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"content": "\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. [aside postid='science_1957877']\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Despite Early Closing, 'Toni Stone' Hits a Home Run at A.C.T., Moves Online",
"headTitle": "Despite Early Closing, ‘Toni Stone’ Hits a Home Run at A.C.T., Moves Online | KQED",
"content": "\u003cp>Attending opening night of A.C.T.’s production of \u003cem>Toni Stone\u003c/em> on March 11 was a singular experience. Following an announcement from Mayor London Breed limiting gatherings to under 1,000 people, the theater was far from capacity, and, like a half-empty sports arena, the atmosphere was subdued, though expectant.\u003c/p>\n\u003cp>Written by Lydia R. Diamond and directed by A.C.T.’s Artistic Director Pam MacKinnon, \u003cem>Toni Stone\u003c/em> was meant to be a crowning jewel in a season themed the “rules of play.” But through no fault of its own, its opening night was overshadowed by an unfolding public health crisis—which eventually resulted in a shelter-in-place order with firm restrictions on public gatherings, including at theaters.\u003c/p>\n\u003cp>Under these unenviable circumstances, the show did go on. And the next morning, it closed.\u003c/p>\n\u003cp>\u003cem>Toni Stone\u003c/em> is now being made \u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">available to watch online\u003c/a>, filmed on stage at the Geary Theater, in a unique arrangement \u003ca href=\"http://<a%20href=\" target=\"_blank\" rel=\"noopener noreferrer\">also undertaken\u003c/a> by a handful of other theaters during the coronavirus shutdown. Tickets for the recorded performance are on a pay-what-you-will system. If you’re stuck at home, I recommend giving it a shot.\u003c/p>\n\u003cp>That’s because despite the external pressures on opening night, the cast and artistic team of \u003cem>Toni Stone\u003c/em> knocked it out of the park. Chronicling the high point of the career of the first professional woman baseball player in the Negro Leagues, \u003cem>Toni Stone\u003c/em> inhabits an episodic realm halfway between biopic and dramatic monologue, told through the perspective of its charismatic titular character, and supported by a strong team of eight additional players. Although a player for a short time with the San Francisco Sea Lions, \u003cem>Toni Stone\u003c/em> is set during her later stint with the Indianapolis Clowns, the team with which she commanded the most attention.\u003c/p>\n\u003cfigure id=\"attachment_13876840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula as Toni Stone at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without preamble, Dawn Ursula as Toni Stone walks onstage to address the audience directly. Confident, solid, the embodiment of a consummate athlete, describing the weight of the ball as feeling like “what your hand, my hand, wanted all along.” As she describes herself and her preoccupation with the logistics of the game, her teammates enter the stage one by one, posing seriously with their bats. She introduces them with warm camaraderie—a litany of mostly forgotten, real-life players such as Spec (Daniel J. Bryant), King Tut (JaBen Early), and Elzie (Rodney Earl Jackson Jr.)—and the game begins in earnest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As they “play,” the team’s exemplary choreography (Camille A. Brown with movement coach Danyon Davis) fills the stage with something akin to the energy of a live game while the character of Toni delves into the specifics of it. Balls are tossed, bats swung, bases rounded, banter flies. With all of the measurements of the game divisible by three, they reference the holy trinity, declaring the playing field a church. Like angels, the players glide across the floorboards, slightly above the gritty fray.\u003c/p>\n\u003cfigure id=\"attachment_13876838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula and JaBen Early on the off-season in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the idealized world of the theatrical, the raw sharp edges of life on the road are somewhat smoothed, addressing the many hardships faced by the team without forcing the actors to reenact each in too-excruciating detail. Forced to run from a crowd of racists during an exhibition game, the audience can feel reasonably certain that they’ll make it back to their van unscathed. Forced to ride through the night in search of a place to lay their heads, we know the bus will make it in one piece. Forced to sleep in a brothel in lieu of a hotel, Toni even makes a friend, the enigmatic Millie (Kenn E. Head), who offers some welcome comfort and sage advice.\u003c/p>\n\u003cp>But smoothed out certainly doesn’t mean edge-free, and the harsher realities of barnstorming in the League never stray far from the spotlight. A particularly agonizing sequence shows the players participating in the humiliating tradition of fifth-inning “clowning” during which their consummate athleticism becomes a framework for a minstrel-style show of synchronized soft-shoe and barely suppressed rage; pointedly implicating the watching audience. Toni must face and push back on the rampant sexism she encounters on and off the field, from threats of sexual violence to “helpful” suggestions that she wear a skirt as her uniform. Her teammates chafe and strain at their straightened circumstances, as over in New York, Jackie Robinson is breaking the color line in the majors, but not wide enough for them to join him.\u003c/p>\n\u003cfigure id=\"attachment_13876841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marquis D. Gibson and Dawn Ursula in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worldly yet guileless, self-sufficient but doggedly literal, Toni remains true to her own ambitions, no matter how many well-meaning voices try to talk her into desiring something else. A life of the creature comforts those voices promise is not the life she craves. It’s the dirt under her fingernails and the extra stretch in her arm as she reaches for an approaching ball, eager to feel the weight of it. Dawn Ursula deftly captures each shifting mood of her expressive character, while her talented teammates field the many bit roles: worried parents, overbearing bosses, bored bartenders, tender couples dancing in the dim half-light of memory. It feels a little strange that the play omits the overlap between Toni’s short tenure with the Indianapolis Clowns with those of their subsequent hires—Mamie “Peanut” Johnson and Connie Morgan—but as it already clocks in at close to two-and-a-half hours, it’s hard to say where they would fit in.\u003c/p>\n\u003cp>In what feels almost like an outrageously improbable doomsday scenario, both theater productions \u003cem>and\u003c/em> major sporting events are effectively canceled for now, making the truncated run of this particular sports-themed show feel like a double whammy. But at least the show’s online stream ensures that the many years of work that went into this one production won’t be completely lost to posterity.\u003c/p>\n\u003cp>It took this many years for the Bay Area to give Toni Stone her due. And it’s good to see she’s not going down without a fight.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Toni Stone \u003c/em>live performances have been canceled in San Francisco due to COVID-19 concerns. Find more details about watching the play online \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attending opening night of A.C.T.’s production of \u003cem>Toni Stone\u003c/em> on March 11 was a singular experience. Following an announcement from Mayor London Breed limiting gatherings to under 1,000 people, the theater was far from capacity, and, like a half-empty sports arena, the atmosphere was subdued, though expectant.\u003c/p>\n\u003cp>Written by Lydia R. Diamond and directed by A.C.T.’s Artistic Director Pam MacKinnon, \u003cem>Toni Stone\u003c/em> was meant to be a crowning jewel in a season themed the “rules of play.” But through no fault of its own, its opening night was overshadowed by an unfolding public health crisis—which eventually resulted in a shelter-in-place order with firm restrictions on public gatherings, including at theaters.