>\n\u003cp>For longtime Daly City-based magician Christian Cagigal, the pivot to digital has been an interesting undertaking, in part because he’s spent many years deliberately crafting shows that hearken to a pre-computer age. Think \u003cem>Wunderkammer \u003c/em>and antique music boxes and a Victorian parlor aesthetic. Even his “semi-autobiographical” show, \u003cem>Now and at the Hour\u003c/em>—which he committed to camera with the help of filmmaker H.P. Mendoza—incorporated a live audience, and his close-up-magic-on-camera show \u003ca href=\"https://www.christiancagigal.com/obscura.html\">\u003cem>Obscura\u003c/em>\u003c/a> also relied on the physical presence of its rapt attendees.\u003c/p>\n\u003cp>Fortunately, in order to be able to tour as a magician, Cagigal had already worked up a set of more standard, less atmospheric magic that could easily be adapted to a number of stages and lineups. For the last two years he’s traveled between New York City and the Bay Area, establishing himself bi-coastally at events such as Speakeasy Magick at the McKittrick Hotel, Odd Salon, and as the owner of the \u003ca href=\"https://www.kqed.org/news/11700225/the-ghost-of-a-legend-how-a-san-francisco-civil-rights-icon-was-made-a-monster\">San Francisco Ghost Hunt\u003c/a>. Thus prepared, he’s thrown himself into repurposing his material even further for an online audience.\u003c/p>\n\u003cfigure id=\"attachment_13882002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-800x413.png\" alt=\"\" width=\"800\" height=\"413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-800x413.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-768x397.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern-1020x527.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ChristianCagigal_screenshot_credit_NicoleGluckstern.png 1102w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Cagigal performs a magic trick over Zoom. \u003ccite>(Screenshot by Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cagigal’s experience setting up his magic table and filming it live for \u003cem>Obscura\u003c/em> comes in handy here. He’s already learned a lot about positioning his camera for the best angles, and making his hands the star of the show as they swiftly manipulate cards, coins, photographs, and envelopes within unobstructed view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I don’t have to reinvent my material,” Cagigal clarifies as we chat over Zoom. “I just have to re-choreograph it.” Fellow magicians have been a good source of information on video-conferencing basics, home lighting, and tweaking certain tricks to fit their screens. Ultimately, though, it’s the audiences themselves who have been the best barometers of a particular bit’s success. And according to Cagigal, they’ve been pretty accommodating of his limitations.\u003c/p>\n\u003cp>“People allow us a little bit of extra leeway… and not be suspicious of every single thing,” he explains. “Because they know we’re all trapped in our space, and this is not the situation we are trying to create.”\u003c/p>\n\u003cfigure id=\"attachment_13882150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/MagicalNathaniel_CorporateCloseUpMagic_credit_JimVetter-800x532.jpg\" alt=\"Magical Nathaniel has had to pivot during the pandemic from in-person parties (above) to Zoom, where he's found a worldwide audience. \" width=\"800\" height=\"532\" class=\"size-medium wp-image-13882150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_CorporateCloseUpMagic_credit_JimVetter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_CorporateCloseUpMagic_credit_JimVetter-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_CorporateCloseUpMagic_credit_JimVetter-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Magical Nathaniel has had to pivot during the pandemic from in-person parties (above) to Zoom, where he’s found a worldwide audience. \u003ccite>(Jim Vetter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Everybody’s Zooming Into the Act\u003c/h2>\n\u003cp>For Magical Nathaniel—currently located in Oakland—adapting to the moment has been challenging and inspiring in equal measure. A predominantly local performer with a penchant for family gatherings and birthday parties, the 25 year-old performed his first full magic show in third grade (“a disaster!”), and developed his chops over the years as a resident magician at El Cerrito’s Playland-not-at-the-Beach, where he estimates he performed over 1,000 shows before it closed in 2018.\u003c/p>\n\u003cp>Thanks to shelter-in-place and the internet, he’s been able to broaden his audience base to previously unimagined levels. Recently he performed for an after-school group of almost 200, including members as far away as China. He’s also performed custom shows and taught magic lessons for folks all around the country. In the spirit of embracing the unknown, he’s been adapting his performances to a variety of platforms, such as Instagram Live—where as many as 500 people might be watching at any given moment, and up to 23,000 for an entire set.\u003c/p>\n\u003cp>“Nobody knows what the future holds…but I think it’s going to be a very long time before we transition back,” Nathaniel muses. “And I don’t know that virtual shows will be transitioning out. I think they’re here to stay.”\u003c/p>\n\u003cp>Seated at a low table in front of a glittery curtain backdrop that used to travel with him to his live performances, Nathaniel matches his shirt and bowtie to his decor, and his patter to his mutable audience. Like Cagigal, he relies in part on the willingness of his virtual clients to trust him not to use camera manipulation. He gives off a wholesome, camp-counselor vibe, and even from a digital distance, there is a feeling of personal care in his routine.\u003c/p>\n\u003cfigure id=\"attachment_13882004\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/MagicalNathaniel_FloatingBill_CourtesyOfTheArtist.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Magical Nathaniel performs one of his signature tricks online. \u003ccite>(Courtesy of Magical Nathaniel.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Growing up without a lot of extra money for the usual beginner props and gags, Nathaniel began building his own tricks at a young age. He demonstrates some of his favorites: one camera-friendly moment in which he makes money “fly,” and another using a series of sealed envelopes, which he opens one at a time with practiced aplomb. “I love envelopes,” he grins. When he finally pulls the card I’d been thinking of from the final envelope, I’m relieved—for myself and for him. Even from afar, this confident magic-maker has “read” my mind, and I’m appropriately impressed.\u003c/p>\n\u003cp>“We all need something, a sense of hope, a sense of wonder,” he emphasizes. “And that’s, I think, what will help get us through this—whatever we’re going through.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information on upcoming shows and appearances, see the sites for \u003ca href=\"https://www.christiancagigal.com\">Christian Cagigal\u003c/a> and \u003ca href=\"https://www.magicalnathaniel.com\">Magical Nathaniel\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In times of great violence, the ability to tell the future would seem to be a welcome advantage. To gaze into a crystal ball, roll the dice, consult the oracle and be forewarned—which is to say, forearmed. But what of the prophet whose visions are ignored and whose words fall like ineffectual rain on a wasteland of doubters? It’s in this scenario we find Cassandra, doomed to see the future, but powerless to alter it.\u003c/p>\n\u003cp>Now, a new retelling of the Cassandra myth by Garret Jon Groenveld plays out as part of the \u003ca href=\"https://playground-sf.org/zoomfest/\" rel=\"noopener noreferrer\" target=\"_blank\">PlayGround Zoom Fest\u003c/a>. \u003cem>Disbelief\u003c/em> premiered as part of the festival on Zoom on May 30, and is \u003ca href=\"https://tickets.playground-sf.org/TheatreManager/1/online?event=232\">available on demand\u003c/a> through June 30.\u003c/p>\n\u003cp>In Groenveld’s \u003cem>Disbelief\u003c/em>, directed by Tracy Ward, Cassandra may be unable to change her fate, but her demeanor is far from that of a shunned madwoman. Portrayed by Nora el Samahy, this Cassandra faces her destruction with a grounded frankness. Matter-of-factly she lays out her truth for all to hear, and when the populace inevitably fail to heed her, refuses to internalize their inability to believe her as her fault. This self-assured Cassandra knows she’s not to blame for the skepticism of others, even though it costs her credibility, and eventually her life.\u003c/p>\n\u003cfigure id=\"attachment_13881251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern-800x498.png\" alt=\"\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nora el Samahy as Cassandra in Disbelief by Garret Jon Groenveld, as part of PlayGround’s Zoom Fest. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Groenveld’s take, Cassandra’s defining trait is not the futility of her prophecies, but the courage of her convictions. Given the “gift” of future sight by the God Apollo, whose motivations are strictly self-serving, she’s consequently cursed by him when his amorous advances are rebuffed. It’s a state of affairs the two keep circling around in repetitive confrontations that occasionally stray into poetics, but which never resolve the tension between them.\u003c/p>\n\u003cp>As Apollo, Michael Torres gives off superficially affable, white-collar “civility” vibes while systemically creating a torturous cycle from which Cassandra cannot escape. In turn, el Samahy’s Cassandra displays a patient didacticism that Apollo cannot dismantle with his professions of love. Again and again, she explains she cannot love him as he wants her to, but he is blind to his own disbelief.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of \u003cem>Disbelief\u003c/em>’s “action” unfolds in the faces of the performers. Positioned sedately in front of their web cameras, each talking head expresses a full range of human and godly emotion with a twitch of an eyebrow, a sharp exhalation of breath, a knowingly direct gaze.\u003c/p>\n\u003cfigure id=\"attachment_13881252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern-800x405.jpeg\" alt=\"\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern-800x405.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern-160x81.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern-768x389.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Torres as Apollo in Disbelief by Garret Jon Groenveld, as part of PlayGround’s Zoom Fest. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chorus of three (Rinabeth Apostal, Christian Wilburn, Aaron Wilton) take on the roles of the other significant figures in Cassandra’s life—family members, suitors, and captors—with simple costume changes designed by Ashley Renee, and color-coordinated backdrops designed by Randy Wong-Westbrooke. Keeping each speaker “centerstage” for their lines gives each bit character an unexpected weight in the production, while Kalon Thibodeauux’ sound design—a relentless percussion—gives the production its heartbeat.\u003c/p>\n\u003cp>Throughout the PlayGround Zoom Festival, which includes 25 livestreamed events, different directors have risen to the challenges of the technology, sometimes choosing to place actors together onscreen, sometimes keeping them spotlighted individually. Without benefit of traditional entrances and exits, finessing the timing of transitions is still a work in progress, but for the most part, the flow of each performance is comparable to that of a production presented at PlayGround’s Potrero Stage. Virtual backgrounds do much of the heavy lifting in terms of setting each scene, enhanced by a few strategically positioned props. Occasional digital glitching occurs, as well as good old-fashioned human error such as dropped lines, but for the most part, the shows have gone on as planned.\u003c/p>\n\u003cp>Having migrated all of their spring and summer shows to the digital realm, PlayGround’s Zoom Fest has set the stage, as it were, for future explorations of the form. Running through June 14, the festival has brought together shorts, staged readings, and world premieres, and is working out the bugs as they go. Next weekend’s Zoom world premiere—Genevieve Jessee’s \u003cem>The Rendering Cycle\u003c/em>, directed by Margo Hall—runs two nights (June 6-7), and the festival closes with a weekend’s worth of “The Best of Playground,” a reimagining of short plays from the past season.\u003c/p>\n\u003cfigure id=\"attachment_13881253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881253\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern-800x406.jpeg\" alt=\"\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern-800x406.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern-160x81.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern-768x389.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rinabeth Apostal as Helen in ‘Disbelief’ by Garret Jon Groenveld, as part of PlayGround’s Zoom Fest. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As more theater-makers experiment with the viability of meeting software for creative purposes, it’s worth wondering whether or not these forays will result in platforms designed more specifically for their needs. With early adopters such as PlayGround to provide input and feedback, maybe we’ll see Silicon Valley rise to the challenge of making videoconferencing software that can be more creatively manipulated for live performance demands. For example, PlayGround’s Artistic Director Jim Kleinmann mentions he’d like to have a way to make possible an undercurrent of audience reaction, so the performers can feel more present.\u003c/p>\n\u003cp>But even without those improvements, PlayGround’s Zoom Fest has been a welcome container of shared, live performance, and an exemplar of the adaptability of the artform. Believe it.\u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The PlayGround Zoom Fest runs through June 14. \u003ca href=\"https://playground-sf.org/zoomfest/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In times of great violence, the ability to tell the future would seem to be a welcome advantage. To gaze into a crystal ball, roll the dice, consult the oracle and be forewarned—which is to say, forearmed. But what of the prophet whose visions are ignored and whose words fall like ineffectual rain on a wasteland of doubters? It’s in this scenario we find Cassandra, doomed to see the future, but powerless to alter it.\u003c/p>\n\u003cp>Now, a new retelling of the Cassandra myth by Garret Jon Groenveld plays out as part of the \u003ca href=\"https://playground-sf.org/zoomfest/\" rel=\"noopener noreferrer\" target=\"_blank\">PlayGround Zoom Fest\u003c/a>. \u003cem>Disbelief\u003c/em> premiered as part of the festival on Zoom on May 30, and is \u003ca href=\"https://tickets.playground-sf.org/TheatreManager/1/online?event=232\">available on demand\u003c/a> through June 30.\u003c/p>\n\u003cp>In Groenveld’s \u003cem>Disbelief\u003c/em>, directed by Tracy Ward, Cassandra may be unable to change her fate, but her demeanor is far from that of a shunned madwoman. Portrayed by Nora el Samahy, this Cassandra faces her destruction with a grounded frankness. Matter-of-factly she lays out her truth for all to hear, and when the populace inevitably fail to heed her, refuses to internalize their inability to believe her as her fault. This self-assured Cassandra knows she’s not to blame for the skepticism of others, even though it costs her credibility, and eventually her life.\u003c/p>\n\u003cfigure id=\"attachment_13881251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern-800x498.png\" alt=\"\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_NoraelSamahy_credit_NicoleGluckstern.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nora el Samahy as Cassandra in Disbelief by Garret Jon Groenveld, as part of PlayGround’s Zoom Fest. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Groenveld’s take, Cassandra’s defining trait is not the futility of her prophecies, but the courage of her convictions. Given the “gift” of future sight by the God Apollo, whose motivations are strictly self-serving, she’s consequently cursed by him when his amorous advances are rebuffed. It’s a state of affairs the two keep circling around in repetitive confrontations that occasionally stray into poetics, but which never resolve the tension between them.\u003c/p>\n\u003cp>As Apollo, Michael Torres gives off superficially affable, white-collar “civility” vibes while systemically creating a torturous cycle from which Cassandra cannot escape. In turn, el Samahy’s Cassandra displays a patient didacticism that Apollo cannot dismantle with his professions of love. Again and again, she explains she cannot love him as he wants her to, but he is blind to his own disbelief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of \u003cem>Disbelief\u003c/em>’s “action” unfolds in the faces of the performers. Positioned sedately in front of their web cameras, each talking head expresses a full range of human and godly emotion with a twitch of an eyebrow, a sharp exhalation of breath, a knowingly direct gaze.\u003c/p>\n\u003cfigure id=\"attachment_13881252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881252\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern-800x405.jpeg\" alt=\"\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern-800x405.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern-160x81.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern-768x389.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_MichaelTorres_credit_NicoleGluckstern.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Torres as Apollo in Disbelief by Garret Jon Groenveld, as part of PlayGround’s Zoom Fest. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A chorus of three (Rinabeth Apostal, Christian Wilburn, Aaron Wilton) take on the roles of the other significant figures in Cassandra’s life—family members, suitors, and captors—with simple costume changes designed by Ashley Renee, and color-coordinated backdrops designed by Randy Wong-Westbrooke. Keeping each speaker “centerstage” for their lines gives each bit character an unexpected weight in the production, while Kalon Thibodeauux’ sound design—a relentless percussion—gives the production its heartbeat.\u003c/p>\n\u003cp>Throughout the PlayGround Zoom Festival, which includes 25 livestreamed events, different directors have risen to the challenges of the technology, sometimes choosing to place actors together onscreen, sometimes keeping them spotlighted individually. Without benefit of traditional entrances and exits, finessing the timing of transitions is still a work in progress, but for the most part, the flow of each performance is comparable to that of a production presented at PlayGround’s Potrero Stage. Virtual backgrounds do much of the heavy lifting in terms of setting each scene, enhanced by a few strategically positioned props. Occasional digital glitching occurs, as well as good old-fashioned human error such as dropped lines, but for the most part, the shows have gone on as planned.\u003c/p>\n\u003cp>Having migrated all of their spring and summer shows to the digital realm, PlayGround’s Zoom Fest has set the stage, as it were, for future explorations of the form. Running through June 14, the festival has brought together shorts, staged readings, and world premieres, and is working out the bugs as they go. Next weekend’s Zoom world premiere—Genevieve Jessee’s \u003cem>The Rendering Cycle\u003c/em>, directed by Margo Hall—runs two nights (June 6-7), and the festival closes with a weekend’s worth of “The Best of Playground,” a reimagining of short plays from the past season.\u003c/p>\n\u003cfigure id=\"attachment_13881253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881253\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern-800x406.jpeg\" alt=\"\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern-800x406.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern-160x81.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern-768x389.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Disbelief_RinabethApostal_credit_NicoleGluckstern.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rinabeth Apostal as Helen in ‘Disbelief’ by Garret Jon Groenveld, as part of PlayGround’s Zoom Fest. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As more theater-makers experiment with the viability of meeting software for creative purposes, it’s worth wondering whether or not these forays will result in platforms designed more specifically for their needs. With early adopters such as PlayGround to provide input and feedback, maybe we’ll see Silicon Valley rise to the challenge of making videoconferencing software that can be more creatively manipulated for live performance demands. For example, PlayGround’s Artistic Director Jim Kleinmann mentions he’d like to have a way to make possible an undercurrent of audience reaction, so the performers can feel more present.\u003c/p>\n\u003cp>But even without those improvements, PlayGround’s Zoom Fest has been a welcome container of shared, live performance, and an exemplar of the adaptability of the artform. Believe it.\u003cbr>\n \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The PlayGround Zoom Fest runs through June 14. \u003ca href=\"https://playground-sf.org/zoomfest/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A few months later, Kramer married his longtime partner, architect David Webster, in the intensive care unit of NYU Langone Medical Center, where Kramer was recovering from surgery for a bowel obstruction.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Theaters Are Shut. Why Not Put On a Play at Home?",
"headTitle": "The Theaters Are Shut. Why Not Put On a Play at Home? | KQED",