\u003c/p>\n\u003cp>Under these unenviable circumstances, the show did go on. And the next morning, it closed.\u003c/p>\n\u003cp>\u003cem>Toni Stone\u003c/em> is now being made \u003ca href=\"http://www.act-sf.org\" target=\"_blank\" rel=\"noopener noreferrer\">available to watch online\u003c/a>, filmed on stage at the Geary Theater, in a unique arrangement \u003ca href=\"http://<a%20href=\" target=\"_blank\" rel=\"noopener noreferrer\">also undertaken\u003c/a> by a handful of other theaters during the coronavirus shutdown. Tickets for the recorded performance are on a pay-what-you-will system. If you’re stuck at home, I recommend giving it a shot.\u003c/p>\n\u003cp>That’s because despite the external pressures on opening night, the cast and artistic team of \u003cem>Toni Stone\u003c/em> knocked it out of the park. Chronicling the high point of the career of the first professional woman baseball player in the Negro Leagues, \u003cem>Toni Stone\u003c/em> inhabits an episodic realm halfway between biopic and dramatic monologue, told through the perspective of its charismatic titular character, and supported by a strong team of eight additional players. Although a player for a short time with the San Francisco Sea Lions, \u003cem>Toni Stone\u003c/em> is set during her later stint with the Indianapolis Clowns, the team with which she commanded the most attention.\u003c/p>\n\u003cfigure id=\"attachment_13876840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_team_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula as Toni Stone at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without preamble, Dawn Ursula as Toni Stone walks onstage to address the audience directly. Confident, solid, the embodiment of a consummate athlete, describing the weight of the ball as feeling like “what your hand, my hand, wanted all along.” As she describes herself and her preoccupation with the logistics of the game, her teammates enter the stage one by one, posing seriously with their bats. She introduces them with warm camaraderie—a litany of mostly forgotten, real-life players such as Spec (Daniel J. Bryant), King Tut (JaBen Early), and Elzie (Rodney Earl Jackson Jr.)—and the game begins in earnest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As they “play,” the team’s exemplary choreography (Camille A. Brown with movement coach Danyon Davis) fills the stage with something akin to the energy of a live game while the character of Toni delves into the specifics of it. Balls are tossed, bats swung, bases rounded, banter flies. With all of the measurements of the game divisible by three, they reference the holy trinity, declaring the playing field a church. Like angels, the players glide across the floorboards, slightly above the gritty fray.\u003c/p>\n\u003cfigure id=\"attachment_13876838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876838\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_DawnUrsula_JaBenEarly_credit_KevinBerne-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Ursula and JaBen Early on the off-season in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the idealized world of the theatrical, the raw sharp edges of life on the road are somewhat smoothed, addressing the many hardships faced by the team without forcing the actors to reenact each in too-excruciating detail. Forced to run from a crowd of racists during an exhibition game, the audience can feel reasonably certain that they’ll make it back to their van unscathed. Forced to ride through the night in search of a place to lay their heads, we know the bus will make it in one piece. Forced to sleep in a brothel in lieu of a hotel, Toni even makes a friend, the enigmatic Millie (Kenn E. Head), who offers some welcome comfort and sage advice.\u003c/p>\n\u003cp>But smoothed out certainly doesn’t mean edge-free, and the harsher realities of barnstorming in the League never stray far from the spotlight. A particularly agonizing sequence shows the players participating in the humiliating tradition of fifth-inning “clowning” during which their consummate athleticism becomes a framework for a minstrel-style show of synchronized soft-shoe and barely suppressed rage; pointedly implicating the watching audience. Toni must face and push back on the rampant sexism she encounters on and off the field, from threats of sexual violence to “helpful” suggestions that she wear a skirt as her uniform. Her teammates chafe and strain at their straightened circumstances, as over in New York, Jackie Robinson is breaking the color line in the majors, but not wide enough for them to join him.\u003c/p>\n\u003cfigure id=\"attachment_13876841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg\" alt=\"\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/ToniStone_MarquisDGibson_Dawn-Ursula_credit_KevinBerne.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marquis D. Gibson and Dawn Ursula in ‘Toni Stone’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Worldly yet guileless, self-sufficient but doggedly literal, Toni remains true to her own ambitions, no matter how many well-meaning voices try to talk her into desiring something else. A life of the creature comforts those voices promise is not the life she craves. It’s the dirt under her fingernails and the extra stretch in her arm as she reaches for an approaching ball, eager to feel the weight of it. Dawn Ursula deftly captures each shifting mood of her expressive character, while her talented teammates field the many bit roles: worried parents, overbearing bosses, bored bartenders, tender couples dancing in the dim half-light of memory. It feels a little strange that the play omits the overlap between Toni’s short tenure with the Indianapolis Clowns with those of their subsequent hires—Mamie “Peanut” Johnson and Connie Morgan—but as it already clocks in at close to two-and-a-half hours, it’s hard to say where they would fit in.\u003c/p>\n\u003cp>In what feels almost like an outrageously improbable doomsday scenario, both theater productions \u003cem>and\u003c/em> major sporting events are effectively canceled for now, making the truncated run of this particular sports-themed show feel like a double whammy. But at least the show’s online stream ensures that the many years of work that went into this one production won’t be completely lost to posterity.\u003c/p>\n\u003cp>It took this many years for the Bay Area to give Toni Stone her due. And it’s good to see she’s not going down without a fight.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Toni Stone \u003c/em>live performances have been canceled in San Francisco due to COVID-19 concerns. Find more details about watching the play online \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cdc-recommends-against-gatherings-of-50-or-more-states-close-bars-restaurants",
"title": "CDC Recommends Against Gatherings of 50 or More; States Close Bars, Restaurants",
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"headTitle": "CDC Recommends Against Gatherings of 50 or More; States Close Bars, Restaurants | KQED",
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"content": "\u003cp>\u003cstrong>Updated at 1:55 a.m. ET Monday\u003c/strong>\u003c/p>\n\u003cp>In an effort to slow the spread of the coronavirus pandemic, the Centers for Disease Control and Prevention is now advising against gatherings of 50 people or more for the next eight weeks.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/community/large-events/mass-gatherings-ready-for-covid-19.html\">a guidance announcement\u003c/a> issued on Sunday, the agency said it was warning against large events and mass gatherings that include “conferences, festivals, parades, concerts, sporting events, weddings, and other types of assemblies.”\u003c/p>\n\u003cp>The agency called on organizers, whether they are individuals or organizations, to cancel or postpone such events. However, it said the guidance did not apply to the daily operations of organizations like schools, institutes of higher learning or businesses.[aside postid='arts_13876160']\u003c/p>\n\u003cp>“This recommendation is made in an attempt to reduce introduction of the virus into new communities and to slow the spread of infection in communities already affected by the virus,” according to the guidance announcement. “This recommendation is not intended to supersede the advice of local public health officials.”