"content": "\u003cp>You can’t go to the theater these days.\u003c/p>\n\u003cp>So theater companies big and small across the country, including Berkeley Repertory Theatre, New York’s Public Theatre and the Kennedy Center in Washington, D.C., have asked dozens of professional playwrights to create short dramas for people to perform at home. The play scripts, part of a new initiative called \u003ca href=\"https://www.playathome.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Play at Home\u003c/a>, have been downloaded 20,000 times since the start of April.\u003c/p>\n\u003cp>I decided to assemble a group of coworkers together via Zoom to give one a go. You can view our effort here:\u003c/p>\n\u003cp>https://youtu.be/bLJrmIvDkTw\u003c/p>\n\u003cp>I picked Bay Area playwright \u003ca href=\"https://www.minkahng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Min Kahng\u003c/a>’s \u003ca href=\"https://www.playathome.org/search?q=min%20kahng\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Half a Dozen of the Other\u003c/em>\u003c/a> from around 100 plays available on the Play at Home website. One reason is that it could be performed by the exact number of coworkers who’d agreed to participate: three people to play roles, one to read the stage directions, and one (me) to introduce the proceedings. I also liked the sound of Kahng’s quirky drama centering on a mysterious, locked wardrobe. Of course, it doesn’t stay locked for long.\u003c/p>\n\u003cp>All the Play at Home plays are available online for anyone to download for free and perform from home with friends and family—or with colleagues online. KQED Arts’ senior editor Gabe Meline, who in our reading played a character whose curiosity is aroused by the wardrobe, says doing Kahng’s play served as a welcome break from having to be his usual self in Zoom meetings all day long.\u003c/p>\n\u003cp>“After doing this play, I realized how refreshing it was to be someone else for 10 minutes,” Meline says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since the stay-at-home orders went into place and theaters shut down, many theater companies have streamed shows from their archives. Theater director Stephanie Ybarra wanted to do something more interactive, so she came up with the idea for Play at Home.\u003c/p>\n\u003cp>“I started thinking about who is sitting at home, who is stuck together,” Ybarra says. “What would it look like for a play to be read by those folks?”\u003c/p>\n\u003cp>Ybarra is the \u003ca href=\"https://www.centerstage.org/about/staff-and-board\" target=\"_blank\" rel=\"noopener noreferrer\">artistic director of Baltimore Center Stage\u003c/a> in Maryland. More than a dozen theater groups have commissioned playwrights to pen works for Play at Home so far, ranging from monologues to dramas with cast sizes worthy of Shakespeare. Ybarra says each author gets $500, as well as a few pointers.\u003c/p>\n\u003cp>“Things like: be mindful of the fact that there are probably multi-generational folks in one play, so maybe consider being kid-friendly,” Ybarra says. “And people don’t really want to be sitting and reading a six-hour play. So think about a five-to-ten minute play.”\u003c/p>\n\u003cfigure id=\"attachment_13880457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/RS43177_min-kahng-qut-800x454.jpg\" alt=\"\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut.jpg 1270w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Min Kahng is the author of ‘Half A Dozen Of The Other.’ The play was commissioned by Berkeley Repertory Theatre for the Play at Home initiative. \u003ccite>(Courtesy of Min Kahng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The creativity in the scripts is mind-boggling. There’s \u003ca href=\"https://www.playathome.org/plays/christian-space-cats?rq=christian\" target=\"_blank\" rel=\"noopener noreferrer\">one play\u003c/a> featuring a pair of talking cats and the President of the United States, and \u003ca href=\"https://www.playathome.org/plays/rios-yellowfish?rq=yellowfish\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> set on a pirate ship that calls for butterflies and flying spaghetti.\u003c/p>\n\u003cp>And then there’s the creativity of the participants themselves. For Kahng’s \u003cem>Half a Dozen of the Other\u003c/em> (one of several works commissioned for Play at Home by Berkeley Repertory Theatre), the script calls for glowing eggs that float in mid-air. One member of KQED’s cast employed an egg-shaped lamp to create the special effect. Others used eggy Zoom backgrounds. Having no better option, I grabbed an actual chicken egg from the fridge right before we started the reading.\u003c/p>\n\u003cp>The playwright says he has no idea what a glowing egg looks like.\u003c/p>\n\u003cp>“Each group that’s doing it figures it out in their own way,” Kahng says. “And I thought that that was going to be a really fun thing to just see creativity explode.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can’t go to the theater these days.\u003c/p>\n\u003cp>So theater companies big and small across the country, including Berkeley Repertory Theatre, New York’s Public Theatre and the Kennedy Center in Washington, D.C., have asked dozens of professional playwrights to create short dramas for people to perform at home. The play scripts, part of a new initiative called \u003ca href=\"https://www.playathome.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Play at Home\u003c/a>, have been downloaded 20,000 times since the start of April.\u003c/p>\n\u003cp>I decided to assemble a group of coworkers together via Zoom to give one a go. You can view our effort here:\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/bLJrmIvDkTw'\n title='//www.youtube.com/embed/bLJrmIvDkTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I picked Bay Area playwright \u003ca href=\"https://www.minkahng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Min Kahng\u003c/a>’s \u003ca href=\"https://www.playathome.org/search?q=min%20kahng\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Half a Dozen of the Other\u003c/em>\u003c/a> from around 100 plays available on the Play at Home website. One reason is that it could be performed by the exact number of coworkers who’d agreed to participate: three people to play roles, one to read the stage directions, and one (me) to introduce the proceedings. I also liked the sound of Kahng’s quirky drama centering on a mysterious, locked wardrobe. Of course, it doesn’t stay locked for long.\u003c/p>\n\u003cp>All the Play at Home plays are available online for anyone to download for free and perform from home with friends and family—or with colleagues online. KQED Arts’ senior editor Gabe Meline, who in our reading played a character whose curiosity is aroused by the wardrobe, says doing Kahng’s play served as a welcome break from having to be his usual self in Zoom meetings all day long.\u003c/p>\n\u003cp>“After doing this play, I realized how refreshing it was to be someone else for 10 minutes,” Meline says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the stay-at-home orders went into place and theaters shut down, many theater companies have streamed shows from their archives. Theater director Stephanie Ybarra wanted to do something more interactive, so she came up with the idea for Play at Home.\u003c/p>\n\u003cp>“I started thinking about who is sitting at home, who is stuck together,” Ybarra says. “What would it look like for a play to be read by those folks?”\u003c/p>\n\u003cp>Ybarra is the \u003ca href=\"https://www.centerstage.org/about/staff-and-board\" target=\"_blank\" rel=\"noopener noreferrer\">artistic director of Baltimore Center Stage\u003c/a> in Maryland. More than a dozen theater groups have commissioned playwrights to pen works for Play at Home so far, ranging from monologues to dramas with cast sizes worthy of Shakespeare. Ybarra says each author gets $500, as well as a few pointers.\u003c/p>\n\u003cp>“Things like: be mindful of the fact that there are probably multi-generational folks in one play, so maybe consider being kid-friendly,” Ybarra says. “And people don’t really want to be sitting and reading a six-hour play. So think about a five-to-ten minute play.”\u003c/p>\n\u003cfigure id=\"attachment_13880457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/RS43177_min-kahng-qut-800x454.jpg\" alt=\"\" width=\"800\" height=\"454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/RS43177_min-kahng-qut.jpg 1270w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Min Kahng is the author of ‘Half A Dozen Of The Other.’ The play was commissioned by Berkeley Repertory Theatre for the Play at Home initiative. \u003ccite>(Courtesy of Min Kahng)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The creativity in the scripts is mind-boggling. There’s \u003ca href=\"https://www.playathome.org/plays/christian-space-cats?rq=christian\" target=\"_blank\" rel=\"noopener noreferrer\">one play\u003c/a> featuring a pair of talking cats and the President of the United States, and \u003ca href=\"https://www.playathome.org/plays/rios-yellowfish?rq=yellowfish\" target=\"_blank\" rel=\"noopener noreferrer\">another\u003c/a> set on a pirate ship that calls for butterflies and flying spaghetti.\u003c/p>\n\u003cp>And then there’s the creativity of the participants themselves. For Kahng’s \u003cem>Half a Dozen of the Other\u003c/em> (one of several works commissioned for Play at Home by Berkeley Repertory Theatre), the script calls for glowing eggs that float in mid-air. One member of KQED’s cast employed an egg-shaped lamp to create the special effect. Others used eggy Zoom backgrounds. Having no better option, I grabbed an actual chicken egg from the fridge right before we started the reading.\u003c/p>\n\u003cp>The playwright says he has no idea what a glowing egg looks like.\u003c/p>\n\u003cp>“Each group that’s doing it figures it out in their own way,” Kahng says. “And I thought that that was going to be a really fun thing to just see creativity explode.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This far into shelter-in-place, it’s hard not to feel, as the eponymous character in \u003cem>Macbeth\u003c/em> once \u003ca href=\"https://www.enotes.com/homework-help/explain-this-quote-from-macbeth-i-had-else-been-281677\" target=\"_blank\" rel=\"noopener noreferrer\">bemoaned\u003c/a>, “cabined, cribbed, confined.” And for those of us missing the thrill of live theatre, now seems like a pretty good time to get lost in Shakespeare’s timeless texts.\u003c/p>\n\u003cp>Thankfully, \u003ca href=\"https://www.shakespearesglobe.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Globe\u003c/a> is on hand to assist. The world-renowned London theater began streaming its 2020 production of \u003cem>Macbeth\u003c/em> this week, entirely \u003ca href=\"https://www.youtube.com/watch?v=PFwHmgA9nno&\" target=\"_blank\" rel=\"noopener noreferrer\">free of charge on YouTube\u003c/a>. The play, which opened Feb. 26 but was forced to close early due to COVID-related precautions, is fast-paced, intermission-free and designed specifically to appeal to a younger audience. (Take heed, parents with high schoolers at home!)\u003c/p>\n\u003cp>In addition, the Globe—a meticulous replica of the theater where Shakespeare presented many of his plays in the early 1600s—will grant the world free \u003ca href=\"https://www.shakespearesglobe.com/watch/#free-youtube-premieres\" target=\"_blank\" rel=\"noopener noreferrer\">access to some of its other productions\u003c/a> until at least the end of June. 2018’s \u003cem>A Winter’s Tale\u003c/em> will stream from May 18-31; 2019’s \u003cem>The Merry Wives of Windsor\u003c/em> will stream from June 1-14; and 2013’s \u003cem>A Midsummer Night’s Dream\u003c/em> will stream from June 15-28.\u003c/p>\n\u003cp>What’s more, the Globe has also launched \u003cem>\u003ca href=\"https://www.shakespearesglobe.com/watch/love-in-isolation-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Love in Isolation\u003c/a>\u003c/em>: a series of bitesize videos in which actors (and occasionally members of the public) recite some of Shakespeare’s most treasured passages. Despite the plain clothes and domestic settings, some of the readings—like the one below from \u003cem>The Tempest\u003c/em> by Alfred Enoch—are surprisingly soothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ei0Npe4B26k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While all of these presentations by the Globe are free, the theater asks viewers to consider \u003ca href=\"https://www.shakespearesglobe.com/donate\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This far into shelter-in-place, it’s hard not to feel, as the eponymous character in \u003cem>Macbeth\u003c/em> once \u003ca href=\"https://www.enotes.com/homework-help/explain-this-quote-from-macbeth-i-had-else-been-281677\" target=\"_blank\" rel=\"noopener noreferrer\">bemoaned\u003c/a>, “cabined, cribbed, confined.” And for those of us missing the thrill of live theatre, now seems like a pretty good time to get lost in Shakespeare’s timeless texts.