\u003c/p>\n\u003cp>\u003cstrong>California orders seniors to stay home and bars to close\u003c/strong>\u003c/p>\n\u003cp>California Gov. Gavin Newsom on Sunday requested that all senior citizens and those with chronic conditions isolate themselves at home. Additionally, he called for the closure of all bars, wineries, nightclubs and breweries, as the country’s most populous state recorded \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/Pages/Immunization/nCoV2019.aspx\">335 confirmed cases\u003c/a> of the coronavirus and six deaths.\u003c/p>\n\u003cp>Restaurants are being asked to cut their occupancy in half in order to promote “social distancing,” Newsom said. The governor is also asking restaurants to prioritize takeout options for individuals who are isolating themselves.\u003c/p>\n\u003cp>“The most important thing is to focus on the vulnerable and prioritize their safety,” Newsom said. “We are guided by science, not the framework of hysteria.”\u003c/p>\n\u003cp>Los Angeles Mayor Gil Garcetti Sunday night ordered the city’s restaurants, bars, gyms and entertainment venues closed at midnight local time at least through March. The emergency decree exempted take-out and delivery.[aside postid='science_1957877']\u003c/p>\n\u003cp>\u003cstrong>New York City shuts schools, bars, restaurants\u003c/strong>\u003c/p>\n\u003cp>Starting Monday, the country’s largest public school system will shut its doors to more than 1.1 million students, New York City Mayor Bill de Blasio announced\u003ca href=\"https://twitter.com/NYCMayor/status/1239303034674352129?s=20\"> at a news conference\u003c/a> on Sunday evening.\u003c/p>\n\u003cp>The city-wide closure will be in place until at least Monday, April 20.\u003c/p>\n\u003cp>On Twitter, a somber de Blasio expressed concern for students and families who would be affected by the change, and addressed the steps he was taking to mitigate any challenges that arise.\u003c/p>\n\u003cp>“We know hundreds of thousands of kids depend on our schools for their meals,” he said. “We’ll have grab and go breakfast and lunch available at all school buildings starting tomorrow.”\u003c/p>\n\u003cp>The mayor also announced that he would be asking all bars and restaurants in the city to close starting at 9 a.m. on Tuesday, and instead limit their business to take-out and delivery.\u003c/p>\n\u003cp>“Tomorrow, I will sign an Executive Order limiting restaurants, bars and cafes to food take-out and delivery. Nightclubs, movie theaters, small theater houses and concert venues must all close,” de Blasio said in a statement.\u003c/p>\n\u003cp>As of Sunday, the \u003ca href=\"https://www.health.ny.gov/diseases/communicable/coronavirus/\">state had 729 cases\u003c/a> of the virus, according to the New York Department of Health.\u003c/p>\n\u003cp>\u003cstrong>Washington state doubles down on CDC guidance\u003c/strong>\u003c/p>\n\u003cp>Washington state, a coronavirus hotspot which saw the country’s first death, took its most drastic steps yet to limit the spread of the virus in public spaces.\u003c/p>\n\u003cp>Gov. Jay Inslee said on Sunday night that he would order the temporary closure of restaurants, bars, entertainment and recreation venues. Delivery and take-out will not be shut down, he said.\u003c/p>\n\u003cp>“These are very difficult decisions, but hours count here and very strong measures are necessary to slow the spread of the disease. I know there will be significant economic impacts to all our communities and we are looking at steps to help address those challenges,” Inslee said.\u003c/p>\n\u003cp>The governor is also banning gatherings of at least 50, in a mandate of CDC’s new guidance.\u003c/p>\n\u003cp>There are at least 42 deaths statewide, with 769 positive cases confirmed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Illinois to shut down bars, restaurants\u003c/strong>\u003c/p>\n\u003cp>The CDC guidance came as states and cities across the country moved on Sunday to limit large gatherings in order to help halt the spread of an outbreak that has infected at least 3,499 people in the U.S. and resulted in 63 deaths, according to \u003ca href=\"https://coronavirus.jhu.edu/map.html\">tracking by Johns Hopkins University\u003c/a>.\u003c/p>\n\u003cp>Illinois Gov. J.B. Pritzker ordered all bars and restaurants to close through March 30 beginning on Monday.\u003c/p>\n\u003cp>“The time for persuasion and public appeals is over,” Pritzker said at a press conference on Sunday as St. Patrick’s Day revelers in Chicago were already hitting bars in large groups. “This is not a joke. No one is immune to this.”\u003c/p>\n\u003cp>There are \u003ca href=\"http://dph.illinois.gov/topics-services/diseases-and-conditions/diseases-a-z-list/coronavirus\">93 confirmed coronavirus cases\u003c/a> in the state, according to the Illinois Department of Public Health.\u003c/p>\n\u003cp>Pritzker said drive-throughs will be allowed to stay open and added that he’s working with establishments to keep kitchens open so that food can still be delivered to homes.\u003c/p>\n\u003cp>The order affects roughly 25,000 businesses across the state, sending home hundreds of thousands of workers, the local \u003ca href=\"https://chicago.cbslocal.com/2020/03/15/gov-pritzker-announces-closure-of-all-illinois-bars-and-restaurants-effective-monday-due-to-coronavirus-crisis/\">CBS Chicago reports\u003c/a>.\u003c/p>\n\u003cp>The Illinois Restaurant Association backed the governor’s decision, declaring safety its priority.\u003c/p>\n\u003cp>“We are currently working with other stakeholders to explore all possible avenues of economic and regulatory relief for our industry in the days and weeks ahead,” the group \u003ca href=\"https://www.illinoisrestaurants.org/news/491097/Updated-315-Coronavirus-Resources-State-Orders-Closing-of-In-Person-Dining-at-Restaurants.htm\">said in a statement\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=CDC+Recommends+Against+Gatherings+Of+50+Or+More%2C+As+States+Close+Bars+And+Restaurants&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:55 a.m. ET Monday\u003c/strong>\u003c/p>\n\u003cp>In an effort to slow the spread of the coronavirus pandemic, the Centers for Disease Control and Prevention is now advising against gatherings of 50 people or more for the next eight weeks.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/community/large-events/mass-gatherings-ready-for-covid-19.html\">a guidance announcement\u003c/a> issued on Sunday, the agency said it was warning against large events and mass gatherings that include “conferences, festivals, parades, concerts, sporting events, weddings, and other types of assemblies.”\u003c/p>\n\u003cp>The agency called on organizers, whether they are individuals or organizations, to cancel or postpone such events. However, it said the guidance did not apply to the daily operations of organizations like schools, institutes of higher learning or businesses.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This recommendation is made in an attempt to reduce introduction of the virus into new communities and to slow the spread of infection in communities already affected by the virus,” according to the guidance announcement. “This recommendation is not intended to supersede the advice of local public health officials.”\u003c/p>\n\u003cp>\u003cstrong>California orders seniors to stay home and bars to close\u003c/strong>\u003c/p>\n\u003cp>California Gov. Gavin Newsom on Sunday requested that all senior citizens and those with chronic conditions isolate themselves at home. Additionally, he called for the closure of all bars, wineries, nightclubs and breweries, as the country’s most populous state recorded \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/Pages/Immunization/nCoV2019.aspx\">335 confirmed cases\u003c/a> of the coronavirus and six deaths.\u003c/p>\n\u003cp>Restaurants are being asked to cut their occupancy in half in order to promote “social distancing,” Newsom said. The governor is also asking restaurants to prioritize takeout options for individuals who are isolating themselves.\u003c/p>\n\u003cp>“The most important thing is to focus on the vulnerable and prioritize their safety,” Newsom said. “We are guided by science, not the framework of hysteria.”