\u003c/p>\n\u003cp>Thankfully, \u003ca href=\"https://www.shakespearesglobe.com/\" target=\"_blank\" rel=\"noopener noreferrer\">the Globe\u003c/a> is on hand to assist. The world-renowned London theater began streaming its 2020 production of \u003cem>Macbeth\u003c/em> this week, entirely \u003ca href=\"https://www.youtube.com/watch?v=PFwHmgA9nno&\" target=\"_blank\" rel=\"noopener noreferrer\">free of charge on YouTube\u003c/a>. The play, which opened Feb. 26 but was forced to close early due to COVID-related precautions, is fast-paced, intermission-free and designed specifically to appeal to a younger audience. (Take heed, parents with high schoolers at home!)\u003c/p>\n\u003cp>In addition, the Globe—a meticulous replica of the theater where Shakespeare presented many of his plays in the early 1600s—will grant the world free \u003ca href=\"https://www.shakespearesglobe.com/watch/#free-youtube-premieres\" target=\"_blank\" rel=\"noopener noreferrer\">access to some of its other productions\u003c/a> until at least the end of June. 2018’s \u003cem>A Winter’s Tale\u003c/em> will stream from May 18-31; 2019’s \u003cem>The Merry Wives of Windsor\u003c/em> will stream from June 1-14; and 2013’s \u003cem>A Midsummer Night’s Dream\u003c/em> will stream from June 15-28.\u003c/p>\n\u003cp>What’s more, the Globe has also launched \u003cem>\u003ca href=\"https://www.shakespearesglobe.com/watch/love-in-isolation-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Love in Isolation\u003c/a>\u003c/em>: a series of bitesize videos in which actors (and occasionally members of the public) recite some of Shakespeare’s most treasured passages. Despite the plain clothes and domestic settings, some of the readings—like the one below from \u003cem>The Tempest\u003c/em> by Alfred Enoch—are surprisingly soothing.\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/ei0Npe4B26k'\n title='//www.youtube.com/embed/ei0Npe4B26k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While all of these presentations by the Globe are free, the theater asks viewers to consider \u003ca href=\"https://www.shakespearesglobe.com/donate\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Hamilton' Coming to Streaming on July 3, Bypassing 2021 Theatrical Release",
"headTitle": "‘Hamilton’ Coming to Streaming on July 3, Bypassing 2021 Theatrical Release | KQED",
"content": "\u003cp>Cue the \u003cem>Hamilton\u003c/em> quotes: Soon, the room where it happens will be your living room! Shout it to the rooftops that the Broadway sensation \u003cem>Hamilton\u003c/em> will be available for home viewing this summer! Look around, look around to see how lucky we are to be alive in a world where \u003cem>Hamilton\u003c/em> is coming to Disney+ on July 3, more than 15 months ahead of schedule!\u003c/p>\n\u003cp>Earlier this year, creator and star Lin-Manuel Miranda announced that a \u003cem>Hamilton\u003c/em> movie — filmed in 2016 with the original Broadway cast at New York’s Richard Rodgers Theatre — was coming to theaters in October 2021. Given the show’s continued popularity on stage — it won 11 Tony Awards, spun off popular albums and books, spawned multiple successful touring companies and became an all-around pop-culture sensation — the announcement of a considerably less pricey theatrical release was a welcome surprise.\u003c/p>\n\u003cp>But Tuesday morning, Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/1260181905909129216?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\">tweeted\u003c/a> that fans wouldn’t have to wait even that long: The recording will likely bypass theatrical release entirely, and will instead come to the streaming service Disney+ in July, less than two months from today.\u003c/p>\n\u003cp>It’s a major coup for Disney+ in its bid to compete with heavy-hitting streaming services like Netflix and Hulu — and a major boon for \u003cem>Hamilton\u003c/em> fans and viewers who’ve fretted about the uncertainty surrounding this year’s summer movies with theaters still closed due to COVID-19. It’s no doubt less welcome news for those theaters, which have lost enormous business due to the combination of closures and home streaming. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Coming+To+Disney%2B+On+July+3%2C+Bypassing+2021+Theatrical+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cue the \u003cem>Hamilton\u003c/em> quotes: Soon, the room where it happens will be your living room! Shout it to the rooftops that the Broadway sensation \u003cem>Hamilton\u003c/em> will be available for home viewing this summer! Look around, look around to see how lucky we are to be alive in a world where \u003cem>Hamilton\u003c/em> is coming to Disney+ on July 3, more than 15 months ahead of schedule!\u003c/p>\n\u003cp>Earlier this year, creator and star Lin-Manuel Miranda announced that a \u003cem>Hamilton\u003c/em> movie — filmed in 2016 with the original Broadway cast at New York’s Richard Rodgers Theatre — was coming to theaters in October 2021. Given the show’s continued popularity on stage — it won 11 Tony Awards, spun off popular albums and books, spawned multiple successful touring companies and became an all-around pop-culture sensation — the announcement of a considerably less pricey theatrical release was a welcome surprise.\u003c/p>\n\u003cp>But Tuesday morning, Miranda \u003ca href=\"https://twitter.com/Lin_Manuel/status/1260181905909129216?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\">tweeted\u003c/a> that fans wouldn’t have to wait even that long: The recording will likely bypass theatrical release entirely, and will instead come to the streaming service Disney+ in July, less than two months from today.\u003c/p>\n\u003cp>It’s a major coup for Disney+ in its bid to compete with heavy-hitting streaming services like Netflix and Hulu — and a major boon for \u003cem>Hamilton\u003c/em> fans and viewers who’ve fretted about the uncertainty surrounding this year’s summer movies with theaters still closed due to COVID-19. It’s no doubt less welcome news for those theaters, which have lost enormous business due to the combination of closures and home streaming. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Coming+To+Disney%2B+On+July+3%2C+Bypassing+2021+Theatrical+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Normally, you wouldn’t be allowed to eat a bowl of caramel corn while watching a play. Even the most accommodating and hip theater companies don’t offer snacks that are so notably \u003cem>audible\u003c/em>—at least not to be eaten during the show. But that’s one of the secret silver linings of watching theater during the coronavirus crisis: kicking one’s snack game up a notch.\u003c/p>\n\u003cp>In fact, more often than not, my online theater watching coincides with my full dinner hour, an enjoyable combination that’s far less possible to pull off when a show is \u003cem>in situ\u003c/em>. Nor do I have to worry about an unpredictable BART delay making me late for curtain, since curtain can be whenever I decide, and perhaps most amazingly of all, intermission and bathroom breaks are whenever I want them.\u003c/p>\n\u003cfigure id=\"attachment_13879321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Ishida in 2011’s ‘Beardo,’ part of Shotgun Players’ Art in the Time of Corona screening series. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the last show I was able to review live, \u003ca href=\"http://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">\u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a> (which closed the morning after its March 11 opening night), I haven’t been able to attend any shows in person. But thanks to modern technology, recorded shows from the archives of notable companies from around the globe are now available to anyone with an internet connection. Being able to binge-watch my way around the world—from The National Theatre of London to Schaubühne Berlin to the Wooster Group from NYC—has been an instructive crash course in shows that, in some cases, haven’t been seen onstage in decades, and never in the Bay Area.\u003c/p>\n\u003cp>But catching up with the many works offered by local theaters online has been a wonderful way to fill in some recent gaps, as well as revisit old favorites. Theaters that are challenging for a non-driver such as myself to visit, such as Marin Theatre Company and TheatreWorks, are suddenly accessible, and closed-captioning options offer another important accommodation not generally available in a live setting. With a few exceptions, such as TheatreWorks live-streamed \u003cem>Pride and Prejudice\u003c/em>—which had a proscribed, universal “curtain time”—videos can be viewed when convenient for the viewer. This removes some of the ritual of live performance, to be sure, but increases access for people on unconventional timelines (quarantine-induced or otherwise).\u003c/p>\n\u003cfigure id=\"attachment_13879320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Marin Theatre Company’s ‘Love,’ the first show presented as part of their ongoing virtual programming. With Rebecca Schweitzer, Clea Alsip, and Bobak Cyrus Bakhtiari. \u003ccite>(Alessandra Mello/mellophoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A known hotbed of new works, the Bay Area premieres many shows that tend to be one-and-done, rarely performed again elsewhere. So what a rare joy it’s been to dive into Shotgun Players’ Art in the Time of Corona series online, where they’ve been posting two shows a week from their archives. Through May 8, you can check out the 2008 Glickman award-winning, Banana Bag & Bodice collaboration, \u003cem>Beowulf: A Thousand Years of Baggage\u003c/em>, as well as last year’s triumphal \u003cem>Three Sisters\u003c/em>-remix \u003cem>Kill the Debbie Downers! Kill Them! Kill Them! Kill Them Off!\u003c/em>, both of which defied conventional structures at their inception, and neither of which are likely to see another full production this side of the continent any time soon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enough time has passed for some companies to pivot to creating new made-for-digital content while sheltered-in-place, such as the San Francisco Neo-Futurists and Queer Cat Productions. Queer Cat’s quarantine-specific web series \u003cem>Felix B. Love is Not Alone\u003c/em>, available through April 30, stars Nic A. Sommerfeld as the somewhat bemused Felix, who deals with isolation by dropping in on exes and struggles with the quest for “closure”—all while in the company of Zoomed-in friends. I discover, in a group-chat breakout room, that the audience is watching from at least five different states. It’s one of my favorite revelations about the experience: here is an instance where not being under the same roof is actually connecting audience members for a ritual far better than would a conventional, location-specific production.\u003c/p>\n\u003cfigure id=\"attachment_13879318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1920x1277.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of ‘They Promised Her the Moon,’ by Lauren Ollstein, at TheatreWorks. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, even pre-recorded theater-in-place has had its challenges. A streamed version of A.C.T.’s \u003cem>Gloria\u003c/em>, which had opened on Feb. 13, kept pausing to rebuffer, derailing its fierce momentum and therefore its emotional impact. I couldn’t get the livestream of TheatreWorks’ \u003cem>Pride and Prejudice\u003c/em> to work at all, so I watched their curtailed production of \u003cem>They Promised Her the Moon\u003c/em>, by Laurel Ollstein instead. Sound and lighting issues plagued almost all of the videos. Because they were filmed for archival purposes rather than polished production values, certain effects simply didn’t translate to video the way they did onstage.