\u003c/p>\n\u003cp>Los Angeles Mayor Gil Garcetti Sunday night ordered the city’s restaurants, bars, gyms and entertainment venues closed at midnight local time at least through March. The emergency decree exempted take-out and delivery.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>New York City shuts schools, bars, restaurants\u003c/strong>\u003c/p>\n\u003cp>Starting Monday, the country’s largest public school system will shut its doors to more than 1.1 million students, New York City Mayor Bill de Blasio announced\u003ca href=\"https://twitter.com/NYCMayor/status/1239303034674352129?s=20\"> at a news conference\u003c/a> on Sunday evening.\u003c/p>\n\u003cp>The city-wide closure will be in place until at least Monday, April 20.\u003c/p>\n\u003cp>On Twitter, a somber de Blasio expressed concern for students and families who would be affected by the change, and addressed the steps he was taking to mitigate any challenges that arise.\u003c/p>\n\u003cp>“We know hundreds of thousands of kids depend on our schools for their meals,” he said. “We’ll have grab and go breakfast and lunch available at all school buildings starting tomorrow.”\u003c/p>\n\u003cp>The mayor also announced that he would be asking all bars and restaurants in the city to close starting at 9 a.m. on Tuesday, and instead limit their business to take-out and delivery.\u003c/p>\n\u003cp>“Tomorrow, I will sign an Executive Order limiting restaurants, bars and cafes to food take-out and delivery. Nightclubs, movie theaters, small theater houses and concert venues must all close,” de Blasio said in a statement.\u003c/p>\n\u003cp>As of Sunday, the \u003ca href=\"https://www.health.ny.gov/diseases/communicable/coronavirus/\">state had 729 cases\u003c/a> of the virus, according to the New York Department of Health.\u003c/p>\n\u003cp>\u003cstrong>Washington state doubles down on CDC guidance\u003c/strong>\u003c/p>\n\u003cp>Washington state, a coronavirus hotspot which saw the country’s first death, took its most drastic steps yet to limit the spread of the virus in public spaces.\u003c/p>\n\u003cp>Gov. Jay Inslee said on Sunday night that he would order the temporary closure of restaurants, bars, entertainment and recreation venues. Delivery and take-out will not be shut down, he said.\u003c/p>\n\u003cp>“These are very difficult decisions, but hours count here and very strong measures are necessary to slow the spread of the disease. I know there will be significant economic impacts to all our communities and we are looking at steps to help address those challenges,” Inslee said.\u003c/p>\n\u003cp>The governor is also banning gatherings of at least 50, in a mandate of CDC’s new guidance.\u003c/p>\n\u003cp>There are at least 42 deaths statewide, with 769 positive cases confirmed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Illinois to shut down bars, restaurants\u003c/strong>\u003c/p>\n\u003cp>The CDC guidance came as states and cities across the country moved on Sunday to limit large gatherings in order to help halt the spread of an outbreak that has infected at least 3,499 people in the U.S. and resulted in 63 deaths, according to \u003ca href=\"https://coronavirus.jhu.edu/map.html\">tracking by Johns Hopkins University\u003c/a>.\u003c/p>\n\u003cp>Illinois Gov. J.B. Pritzker ordered all bars and restaurants to close through March 30 beginning on Monday.\u003c/p>\n\u003cp>“The time for persuasion and public appeals is over,” Pritzker said at a press conference on Sunday as St. Patrick’s Day revelers in Chicago were already hitting bars in large groups. “This is not a joke. No one is immune to this.”\u003c/p>\n\u003cp>There are \u003ca href=\"http://dph.illinois.gov/topics-services/diseases-and-conditions/diseases-a-z-list/coronavirus\">93 confirmed coronavirus cases\u003c/a> in the state, according to the Illinois Department of Public Health.\u003c/p>\n\u003cp>Pritzker said drive-throughs will be allowed to stay open and added that he’s working with establishments to keep kitchens open so that food can still be delivered to homes.\u003c/p>\n\u003cp>The order affects roughly 25,000 businesses across the state, sending home hundreds of thousands of workers, the local \u003ca href=\"https://chicago.cbslocal.com/2020/03/15/gov-pritzker-announces-closure-of-all-illinois-bars-and-restaurants-effective-monday-due-to-coronavirus-crisis/\">CBS Chicago reports\u003c/a>.\u003c/p>\n\u003cp>The Illinois Restaurant Association backed the governor’s decision, declaring safety its priority.\u003c/p>\n\u003cp>“We are currently working with other stakeholders to explore all possible avenues of economic and regulatory relief for our industry in the days and weeks ahead,” the group \u003ca href=\"https://www.illinoisrestaurants.org/news/491097/Updated-315-Coronavirus-Resources-State-Orders-Closing-of-In-Person-Dining-at-Restaurants.htm\">said in a statement\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=CDC+Recommends+Against+Gatherings+Of+50+Or+More%2C+As+States+Close+Bars+And+Restaurants&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "canceled-by-coronavirus-a-list-of-bay-area-concerts-cultural-events-museums-more",
"title": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More",
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"headTitle": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More | KQED",
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"content": "\u003cp>Updated: March 17, 6:30am\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note\u003c/strong>: \u003cstrong>This list is no longer being updated as of March 17\u003c/strong>. Because of new restrictions and shelter-in-place orders, it is safe to assume that every concert, performance, museum or cultural event in the Bay Area has been canceled or closed for the time being.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 17, a \u003ca href=\"https://www.kqed.org/news/11806988/sheltering-in-place-what-you-need-to-know\" rel=\"noopener noreferrer\" target=\"_blank\">shelter-in-place order took effect for six Bay Area counties\u003c/a>, requiring people to stay at home and leave only for essential activities.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 16, the CDC \u003ca href=\"https://www.kqed.org/arts/13876716/cdc-recommends-against-gatherings-of-50-or-more-states-close-bars-restaurants\" rel=\"noopener noreferrer\" target=\"_blank\">warned against gatherings of 50 people or more\u003c/a>, including “conferences, festivals, parades, concerts, sporting events, weddings, and other types of assemblies.” Governor Gavin Newsom also \u003ca href=\"https://www.kqed.org/news/11806871/newsom-calls-for-closure-of-all-bars-in-an-effort-to-increase-social-distancing\" rel=\"noopener noreferrer\" target=\"_blank\">called for the closure\u003c/a> of all bars, wineries, nightclubs and breweries.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Stay up to date on full coronavirus coverage \u003ca href=\"https://www.kqed.org/coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>Concern over the spread of the coronavirus has caused the cancellation of many concerts, performances and other cultural events in the Bay Area.[aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>Below, see a list of cultural events, concerts and performances canceled or postponed due to coronavirus concerns. Many venues have enacted flexible refund and ticket-exchange policies. Click through the venue or event name for details, and for updated information about reopening.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"https://www.act-sf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>American Conservatory Theater\u003c/strong>\u003c/a>\u003cbr>\nAll performances of ‘Toni Stone’ (Geary Theater) and ‘Gloria’ (Strand Theater) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">‘Ain’t I a Woman’\u003c/a>\u003c/strong> (March 15)\u003cbr>\nPerformance by Core Ensemble canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ana Gabriel\u003c/a>\u003c/strong>\u003cbr>\nMarch 19 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Andre Rieu\u003c/a>\u003c/strong>\u003cbr>\nMarch 22 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/athletics\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland A’s\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.augusthallsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">August Hall\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 27 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bampfa.org/news/new-info-bampfa-update-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/strong>\u003cbr>\nAll film screenings, tours and public programs canceled through March 29\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.baybookfest.org/2020cancellation/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>\u003c/strong> (May 2 and 3)\u003cbr>\nPostponed to May 1-2, 2021\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gradlectures.