\u003c/p>\n\u003cp>Overall, though, I’m grateful that in this moment, theater-lovers still have ways to satiate our craving for whatever part of the experience we can access safely. In the long term, theaters large and small will likely undergo a huge restructuring in order to accommodate the new normal—a formidable task. Which makes these archives of past productions seem especially valuable, even historic. Don’t miss your opportunity to check some of them out while you have the chance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details, dates, and costs of online theater streams, see the \u003ca href=\"http://www.nationaltheatre.org.uk\">National Theatre\u003c/a>, \u003ca href=\"http://www.schaubuehne.de\">Schaubühne Berlin\u003c/a>, \u003ca href=\"http://thewoostergroup.org\">The Wooster Group\u003c/a>, \u003ca href=\"http://www.marintheatre.org\">Marin Theatre Company\u003c/a>, \u003ca href=\"https://theatreworks.org\">TheatreWorks\u003c/a>, \u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">A.C.T.\u003c/a>, \u003ca href=\"https://shotgunplayers.org\">Shotgun Players\u003c/a>, \u003ca href=\"http://www.sfneofuturists.org\">San Francisco Neo-Futurists\u003c/a>, or \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>—and don’t forget to check out your favorite local theater companies to see what online productions they may have available.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Normally, you wouldn’t be allowed to eat a bowl of caramel corn while watching a play. Even the most accommodating and hip theater companies don’t offer snacks that are so notably \u003cem>audible\u003c/em>—at least not to be eaten during the show. But that’s one of the secret silver linings of watching theater during the coronavirus crisis: kicking one’s snack game up a notch.\u003c/p>\n\u003cp>In fact, more often than not, my online theater watching coincides with my full dinner hour, an enjoyable combination that’s far less possible to pull off when a show is \u003cem>in situ\u003c/em>. Nor do I have to worry about an unpredictable BART delay making me late for curtain, since curtain can be whenever I decide, and perhaps most amazingly of all, intermission and bathroom breaks are whenever I want them.\u003c/p>\n\u003cfigure id=\"attachment_13879321\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879321\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/beardo1_credit_PakHan.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna Ishida in 2011’s ‘Beardo,’ part of Shotgun Players’ Art in the Time of Corona screening series. \u003ccite>(Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the last show I was able to review live, \u003ca href=\"http://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\">\u003cem>Toni Stone\u003c/em> at A.C.T.\u003c/a> (which closed the morning after its March 11 opening night), I haven’t been able to attend any shows in person. But thanks to modern technology, recorded shows from the archives of notable companies from around the globe are now available to anyone with an internet connection. Being able to binge-watch my way around the world—from The National Theatre of London to Schaubühne Berlin to the Wooster Group from NYC—has been an instructive crash course in shows that, in some cases, haven’t been seen onstage in decades, and never in the Bay Area.\u003c/p>\n\u003cp>But catching up with the many works offered by local theaters online has been a wonderful way to fill in some recent gaps, as well as revisit old favorites. Theaters that are challenging for a non-driver such as myself to visit, such as Marin Theatre Company and TheatreWorks, are suddenly accessible, and closed-captioning options offer another important accommodation not generally available in a live setting. With a few exceptions, such as TheatreWorks live-streamed \u003cem>Pride and Prejudice\u003c/em>—which had a proscribed, universal “curtain time”—videos can be viewed when convenient for the viewer. This removes some of the ritual of live performance, to be sure, but increases access for people on unconventional timelines (quarantine-induced or otherwise).\u003c/p>\n\u003cfigure id=\"attachment_13879320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/MTC_LOVE_Schweitzer_Alsip_Bakhtiari_HiRes.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Marin Theatre Company’s ‘Love,’ the first show presented as part of their ongoing virtual programming. With Rebecca Schweitzer, Clea Alsip, and Bobak Cyrus Bakhtiari. \u003ccite>(Alessandra Mello/mellophoto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A known hotbed of new works, the Bay Area premieres many shows that tend to be one-and-done, rarely performed again elsewhere. So what a rare joy it’s been to dive into Shotgun Players’ Art in the Time of Corona series online, where they’ve been posting two shows a week from their archives. Through May 8, you can check out the 2008 Glickman award-winning, Banana Bag & Bodice collaboration, \u003cem>Beowulf: A Thousand Years of Baggage\u003c/em>, as well as last year’s triumphal \u003cem>Three Sisters\u003c/em>-remix \u003cem>Kill the Debbie Downers! Kill Them! Kill Them! Kill Them Off!\u003c/em>, both of which defied conventional structures at their inception, and neither of which are likely to see another full production this side of the continent any time soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Enough time has passed for some companies to pivot to creating new made-for-digital content while sheltered-in-place, such as the San Francisco Neo-Futurists and Queer Cat Productions. Queer Cat’s quarantine-specific web series \u003cem>Felix B. Love is Not Alone\u003c/em>, available through April 30, stars Nic A. Sommerfeld as the somewhat bemused Felix, who deals with isolation by dropping in on exes and struggles with the quest for “closure”—all while in the company of Zoomed-in friends. I discover, in a group-chat breakout room, that the audience is watching from at least five different states. It’s one of my favorite revelations about the experience: here is an instance where not being under the same roof is actually connecting audience members for a ritual far better than would a conventional, location-specific production.\u003c/p>\n\u003cfigure id=\"attachment_13879318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13879318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled-1920x1277.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/TW_TheyPromisedHertheMoon_KevinBerne7-scaled.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of ‘They Promised Her the Moon,’ by Lauren Ollstein, at TheatreWorks. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, even pre-recorded theater-in-place has had its challenges. A streamed version of A.C.T.’s \u003cem>Gloria\u003c/em>, which had opened on Feb. 13, kept pausing to rebuffer, derailing its fierce momentum and therefore its emotional impact. I couldn’t get the livestream of TheatreWorks’ \u003cem>Pride and Prejudice\u003c/em> to work at all, so I watched their curtailed production of \u003cem>They Promised Her the Moon\u003c/em>, by Laurel Ollstein instead. Sound and lighting issues plagued almost all of the videos. Because they were filmed for archival purposes rather than polished production values, certain effects simply didn’t translate to video the way they did onstage.\u003c/p>\n\u003cp>Overall, though, I’m grateful that in this moment, theater-lovers still have ways to satiate our craving for whatever part of the experience we can access safely. In the long term, theaters large and small will likely undergo a huge restructuring in order to accommodate the new normal—a formidable task. Which makes these archives of past productions seem especially valuable, even historic. Don’t miss your opportunity to check some of them out while you have the chance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more details, dates, and costs of online theater streams, see the \u003ca href=\"http://www.nationaltheatre.org.uk\">National Theatre\u003c/a>, \u003ca href=\"http://www.schaubuehne.de\">Schaubühne Berlin\u003c/a>, \u003ca href=\"http://thewoostergroup.org\">The Wooster Group\u003c/a>, \u003ca href=\"http://www.marintheatre.org\">Marin Theatre Company\u003c/a>, \u003ca href=\"https://theatreworks.org\">TheatreWorks\u003c/a>, \u003ca href=\"https://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">A.C.T.\u003c/a>, \u003ca href=\"https://shotgunplayers.org\">Shotgun Players\u003c/a>, \u003ca href=\"http://www.sfneofuturists.org\">San Francisco Neo-Futurists\u003c/a>, or \u003ca href=\"http://www.queercatproductions.com\">Queer Cat Productions\u003c/a>—and don’t forget to check out your favorite local theater companies to see what online productions they may have available.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paris Warr is an apprentice embalmer at a mortuary in the East Bay. It’s her dream job. She’s only been there for a year, but what a year it’s been.\u003c/p>\n\u003cp>Before this job, she was a number of things: co-founder of a theatre troop called Colored Ink, owner of a head lice removal service, a sex educator, a model, a radio show host, a licensed notary and so much more.\u003c/p>\n\u003cp>All of Paris’ experiences have assisted her in gaining the skills she needs to become an embalmer. But she picked a hell of a time to get into the mortuary business, as officials have advised against holding funerals during the COVID-19 pandemic for safety reasons. Since our conversation she had to stop going into the office.\u003c/p>\n\u003cfigure id=\"attachment_13878797\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13878797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-800x800.jpg\" alt=\"Paris Warr\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paris Warr \u003ccite>(Courtesy of Paris Warr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You can hear Paris talk about the journey to get her dream job and how this pandemic is shifting her industry on this week’s episode of \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Rightnowish.\u003c/a> You can also follow Paris on \u003c/strong>\u003cstrong>\u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/computrblu/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>\u003c/strong>\u003cstrong>. \u003c/strong>\u003cstrong>What follows is a lightly edited excerpt of my conversation with Paris:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw: How did you land in the profession you’re in now?\u003c/em>\u003c/p>\n\u003cp>Paris Warr: I’ve always wanted to be in the funeral industry, maybe since the age of six. When my great-grandmother passed away, I went to her viewing and my grandmother told me to touch her. She said, “go on ahead and touch her, that way, you know she’s not coming back.”\u003c/p>\n\u003cp>PW: Ever since then, seeing [my great-grandmother] in that casket, seeing how beautiful she was and the environment that she was in and seeing how peaceful she looked, for some reason it was something that in the back of my mind. I was like, “I want to be here. I want to do that.”\u003c/p>\n\u003cp>PW: So I knew about the San Francisco College of Mortuary Science in the late 90s. And when I graduated high school, I could have sworn that’s where I was going, but they moved it to Sacramento. I was not about to move to Sacramento. So I just ended up doing my own thing and starting a theater company at Brava Theater, called Colored Ink, I was writing and producing, creating.\u003c/p>\n\u003cp>PW: Last year, I got sick of using the excuse that I couldn’t do this job. I was selling myself short. And so one night I just said, fuck it, let me try. I wrote that resumé, which took me forever, sent it in and I got a call the next day. And she loved my resume. She was like, “Wow! You know how to do makeup, dressing, production, you’ve done events, you know how to work with people.”\u003c/p>\n\u003cp>PW: Everything I have a skill in, she loved.\u003c/p>\n\u003cfigure id=\"attachment_13878799\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13878799\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/IMG_9802-800x1020.jpeg\" alt=\"Paris Warr\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802-800x1020.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802-160x204.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802-768x980.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802-1020x1301.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802.jpeg 1125w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paris Warr \u003ccite>(Courtesy of Paris Warr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>PH: And now what do you do on a daily basis?\u003c/em>\u003c/p>\n\u003cp>PW: The cases that we have involved, I look at them. I check them like babies. You know, when you have a baby and you check the diaper and everything else to see if they’re OK? That’s what I do with each of our involved cases. If they need moisturizer on their faces, I add more. If they need to be cleaned up a little bit, I do that. I also make sure their hands are in place, which is on top of their stomachs. Then after that, I just start on my first case.\u003c/p>\n\u003cp>\u003cem>PH: Is there any music you listen to that helps you with your job?\u003c/em>\u003c/p>\n\u003cp>PW: Yeah. I can’t work without music. It’s usually R&B, funk, sometimes heavy metal. It all depends on who I’m working on. If it’s an older person, I’ll put on soul or gospel or something. It’s different every day.\u003c/p>\n\u003cp>\u003cem>PH: You look at the person?\u003c/em>\u003c/p>\n\u003cp>PW: Yeah. I’m like, “you would like this, let me put this on for you.” I talk to them. I make them feel comfortable. And I treat them just like I would want my grandmother or grandfather to be treated.\u003c/p>\n\u003cp>\u003cem>PH: Thank you. It’s good to know people like you exist, man!\u003c/em>\u003c/p>\n\u003cp>PW: (Laughs) You’re welcome.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paris Warr is an apprentice embalmer at a mortuary in the East Bay. It’s her dream job. She’s only been there for a year, but what a year it’s been.\u003c/p>\n\u003cp>Before this job, she was a number of things: co-founder of a theatre troop called Colored Ink, owner of a head lice removal service, a sex educator, a model, a radio show host, a licensed notary and so much more.\u003c/p>\n\u003cp>All of Paris’ experiences have assisted her in gaining the skills she needs to become an embalmer. But she picked a hell of a time to get into the mortuary business, as officials have advised against holding funerals during the COVID-19 pandemic for safety reasons. Since our conversation she had to stop going into the office.\u003c/p>\n\u003cfigure id=\"attachment_13878797\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13878797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-800x800.jpg\" alt=\"Paris Warr\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Facetune_22-01-2020-18-32-28-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paris Warr \u003ccite>(Courtesy of Paris Warr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You can hear Paris talk about the journey to get her dream job and how this pandemic is shifting her industry on this week’s episode of \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Rightnowish.\u003c/a> You can also follow Paris on \u003c/strong>\u003cstrong>\u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/computrblu/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>\u003c/strong>\u003cstrong>. \u003c/strong>\u003cstrong>What follows is a lightly edited excerpt of my conversation with Paris:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw: How did you land in the profession you’re in now?\u003c/em>\u003c/p>\n\u003cp>Paris Warr: I’ve always wanted to be in the funeral industry, maybe since the age of six. When my great-grandmother passed away, I went to her viewing and my grandmother told me to touch her. She said, “go on ahead and touch her, that way, you know she’s not coming back.”\u003c/p>\n\u003cp>PW: Ever since then, seeing [my great-grandmother] in that casket, seeing how beautiful she was and the environment that she was in and seeing how peaceful she looked, for some reason it was something that in the back of my mind. I was like, “I want to be here. I want to do that.”\u003c/p>\n\u003cp>PW: So I knew about the San Francisco College of Mortuary Science in the late 90s. And when I graduated high school, I could have sworn that’s where I was going, but they moved it to Sacramento. I was not about to move to Sacramento. So I just ended up doing my own thing and starting a theater company at Brava Theater, called Colored Ink, I was writing and producing, creating.\u003c/p>\n\u003cp>PW: Last year, I got sick of using the excuse that I couldn’t do this job. I was selling myself short. And so one night I just said, fuck it, let me try. I wrote that resumé, which took me forever, sent it in and I got a call the next day. And she loved my resume. She was like, “Wow! You know how to do makeup, dressing, production, you’ve done events, you know how to work with people.”\u003c/p>\n\u003cp>PW: Everything I have a skill in, she loved.\u003c/p>\n\u003cfigure id=\"attachment_13878799\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13878799\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/IMG_9802-800x1020.jpeg\" alt=\"Paris Warr\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802-800x1020.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802-160x204.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802-768x980.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802-1020x1301.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/IMG_9802.jpeg 1125w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Paris Warr \u003ccite>(Courtesy of Paris Warr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>PH: And now what do you do on a daily basis?\u003c/em>\u003c/p>\n\u003cp>PW: The cases that we have involved, I look at them. I check them like babies. You know, when you have a baby and you check the diaper and everything else to see if they’re OK? That’s what I do with each of our involved cases. If they need moisturizer on their faces, I add more. If they need to be cleaned up a little bit, I do that. I also make sure their hands are in place, which is on top of their stomachs. Then after that, I just start on my first case.\u003c/p>\n\u003cp>\u003cem>PH: Is there any music you listen to that helps you with your job?\u003c/em>\u003c/p>\n\u003cp>PW: Yeah. I can’t work without music. It’s usually R&B, funk, sometimes heavy metal. It all depends on who I’m working on. If it’s an older person, I’ll put on soul or gospel or something. It’s different every day.\u003c/p>\n\u003cp>\u003cem>PH: You look at the person?\u003c/em>\u003c/p>\n\u003cp>PW: Yeah. I’m like, “you would like this, let me put this on for you.” I talk to them. I make them feel comfortable. And I treat them just like I would want my grandmother or grandfather to be treated.\u003c/p>\n\u003cp>\u003cem>PH: Thank you. It’s good to know people like you exist, man!\u003c/em>\u003c/p>\n\u003cp>PW: (Laughs) You’re welcome.\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>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In early March, even before officials issued the Bay Area’s shelter-in-place order, theaters had been \u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\" target=\"_blank\" rel=\"noopener noreferrer\">suspending shows\u003c/a> and shuttering their doors due to the coronavirus.\u003c/p>\n\u003cp>Within the chaos, a small bright spot appeared on social media. Local luminary and popular playwright Lauren Gunderson announced a playwriting seminar on Facebook Live, completely free, for anyone who cared to tune in. It was the sort of generous act that one might expect from a theater-maker who’s built her career on connecting to audiences through empathy and triumph over adversity. With Gunderson as cheerleader and coach, her videos are now archived and viewable on her \u003ca href=\"http://www.facebook.com/LaurenGundersonPlaywright\">public Facebook page\u003c/a>.\u003c/p>\n\u003cp>Gunderson is one of a handful of Bay Area theater figures offering free workshops online. For people whose careers are built on the act of gathering together, creating opportunities for others has been a key part of their pandemic response. Audiences may not know when they’ll be able to see another one of their shows in person, but in the interim, learning their techniques is a great way to stay connected to their work—and to our own innate need for the arts to sustain us.\u003c/p>\n\u003cfigure id=\"attachment_13878691\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Lauren-Gunderson-headshot-2-horizontal-768x559.jpg\" alt=\"Lauren Gunderson's free online classes offer a window into one of the country's most-produced playwrights. \" width=\"768\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Lauren-Gunderson-headshot-2-horizontal-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Lauren-Gunderson-headshot-2-horizontal-768x559-160x116.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Gunderson’s free online classes offer a window into one of the country’s most-produced playwrights. \u003ccite>(Courtesy Lauren Gunderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Creating Community\u003c/h2>\n\u003cp>In her one-hour classes, Gunderson steers participants through four informative lecture-style sessions, covering how to write emotion, conflict, comedy, beginnings and endings, and the “business” of playwriting. She punctuates her lessons with personal anecdotes, good-natured “rants,” and a comforting optimism.[aside postID='forum_2010101864798']\u003c/p>\n\u003cp>What’s more, as the days have stretched to weeks, Gunderson’s Facebook feed has become a treasure of community-minded content. She hosts exclusive chats with theater-makers such as Broadway actor Reggie D. White, dramaturg Martine Greene-Rogers, and CalShakes artistic director Eric Ting; there’s also a modified playwriting class for teens, and a theater book club.\u003c/p>\n\u003cp>“For me it’s just the act of gathering virtually and creating community that feels good and real and necessary,” Gunderson tells me. “Especially meaningful are the students who have reached out whose writing class or writers groups were cancelled. If I can’t make a ton of theater right now, I sure as hell want to talk about theater…as long as we’re stuck inside I plan on doing and sharing something theater related!”\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13840018 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Young Jean Lee talks prospective playwrights through her process. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Advice and Reassurance\u003c/h2>\n\u003cp>Just a couple of days after Gunderson announced her virtual playwriting class, acclaimed experimental playwright and current Stanford Professor Young Jean Lee offered a one-time, three-hour workshop via Zoom to the first 1,000 people who signed up. The full workshop, \u003ca href=\"https://vimeo.com/399753127\">which has been posted at Vimeo\u003c/a>, gives prospective playwrights a taste of what Lee’s students have been getting for the past year—minus the Stanford tuition cost.