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Graduate Lectures\u003c/a>\u003c/strong>\u003cbr>\nAll lectures canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.berkeleyrep.org/?gclsrc=aw.ds&gclid=Cj0KCQjwu6fzBRC6ARIsAJUwa2SSGnQum2eM6ybkE8IFauSDY_ugwioEz44pG-2t0TkGpUXzvuyXNocaAlwYEALw_wcB&gclsrc=aw.ds\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of \u003cem>Culture Clash (Still) in America\u003c/em> canceled; \u003cem>School Girls; Or, The African Mean Girls Play\u003c/em>, originally slated to start on March 19, on hiatus through April 5\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bill Graham Civic Auditorium\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bing Concert Hall\u003c/strong>\u003c/a>\u003cbr>\nMost shows canceled through April 15, including Cecile McLorin Salvant (March 13)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.calacademy.org/a-message-to-our-academy-community-on-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">California Academy of Sciences\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" rel=\"noopener noreferrer\" target=\"_blank\">California Historical Society\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cantor Arts Center and Anderson Collection\u003c/strong> \u003c/a>\u003cbr>\nClosed to the public through April 15\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.catchlight.io/\" target=\"_blank\" rel=\"noopener noreferrer\">CatchLight Visual Storytelling Summit\u003c/a>\u003c/strong> (May 17–18)\u003cbr>\nPostponed to late October 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chasecenter.com/news/5h4k5TxZF2QdDYpa6MTNLa\" rel=\"noopener noreferrer\" target=\"_blank\">Celine Dion\u003c/a>\u003c/strong> (March 12)\u003cbr>\nConcert at Chase Center postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://centerfornewmusic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Center for New Music\u003c/a>\u003c/strong>\u003cbr>\nAll public events suspended through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Center\u003c/a>\u003c/strong>\u003cbr>\nNBA season postponed, Warriors games off; all concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfcherryblossom.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Cherry Blossom Festival, Japantown SF\u003c/a>\u003c/strong> (April 11-12 and April 17-19)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cinequest Film Festival\u003c/strong>\u003c/a> (March 3–15)\u003cbr>\nMarch 8-15 events postponed to August 16–30\u003c/p>\n\u003cp>\u003ca href=\"http://circuscenter.org/blog/2020/03/07/covid-19--march-13-14-cabaret-cancelled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Circus Center Cabaret\u003c/strong>\u003c/a> (March 13_14)\u003cbr>\nCanceled; looking to reschedule\u003c/p>\n\u003cp>\u003ca href=\"https://www.cirquedusoleil.com/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Cirque du Soleil: Axel\u003c/strong>\u003c/a> (March 24-28)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts & Lectures\u003c/a>\u003c/strong>\u003cbr>\nCertain scheduled events to be held with no audience and livestreamed: Anna Wiener (March 12), Peggy Orenstein (March 19), and Robert Reich (March 23)\u003c/p>\n\u003cp>\u003ca href=\"https://www.commonwealthclub.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Commonwealth Club\u003c/strong>\u003c/a>\u003cbr>\nAll in-person events canceled through March 22 for San Francisco, Marin County and Silicon Valley\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>\u003cbr>\nAll public programs and tours canceled through March 22; museum remains open\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CounterPulse\u003c/a>\u003c/strong>\u003cbr>\nAll performances and public events through May 31 canceled or postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/d41d8cd9/2nd-annual-daly-city-rock-roll-flea-market/2391757860910159/\" target=\"_blank\" rel=\"noopener noreferrer\">Daly City Rock & Roll Flea Market\u003c/a>\u003c/strong> (March 15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/AroundTown\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dance Downtown’ at ODC\u003c/a>\u003c/strong>\u003cbr>\nMarch 27 gala canceled; all Spring performances postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://deyoung.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">de Young Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theexit.org/\" rel=\"noopener noreferrer\" target=\"_blank\">EXIT Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March, including Burlesque Extravaganza (March 18–21)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">The Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through the end of March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.feinsteinssf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Feinstein’s at the Nikko\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through April 6\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://thefillmore.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Fillmore\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 18 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thefoxoakland.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater, Oakland\u003c/a>\u003c/strong>\u003cbr>\nAll concerts canceled through March 30, including Wilco, Melanie Martinez, Ilana Glazer, Third Eye Blind and others\u003c/p>\n\u003cp>\u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Game Developers Conference\u003c/strong>\u003c/a> (March 16–20)\u003cbr>\nPostponed; working to reschedule for August 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/giants\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Giants\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003ca href=\"https://www.goldengatepark150.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Golden Gate Park 150th Anniversary Celebration\u003c/strong>\u003c/a> (April 4)\u003cbr>\nPostponed; to be rescheduled for a later date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://goldengatepark.com/golden-gate-park-senior-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Gate Park Senior Center\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 23\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gmc.sonoma.edu/covid-19-update/\" rel=\"noopener noreferrer\" target=\"_blank\">Green Music Center\u003c/a>\u003c/strong>\u003cbr>\nAll performances through April 11 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Gucci Cruise Fashion Show\u003c/strong>\u003c/a> (May 18)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘Hamilton’ at the Orpheum Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.harrypottertheplay.com/san-francisco/coronavirus-update/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Harry Potter and the Cursed Child’\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://www.shipyardartists.com/open-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hunter’s Point Shipyard Artists\u003c/strong>\u003c/a>\u003cbr>\nAnnual spring open studios rescheduled to May 16–17\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcinematheque.org/screenings/i-hate-the-internet-techno-dystopian-malaise-and-visions-of-rebellion/\" target=\"_blank\" rel=\"noopener noreferrer\">‘I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion’\u003c/a>\u003c/strong> (March 12)\u003cbr>\nPostponed; to be rescheduled at future date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sanjosetheaters.org/event/the-illusionists-live-from-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">The Illusionists – Live From Broadway\u003c/a>\u003c/strong> (March 24 and 25)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Independent\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a> (March 12–15)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://iccnc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Islamic Cultural Center of Northern California\u003c/a>\u003c/strong>\u003cbr>\nAll public events canceled through March 23, including Nowruz celebration on March 14\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.jcceastbay.