\u003c/p>\n\u003cp>While many of Lee’s renegade works—interrogating death, feminism, religion, race, and privilege—have been created \u003cem>ensemble\u003c/em>, she promises her workshop method is one that “works very well, especially for people who are less experienced at playwriting.” Through a measured sequence of writing prompts interspersed with writing time and Q&A, Lee leads her virtual workshop with a refreshing directness. [aside postID='arts_13841539']\u003c/p>\n\u003cp>“The answers to the majority of your questions are going to be either ‘that’s fine,’ or ‘it doesn’t matter,’ or ‘don’t worry about it’ for this draft,’” she assures her virtual classroom repeatedly. “The whole point of what you’re doing today is just to write, see what comes out, see what you can learn, (and) tap into the part of yourself that is not worrying about ‘should’ and ‘what’s the right way to do it.’” It’s sound advice for writers of any stripe, and reassuring to have it articulated by as accomplished and daring a writer as Lee.\u003c/p>\n\u003cfigure id=\"attachment_13878695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13878695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Anthony-800x627.jpg\" alt='Anthony Veneziale, co-founder of Speechless, leads a Monday afternoon \"play\" break.' width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Anthony.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Anthony-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Anthony-768x602.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Veneziale, co-founder of Speechless, leads a Monday afternoon “play” break. \u003ccite>(Emile Bers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Living in the Moment\u003c/h2>\n\u003cp>Playwrights aren’t the only performance-makers reaching out to offer insight into their process. Like many performance companies with an education arm, the San Francisco company Speechless has shifted its usual roster of workshops and class sessions online.\u003c/p>\n\u003cp>Since 2014, Speechless has combined the principles of effective speechmaking with improvisation, hosting hilarious judged competitions in which participants are challenged to deliver an impromptu speech to fit a PowerPoint of slides they’ve never seen before. A great example of the technique can be seen with Speechless co-founder Anthony Veneziale giving \u003ca href=\"http://www.ted.com/talks/anthony_veneziale_stumbling_towards_intimacy_an_improvised_ted_talk/transcript\">an unrehearsed TED Talk\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In response to the ongoing shelter-in-place order, Veneziale—also part of \u003ca href=\"https://www.nytimes.com/2019/10/02/theater/freestyle-love-supreme-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">Freestyle Love Supreme\u003c/a>—has begun leading a free 30-minute \u003ca href=\"http://www.speechlessinc.com/studio\">Monday afternoon class online\u003c/a> to spark creativity and conversation.\u003c/p>\n\u003cp>Described by Speechless relationship manager Stacie Blanke as being similarly structured to a “fitness” class, complete with a warm-up and a cool-down period, the “Restorative Play” classes are focused less on specific training goals and more on being present and playful in the moment—a useful skill that seems particularly urgent now.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In early March, even before officials issued the Bay Area’s shelter-in-place order, theaters had been \u003ca href=\"https://www.kqed.org/arts/13876835/despite-an-early-closing-toni-stone-hits-a-home-run-at-a-c-t\" target=\"_blank\" rel=\"noopener noreferrer\">suspending shows\u003c/a> and shuttering their doors due to the coronavirus.\u003c/p>\n\u003cp>Within the chaos, a small bright spot appeared on social media. Local luminary and popular playwright Lauren Gunderson announced a playwriting seminar on Facebook Live, completely free, for anyone who cared to tune in. It was the sort of generous act that one might expect from a theater-maker who’s built her career on connecting to audiences through empathy and triumph over adversity. With Gunderson as cheerleader and coach, her videos are now archived and viewable on her \u003ca href=\"http://www.facebook.com/LaurenGundersonPlaywright\">public Facebook page\u003c/a>.\u003c/p>\n\u003cp>Gunderson is one of a handful of Bay Area theater figures offering free workshops online. For people whose careers are built on the act of gathering together, creating opportunities for others has been a key part of their pandemic response. Audiences may not know when they’ll be able to see another one of their shows in person, but in the interim, learning their techniques is a great way to stay connected to their work—and to our own innate need for the arts to sustain us.\u003c/p>\n\u003cfigure id=\"attachment_13878691\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13878691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Lauren-Gunderson-headshot-2-horizontal-768x559.jpg\" alt=\"Lauren Gunderson's free online classes offer a window into one of the country's most-produced playwrights. \" width=\"768\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Lauren-Gunderson-headshot-2-horizontal-768x559.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Lauren-Gunderson-headshot-2-horizontal-768x559-160x116.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Gunderson’s free online classes offer a window into one of the country’s most-produced playwrights. \u003ccite>(Courtesy Lauren Gunderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Creating Community\u003c/h2>\n\u003cp>In her one-hour classes, Gunderson steers participants through four informative lecture-style sessions, covering how to write emotion, conflict, comedy, beginnings and endings, and the “business” of playwriting. She punctuates her lessons with personal anecdotes, good-natured “rants,” and a comforting optimism.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s more, as the days have stretched to weeks, Gunderson’s Facebook feed has become a treasure of community-minded content. She hosts exclusive chats with theater-makers such as Broadway actor Reggie D. White, dramaturg Martine Greene-Rogers, and CalShakes artistic director Eric Ting; there’s also a modified playwriting class for teens, and a theater book club.\u003c/p>\n\u003cp>“For me it’s just the act of gathering virtually and creating community that feels good and real and necessary,” Gunderson tells me. “Especially meaningful are the students who have reached out whose writing class or writers groups were cancelled. If I can’t make a ton of theater right now, I sure as hell want to talk about theater…as long as we’re stuck inside I plan on doing and sharing something theater related!”\u003c/p>\n\u003cfigure id=\"attachment_13840018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13840018 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg\" alt=\"Young Jean Lee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/YoungJeanLee.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Young Jean Lee talks prospective playwrights through her process. \u003ccite>(Blaine Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Advice and Reassurance\u003c/h2>\n\u003cp>Just a couple of days after Gunderson announced her virtual playwriting class, acclaimed experimental playwright and current Stanford Professor Young Jean Lee offered a one-time, three-hour workshop via Zoom to the first 1,000 people who signed up. The full workshop, \u003ca href=\"https://vimeo.com/399753127\">which has been posted at Vimeo\u003c/a>, gives prospective playwrights a taste of what Lee’s students have been getting for the past year—minus the Stanford tuition cost.\u003c/p>\n\u003cp>While many of Lee’s renegade works—interrogating death, feminism, religion, race, and privilege—have been created \u003cem>ensemble\u003c/em>, she promises her workshop method is one that “works very well, especially for people who are less experienced at playwriting.” Through a measured sequence of writing prompts interspersed with writing time and Q&A, Lee leads her virtual workshop with a refreshing directness. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The answers to the majority of your questions are going to be either ‘that’s fine,’ or ‘it doesn’t matter,’ or ‘don’t worry about it’ for this draft,’” she assures her virtual classroom repeatedly. “The whole point of what you’re doing today is just to write, see what comes out, see what you can learn, (and) tap into the part of yourself that is not worrying about ‘should’ and ‘what’s the right way to do it.’” It’s sound advice for writers of any stripe, and reassuring to have it articulated by as accomplished and daring a writer as Lee.\u003c/p>\n\u003cfigure id=\"attachment_13878695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13878695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Anthony-800x627.jpg\" alt='Anthony Veneziale, co-founder of Speechless, leads a Monday afternoon \"play\" break.' width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Anthony.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Anthony-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Anthony-768x602.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Veneziale, co-founder of Speechless, leads a Monday afternoon “play” break. \u003ccite>(Emile Bers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Living in the Moment\u003c/h2>\n\u003cp>Playwrights aren’t the only performance-makers reaching out to offer insight into their process. Like many performance companies with an education arm, the San Francisco company Speechless has shifted its usual roster of workshops and class sessions online.\u003c/p>\n\u003cp>Since 2014, Speechless has combined the principles of effective speechmaking with improvisation, hosting hilarious judged competitions in which participants are challenged to deliver an impromptu speech to fit a PowerPoint of slides they’ve never seen before. A great example of the technique can be seen with Speechless co-founder Anthony Veneziale giving \u003ca href=\"http://www.ted.com/talks/anthony_veneziale_stumbling_towards_intimacy_an_improvised_ted_talk/transcript\">an unrehearsed TED Talk\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the era of social distancing, few celebrities have carved out a social-media presence as appealing as those of Emily Blunt and John Krasinski. They’re married, so they get to share their isolation — and they’ve been filling the time with a kindhearted weekly YouTube show they call \u003cem>Some Good News\u003c/em>.\u003c/p>\n\u003cp>As the title suggests, it’s a roundup — anchored by Krasinski, with input from special guests — of day-brightening stories about people doing good in the world. The show’s \u003ca href=\"https://www.youtube.com/watch?v=oilZ1hNZPRM\" rel=\"noopener noreferrer\" target=\"_blank\">second episode\u003c/a>, which posted late Sunday, rolls along amiably enough until about midway through, when Krasinski welcomes a 9-year-old named Aubrey.\u003c/p>\n\u003cp>Inspired by a tweet expressing sadness that Aubrey would have to miss her much-anticipated trip to see \u003cem>Hamilton\u003c/em> on Broadway, Krasinski and Blunt informed a starstruck Aubrey that they’d be flying her to see the show once Broadway reopens. But then, given that Blunt starred in \u003cem>Mary Poppins Returns\u003c/em> with one Lin-Manuel Miranda, they decided to top themselves.\u003c/p>\n\u003cp>The moment you can secure a quick break, be sure to strap in for this 17-minute explosion of goodhearted joy, courtesy of the stars of \u003cem>A Quiet Place —\u003c/em> and the entire (socially distanced) original cast of \u003cem>Hamilton\u003c/em>. \u003ca href=\"https://youtu.be/oilZ1hNZPRM?t=10m30s\" rel=\"noopener noreferrer\" target=\"_blank\">Lin-Manuel Miranda comes in at the 10:30 mark\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Cast+Reunites+For+Emily+Blunt%2C+John+Krasinski+And+One+Lucky+9-Year-Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the era of social distancing, few celebrities have carved out a social-media presence as appealing as those of Emily Blunt and John Krasinski. They’re married, so they get to share their isolation — and they’ve been filling the time with a kindhearted weekly YouTube show they call \u003cem>Some Good News\u003c/em>.\u003c/p>\n\u003cp>As the title suggests, it’s a roundup — anchored by Krasinski, with input from special guests — of day-brightening stories about people doing good in the world. The show’s \u003ca href=\"https://www.youtube.com/watch?v=oilZ1hNZPRM\" rel=\"noopener noreferrer\" target=\"_blank\">second episode\u003c/a>, which posted late Sunday, rolls along amiably enough until about midway through, when Krasinski welcomes a 9-year-old named Aubrey.\u003c/p>\n\u003cp>Inspired by a tweet expressing sadness that Aubrey would have to miss her much-anticipated trip to see \u003cem>Hamilton\u003c/em> on Broadway, Krasinski and Blunt informed a starstruck Aubrey that they’d be flying her to see the show once Broadway reopens. But then, given that Blunt starred in \u003cem>Mary Poppins Returns\u003c/em> with one Lin-Manuel Miranda, they decided to top themselves.\u003c/p>\n\u003cp>The moment you can secure a quick break, be sure to strap in for this 17-minute explosion of goodhearted joy, courtesy of the stars of \u003cem>A Quiet Place —\u003c/em> and the entire (socially distanced) original cast of \u003cem>Hamilton\u003c/em>. \u003ca href=\"https://youtu.be/oilZ1hNZPRM?t=10m30s\" rel=\"noopener noreferrer\" target=\"_blank\">Lin-Manuel Miranda comes in at the 10:30 mark\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Cast+Reunites+For+Emily+Blunt%2C+John+Krasinski+And+One+Lucky+9-Year-Old&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Terrence McNally, one of America’s great playwrights whose prolific career included winning Tony Awards for the plays “Love! Valour! Compassion!” and “Master Class” and the musicals “Ragtime” and “Kiss of the Spider Woman,” has died of complications from the coronavirus. He was 81.\u003c/p>\n\u003cp>McNally died Tuesday at Sarasota Memorial Hospital in Sarasota, Florida, according to representative Matt Polk. McNally was a lung cancer survivor who lived with chronic inflammatory lung disease.\u003c/p>\n\u003cp>His plays and musicals explored how people connect — or fail to. With wit and thoughtfulness, he tackled the strains in families, war, and relationships and probed the spark and costs of creativity. He was an openly gay writer who wrote about homophobia, love and AIDS.[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>“I like to work with people who are a lot more talented and smarter than me, who make fewer mistakes than I do, and who can call me out when I do something lazy,” he told LA Stage Times in 2013. “A lot of people stop learning in life, and that’s their tragedy.”\u003c/p>\n\u003cp>McNally’s “Lips Together, Teeth Apart,” about two married couples who spend a weekend on Fire Island, was a landmark play about AIDS. His play “The Ritz” became one of the first plays with unapologetic gay characters to reach a mainstream audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>McNally also explored gay themes in the book for the musical “Kiss of the Spider Woman,” for which he won his first Tony Award. His play “Love! Valour! Compassion!” earned him another Tony Award for its portrayal of eight gay men facing issues of fidelity, love and happiness.\u003c/p>\n\u003cp>“Theater changes hearts, that secret place where we all truly live,” he said at the 2019 Tony Awards, where he accepted a lifetime achievement award. “The world needs artists more than ever to remind us what truth and beauty and kindness really are.”\u003c/p>\n\u003cp>F. Murray Abraham, the Oscar-winner who appeared on Broadway in “The Ritz” said of McNally: “His plays are a pleasure to do, but what he says is important, too. And he’s like a fountain he keeps on writing and writing and writing.”\u003c/p>\n\u003cp>In 2018 he was inducted into the American Academy of Arts and Letters. He won four Tonys and an Emmy. New York University gave him an honorary doctorate in 2019.\u003c/p>\n\u003cp>Andrew D. Hamilton, president of New York University, told the crowd that day that McNally put a “unique stamp on American drama by probing the urgent need for connection that resonates at the core of human experience.”[aside postid='science_1957877']\u003c/p>\n\u003cp>Some of his Broadway musical adaptations include “The Full Monty,” adapted from the British film and scored by David Yazbek; “Catch Me if You Can,” based on the Steven Spielberg film, and scored by composer Marc Shaiman and lyricist Scott Wittman; and “Ragtime,” the musical based on the novel by E.L. Doctorow, which won four Tony Awards. In 2017, his musical reworking of the film “Anastasia” landed on Broadway.\u003c/p>\n\u003cp>His 2014 Broadway play “Mothers and Sons” — revisiting McNally’s 1990 TV movie “Andre’s Mother,” which won him an Emmy Award — explores the relationship between a mother and her dead son’s former gay partner. His “It’s Only a Play” was a valentine to theater-making. His “The Visit” was a meditation on revenge.\u003c/p>\n\u003cp>McNally was born in St. Petersburg, Florida, and grew up in Corpus Christi, Texas, listening to radio broadcasts of “The Green Hornet” and the Metropolitan Opera. He graduated Phi Beta Kappa from Columbia University in 1960 with a degree in English.\u003c/p>\n\u003cp>McNally was at the Actors Studio when he was hired by novelist John Steinbeck to be a tutor and guardian to his sons. One of McNally’s earliest theater attempts was writing the book for a musical adaptation of Steinbeck’s “East of Eden” which was called “Here’s Where I Belong” and lasted only a single performance on Broadway in 1968.\u003c/p>\n\u003cp>McNally’s first Broadway play “And Things That Go Bump in the Night” didn’t fare much better in 1965. His absurdist, symbolic melodrama about good and evil confounded critics. Newsday called it “ugly, perverted, tasteless.” It closed in less than three weeks. He was 24.\u003c/p>\n\u003cp>He rebounded with the 1969 off-Broadway hit “Next,” a two-character comedy about a reluctant draftee reporting for an Army physical. A string of successes followed, including “Where Has Tommy Flowers Gone?” (1971), “The Tubs” (1974), “Bad Habits” (1974) and “The Ritz” (1975), a farce set in a gay bathhouse that ran more than a year on Broadway and became McNally’s first produced screenplay.\u003c/p>\n\u003cp>His breakout, “Frankie and Johnny in the Clair de Lune,” about a romance between a waitress and short order cook, was later adapted into a film starring Al Pacino and Michelle Pfeiffer. It was revived on Broadway in 2019 starring Audra McDonald.\u003c/p>\n\u003cp>He collaborated three times with legendary composer John Kander and lyricist Freb Ebb — on “The Rink,” “Kiss of the Spider Woman” and “The Visit.” Chita Rivera starred in all three.\u003c/p>\n\u003cp>His love of opera informed his works “Golden Age,” “The Lisbon Traviata” and “Master Class,” which explored the life of opera diva Maria Callas. He also contributed to opera as a librettist — “The Food of Love” in 1999 with music by Robert Beaser, “Dead Man Walking” in 2000 with music by Jake Heggie, and 2015’s “Great Scott” with Heggie.\u003c/p>\n\u003cp>McNally sometimes was controversial, especially with his play “Corpus Christi,” which depicts a modern-day Jesus as a homosexual. The Manhattan Theater Club, the first company to consider staging it, received death threats and temporarily canceled the production before enjoying a successful run.\u003c/p>\n\u003cp>When picking up his “Ragtime” Tony Award, McNally thanked the theater community for its outcry. “You came together when I was in trouble. It was a time of oppression. You came together overnight. Our voices were heard, and we won.” Holding his Tony high, he said, “So this is for freedom. Thank you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McNally and his partner, Thomas Kirdahy, married in Vermont in 2003, and again in Washington, D.C., in 2010.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of his Broadway musical adaptations include “The Full Monty,” adapted from the British film and scored by David Yazbek; “Catch Me if You Can,” based on the Steven Spielberg film, and scored by composer Marc Shaiman and lyricist Scott Wittman; and “Ragtime,” the musical based on the novel by E.L. Doctorow, which won four Tony Awards. In 2017, his musical reworking of the film “Anastasia” landed on Broadway.\u003c/p>\n\u003cp>His 2014 Broadway play “Mothers and Sons” — revisiting McNally’s 1990 TV movie “Andre’s Mother,” which won him an Emmy Award — explores the relationship between a mother and her dead son’s former gay partner. His “It’s Only a Play” was a valentine to theater-making. His “The Visit” was a meditation on revenge.\u003c/p>\n\u003cp>McNally was born in St. Petersburg, Florida, and grew up in Corpus Christi, Texas, listening to radio broadcasts of “The Green Hornet” and the Metropolitan Opera. He graduated Phi Beta Kappa from Columbia University in 1960 with a degree in English.\u003c/p>\n\u003cp>McNally was at the Actors Studio when he was hired by novelist John Steinbeck to be a tutor and guardian to his sons. One of McNally’s earliest theater attempts was writing the book for a musical adaptation of Steinbeck’s “East of Eden” which was called “Here’s Where I Belong” and lasted only a single performance on Broadway in 1968.\u003c/p>\n\u003cp>McNally’s first Broadway play “And Things That Go Bump in the Night” didn’t fare much better in 1965. His absurdist, symbolic melodrama about good and evil confounded critics. Newsday called it “ugly, perverted, tasteless.” It closed in less than three weeks. He was 24.\u003c/p>\n\u003cp>He rebounded with the 1969 off-Broadway hit “Next,” a two-character comedy about a reluctant draftee reporting for an Army physical. A string of successes followed, including “Where Has Tommy Flowers Gone?” (1971), “The Tubs” (1974), “Bad Habits” (1974) and “The Ritz” (1975), a farce set in a gay bathhouse that ran more than a year on Broadway and became McNally’s first produced screenplay.\u003c/p>\n\u003cp>His breakout, “Frankie and Johnny in the Clair de Lune,” about a romance between a waitress and short order cook, was later adapted into a film starring Al Pacino and Michelle Pfeiffer. It was revived on Broadway in 2019 starring Audra McDonald.\u003c/p>\n\u003cp>He collaborated three times with legendary composer John Kander and lyricist Freb Ebb — on “The Rink,” “Kiss of the Spider Woman” and “The Visit.” Chita Rivera starred in all three.\u003c/p>\n\u003cp>His love of opera informed his works “Golden Age,” “The Lisbon Traviata” and “Master Class,” which explored the life of opera diva Maria Callas. He also contributed to opera as a librettist — “The Food of Love” in 1999 with music by Robert Beaser, “Dead Man Walking” in 2000 with music by Jake Heggie, and 2015’s “Great Scott” with Heggie.\u003c/p>\n\u003cp>McNally sometimes was controversial, especially with his play “Corpus Christi,” which depicts a modern-day Jesus as a homosexual. The Manhattan Theater Club, the first company to consider staging it, received death threats and temporarily canceled the production before enjoying a successful run.\u003c/p>\n\u003cp>When picking up his “Ragtime” Tony Award, McNally thanked the theater community for its outcry. “You came together when I was in trouble. It was a time of oppression. You came together overnight. Our voices were heard, and we won.” Holding his Tony high, he said, “So this is for freedom. Thank you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McNally and his partner, Thomas Kirdahy, married in Vermont in 2003, and again in Washington, D.C., in 2010.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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