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Jewish Community Center East Bay\u003c/a> \u003c/strong>\u003cbr>\nAll large events (50 people or more) though March 27 canceled or rescheduled\u003c/p>\n\u003cp>\u003ca href=\"https://www.jccsf.org/staying-healthy-together/\">\u003cstrong>San Francisco Jewish Community Center\u003c/strong> \u003c/a>\u003cbr>\nPurim Festival (March 8) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">Knuth Music Hall, SF State\u003c/a>\u003c/strong>\u003cbr>\nPerformances on March 16, 18 and 19 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘The Last Ship’ at the Golden Gate Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.leftcoastensemble.org/fairytale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Left Coast Chamber Ensemble\u003c/strong>\u003c/a>\u003cbr>\n‘Fairytale Pieces’ (March 8 and 9) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://legionofhonor.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Legion of Honor\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lesbianswhotech/photos/a.656630677683654/3341946979151997/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a>\u003c/strong> (April 23–25)\u003cbr>\nRescheduled for August, 2020\u003c/p>\n\u003cp>\u003ca href=\"http://www.lindyinthepark.com/\">\u003cstrong>Lindy in the Park\u003c/strong>\u003c/a>\u003cbr>\nMarch 8 and 15 events canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.lhtsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lorraine Hansberry Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Intimate Apparel’ (March 13–29) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/healthandsafetyupdate/\" rel=\"noopener noreferrer\" target=\"_blank\">Luther Burbank Center\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March canceled or postponed, including Wilco, Brittany Howard, Laura Dern and more\u003c/p>\n\u003cp>\u003ca href=\"https://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>MACLA\u003c/strong>\u003c/a>\u003cbr>\nAll public programs postponed, including \u003cem>We Have Iré\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Co.\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘Love’ and ‘Natural Shocks’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.aztecadancers.com/mexica-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Mexica New Year Ceremony & Celebration San Jose\u003c/a>\u003c/strong> (March 14)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>New Conservatory Theatre Center\u003c/strong>\u003c/a>\u003cbr>\nAll performances, including \u003cem>The Book of Mountains and Seas\u003c/em>, canceled through March 21\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The New Parish\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a>\u003c/strong>\u003cbr>\nMuseum closed to the public through March 27; 50th Anniversary Gala (March 14) canceled as well\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/tripletake\" target=\"_blank\" rel=\"noopener noreferrer\">ODC/RAWDance\u003c/a>\u003c/strong>\u003cbr>\n‘Triple Take’ (March 12–15) postponed to later this year; exact date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://offthegrid.com/blog/supporting-local-communities-through-implementation-of-covid-19-prevention-best-practices/\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Grid\u003c/a>\u003c/strong>\u003cbr>\nEvent at Fort Mason on March 13 and 20 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘The Magic Flute’ (April 18–May 3) canceled\u003c/p>\n\u003cp>\u003ca href=\"http://www.cspaloalto.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Palo Alto Christian Science Church\u003c/strong>\u003c/a>\u003cbr>\nJames Welch concert (March 8) postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://pearljam.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">Pearl Jam\u003c/a>\u003c/strong> (April 18–19)\u003cbr>\nEntire tour canceled, including April 18–19 dates at Oakland Arena\u003c/p>\n\u003cp>\u003ca href=\"https://peninsulasymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Peninsula Symphony\u003c/strong>\u003c/a>\u003cbr>\nMarch 13 and 14 ‘Violins of Hope’ concerts postponed; to be rescheduled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://philharmonia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Philharmonia Baroque Orchestra\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Romantic Reflections’ (March 11-15) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/photo.php?fbid=10157788026750552&set=a.211581100551&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rebecca Solnit\u003c/strong>\u003c/a>\u003cbr>\nAll stops on book tour through March 25 canceled, including at Booksmith SF (March 16)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/events/94291513455\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls Trivia Happy Hour with KQED\u003c/a>\u003c/strong> (March 16)\u003cbr>\nPostponed to future date TBA\u003c/p>\n\u003cp>\u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Reboot Ideas Festival\u003c/strong>\u003c/a> (March 26–29)\u003cbr>\nPostponed; working to reschedule\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Theater\u003c/a>\u003c/strong>\u003cbr>\nCLosed to the public and all screenings canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://salesforcetransitcenter.com/events/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Salesforce Park\u003c/strong>\u003c/a>\u003cbr>\nAll group activities in the park suspended; park itself remains open\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfballet.org/a-message-regarding-the-covid-19-virus/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ballet\u003c/strong>\u003c/a>\u003cbr>\nComplete run of \u003cem>A Midsummer Night’s Dream\u003c/em> (March 7–15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfbcgala.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Boys Chorus\u003c/a>\u003c/strong>\u003cbr>\nAnnual gala (March 14) rescheduled to May 16\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfca.org/2019-2020-season/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Choral Artists\u003c/a>\u003c/strong>\u003cbr>\n‘Joyful Voices, Stomping Feet’ performances canceled for March 8 (SF), March 14 (Palo Alto) and March 15 (Oakland)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfgmc.org/welcome/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> \u003c/strong>\u003cbr>\nPerformances of ‘Penned in Pink’ (March 26 and 28) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfneofuturists.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Neo-Futurists\u003c/a>\u003c/strong>\u003cbr>\nPerformances of \u003cem>The Infinite Wrench\u003c/em> (March 13 and 14) and \u003cem>Infinite Bitch\u003c/em> (March 19–21) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Public Library\u003c/strong>\u003c/a>\u003cbr>\nAll branches closed and programs canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfrecpark.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Recreation and Parks\u003c/a>\u003c/strong>\u003cbr>\nAll senior programming canceled through March 21; lawn bowling and summer resource fair canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Symphony\u003c/strong>\u003c/a>\u003cbr>\nConcerts canceled through April 6, including James Galway, Michael Tilson Thomas and more; tour of New York and Europe (March 17–April 7) also canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SaintPatricksDaySF/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco St. Patrick’s Day Parade\u003c/strong>\u003c/a> (March 14)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SJChamberOrchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Chamber Orchestra\u003c/strong>\u003c/a>\u003cbr>\nMarch 29 ‘Inferno’ concert canceled; to be rescheduled at later date\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Children’s Discovery Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.nhl.com/sharks\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Sharks\u003c/a>\u003c/strong>\u003cbr>\nNHL season put on pause; all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n‘Showcasing Contemporary Women’ program (March 21-23) canceled; Youth Ensemble concert (March 15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM\u003c/a>\u003c/strong> (April 8-21)\u003cbr>\nEntire 2020 festival canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/visit/health/\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ\u003c/a>\u003c/strong>\u003cbr>\nAll concerts and programming through April 5 postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/calendar/all/all/all/all/all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Live\u003c/strong>\u003c/a>\u003cbr>\nAll large-scale concerts canceled through April 15\u003c/p>\n\u003cp>\u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll movie screenings temporarily suspended\u003c/p>\n\u003cp>\u003ca href=\"https://www.sundaystreetssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sunday Streets: Mission District\u003c/strong>\u003c/a> (March 8)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tactile Dome at the Exploratorium\u003c/strong>\u003c/a>\u003cbr>\nExhibit closed indefinitely\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theatreworks.org/covid19/\" rel=\"noopener noreferrer\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘They Promised Her the Moon’ and ‘Ragtime’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tonyrobbins.com/news/upw-san-jose-is-postponed/\" target=\"_blank\" rel=\"noopener noreferrer\">UPW San Jose with Tony Robbins\u003c/a>\u003c/strong> (March 12–15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/vogue\" rel=\"noopener noreferrer\" target=\"_blank\">Vogue Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003ca href=\"https://www.waltdisney.org/visitor-update\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Walt Disney Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 20\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Warriors\u003c/strong>\u003c/a>\u003cbr>\nNBA season put on pause, all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute\u003c/a>\u003c/strong>\u003cbr>\nHồng-Ân Trương talk (March 12) and Astria Suparak’s illustrated lecture (March 19) postponed until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://winchestermysteryhouse.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Winchester Mystery House\u003c/a>\u003c/strong>\u003cbr>\nClosed through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://womensoundoff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Women Sound Off\u003c/a>\u003c/strong> (slated for April 3–5)\u003cbr>\nPostponed to October 2–4\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blog.ycombinator.com/yc-w20-online-demo-day-now-on-march-16/\" target=\"_blank\" rel=\"noopener noreferrer\">Y Combinator Demo Day\u003c/a>\u003c/strong> (March 23)\u003cbr>\nMoved to March 16, now entirely online\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybca.org/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a>\u003c/strong>\u003cbr>\nAll shows will have reduced capacity through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/covid-19prep\" rel=\"noopener noreferrer\" target=\"_blank\">Z Space\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zellerbach Hall\u003c/a>\u003c/strong>\u003cbr>\nAll Cal Performances events are still on, but ticketholders may exchange for other dates or request refunds for shows through March 29\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Submit info about canceled events \u003ca href=\"mailto:gmeline@kqed.org?subject=Coronavirus%20Cancelation\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "See which Bay Area events and concerts have been canceled or postponed due to coronavirus concerns.",
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"title": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More | KQED",
"description": "See which Bay Area events and concerts have been canceled or postponed due to coronavirus concerns.",
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"headline": "Canceled by Coronavirus: A List of Bay Area Concerts, Cultural Events, Museums, More",
"datePublished": "2020-03-13T16:00:36-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Updated: March 17, 6:30am\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Note\u003c/strong>: \u003cstrong>This list is no longer being updated as of March 17\u003c/strong>. Because of new restrictions and shelter-in-place orders, it is safe to assume that every concert, performance, museum or cultural event in the Bay Area has been canceled or closed for the time being.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 17, a \u003ca href=\"https://www.kqed.org/news/11806988/sheltering-in-place-what-you-need-to-know\" rel=\"noopener noreferrer\" target=\"_blank\">shelter-in-place order took effect for six Bay Area counties\u003c/a>, requiring people to stay at home and leave only for essential activities.\u003c/em>\u003c/p>\n\u003cp>\u003cem>On March 16, the CDC \u003ca href=\"https://www.kqed.org/arts/13876716/cdc-recommends-against-gatherings-of-50-or-more-states-close-bars-restaurants\" rel=\"noopener noreferrer\" target=\"_blank\">warned against gatherings of 50 people or more\u003c/a>, including “conferences, festivals, parades, concerts, sporting events, weddings, and other types of assemblies.” Governor Gavin Newsom also \u003ca href=\"https://www.kqed.org/news/11806871/newsom-calls-for-closure-of-all-bars-in-an-effort-to-increase-social-distancing\" rel=\"noopener noreferrer\" target=\"_blank\">called for the closure\u003c/a> of all bars, wineries, nightclubs and breweries.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Stay up to date on full coronavirus coverage \u003ca href=\"https://www.kqed.org/coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>Concern over the spread of the coronavirus has caused the cancellation of many concerts, performances and other cultural events in the Bay Area.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Below, see a list of cultural events, concerts and performances canceled or postponed due to coronavirus concerns. Many venues have enacted flexible refund and ticket-exchange policies. Click through the venue or event name for details, and for updated information about reopening.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ca href=\"https://www.act-sf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>American Conservatory Theater\u003c/strong>\u003c/a>\u003cbr>\nAll performances of ‘Toni Stone’ (Geary Theater) and ‘Gloria’ (Strand Theater) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">‘Ain’t I a Woman’\u003c/a>\u003c/strong> (March 15)\u003cbr>\nPerformance by Core Ensemble canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ana Gabriel\u003c/a>\u003c/strong>\u003cbr>\nMarch 19 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theoaklandarena.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Andre Rieu\u003c/a>\u003c/strong>\u003cbr>\nMarch 22 concert at Oakland Arena postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://asianart.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Asian Art Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/athletics\" rel=\"noopener noreferrer\" target=\"_blank\">Oakland A’s\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.augusthallsf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">August Hall\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 27 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/balboa\" rel=\"noopener noreferrer\" target=\"_blank\">Balboa Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://bampfa.org/news/new-info-bampfa-update-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>\u003c/strong>\u003cbr>\nAll film screenings, tours and public programs canceled through March 29\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.baybookfest.org/2020cancellation/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>\u003c/strong> (May 2 and 3)\u003cbr>\nPostponed to May 1-2, 2021\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gradlectures.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Graduate Lectures\u003c/a>\u003c/strong>\u003cbr>\nAll lectures canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.berkeleyrep.org/?gclsrc=aw.ds&gclid=Cj0KCQjwu6fzBRC6ARIsAJUwa2SSGnQum2eM6ybkE8IFauSDY_ugwioEz44pG-2t0TkGpUXzvuyXNocaAlwYEALw_wcB&gclsrc=aw.ds\" rel=\"noopener noreferrer\" target=\"_blank\">Berkeley Repertory Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of \u003cem>Culture Clash (Still) in America\u003c/em> canceled; \u003cem>School Girls; Or, The African Mean Girls Play\u003c/em>, originally slated to start on March 19, on hiatus through April 5\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bill Graham Civic Auditorium\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/venues/bing-concert-hall\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Bing Concert Hall\u003c/strong>\u003c/a>\u003cbr>\nMost shows canceled through April 15, including Cecile McLorin Salvant (March 13)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.calacademy.org/a-message-to-our-academy-community-on-covid-19\" rel=\"noopener noreferrer\" target=\"_blank\">California Academy of Sciences\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://californiahistoricalsociety.org/\" rel=\"noopener noreferrer\" target=\"_blank\">California Historical Society\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cantor Arts Center and Anderson Collection\u003c/strong> \u003c/a>\u003cbr>\nClosed to the public through April 15\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.catchlight.io/\" target=\"_blank\" rel=\"noopener noreferrer\">CatchLight Visual Storytelling Summit\u003c/a>\u003c/strong> (May 17–18)\u003cbr>\nPostponed to late October 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.chasecenter.com/news/5h4k5TxZF2QdDYpa6MTNLa\" rel=\"noopener noreferrer\" target=\"_blank\">Celine Dion\u003c/a>\u003c/strong> (March 12)\u003cbr>\nConcert at Chase Center postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://centerfornewmusic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Center for New Music\u003c/a>\u003c/strong>\u003cbr>\nAll public events suspended through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">Chase Center\u003c/a>\u003c/strong>\u003cbr>\nNBA season postponed, Warriors games off; all concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfcherryblossom.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Cherry Blossom Festival, Japantown SF\u003c/a>\u003c/strong> (April 11-12 and April 17-19)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Cinequest Film Festival\u003c/strong>\u003c/a> (March 3–15)\u003cbr>\nMarch 8-15 events postponed to August 16–30\u003c/p>\n\u003cp>\u003ca href=\"http://circuscenter.org/blog/2020/03/07/covid-19--march-13-14-cabaret-cancelled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Circus Center Cabaret\u003c/strong>\u003c/a> (March 13_14)\u003cbr>\nCanceled; looking to reschedule\u003c/p>\n\u003cp>\u003ca href=\"https://www.cirquedusoleil.com/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cstrong>Cirque du Soleil: Axel\u003c/strong>\u003c/a> (March 24-28)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cityarts.net/\" target=\"_blank\" rel=\"noopener noreferrer\">City Arts & Lectures\u003c/a>\u003c/strong>\u003cbr>\nCertain scheduled events to be held with no audience and livestreamed: Anna Wiener (March 12), Peggy Orenstein (March 19), and Robert Reich (March 23)\u003c/p>\n\u003cp>\u003ca href=\"https://www.commonwealthclub.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Commonwealth Club\u003c/strong>\u003c/a>\u003cbr>\nAll in-person events canceled through March 22 for San Francisco, Marin County and Silicon Valley\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003c/strong>\u003cbr>\nAll public programs and tours canceled through March 22; museum remains open\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://counterpulse.org/\" rel=\"noopener noreferrer\" target=\"_blank\">CounterPulse\u003c/a>\u003c/strong>\u003cbr>\nAll performances and public events through May 31 canceled or postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/d41d8cd9/2nd-annual-daly-city-rock-roll-flea-market/2391757860910159/\" target=\"_blank\" rel=\"noopener noreferrer\">Daly City Rock & Roll Flea Market\u003c/a>\u003c/strong> (March 15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/AroundTown\" rel=\"noopener noreferrer\" target=\"_blank\">‘Dance Downtown’ at ODC\u003c/a>\u003c/strong>\u003cbr>\nMarch 27 gala canceled; all Spring performances postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://deyoung.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">de Young Museum\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theexit.org/\" rel=\"noopener noreferrer\" target=\"_blank\">EXIT Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March, including Burlesque Extravaganza (March 18–21)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">The Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through the end of March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.feinsteinssf.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Feinstein’s at the Nikko\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through April 6\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://thefillmore.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Fillmore\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March 18 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thefoxoakland.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater, Oakland\u003c/a>\u003c/strong>\u003cbr>\nAll concerts canceled through March 30, including Wilco, Melanie Martinez, Ilana Glazer, Third Eye Blind and others\u003c/p>\n\u003cp>\u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Game Developers Conference\u003c/strong>\u003c/a> (March 16–20)\u003cbr>\nPostponed; working to reschedule for August 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.mlb.com/giants\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Giants\u003c/a>\u003c/strong>\u003cbr>\nSpring training canceled; entire MLB season delayed at least two weeks\u003c/p>\n\u003cp>\u003ca href=\"https://www.goldengatepark150.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Golden Gate Park 150th Anniversary Celebration\u003c/strong>\u003c/a> (April 4)\u003cbr>\nPostponed; to be rescheduled for a later date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://goldengatepark.com/golden-gate-park-senior-center.html\" target=\"_blank\" rel=\"noopener noreferrer\">Golden Gate Park Senior Center\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 23\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://gmc.sonoma.edu/covid-19-update/\" rel=\"noopener noreferrer\" target=\"_blank\">Green Music Center\u003c/a>\u003c/strong>\u003cbr>\nAll performances through April 11 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Gucci Cruise Fashion Show\u003c/strong>\u003c/a> (May 18)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘Hamilton’ at the Orpheum Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.harrypottertheplay.com/san-francisco/coronavirus-update/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Harry Potter and the Cursed Child’\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://www.shipyardartists.com/open-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Hunter’s Point Shipyard Artists\u003c/strong>\u003c/a>\u003cbr>\nAnnual spring open studios rescheduled to May 16–17\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcinematheque.org/screenings/i-hate-the-internet-techno-dystopian-malaise-and-visions-of-rebellion/\" target=\"_blank\" rel=\"noopener noreferrer\">‘I Hate the Internet: Techno-Dystopian Malaise and Visions of Rebellion’\u003c/a>\u003c/strong> (March 12)\u003cbr>\nPostponed; to be rescheduled at future date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sanjosetheaters.org/event/the-illusionists-live-from-broadway/\" target=\"_blank\" rel=\"noopener noreferrer\">The Illusionists – Live From Broadway\u003c/a>\u003c/strong> (March 24 and 25)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The Independent\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>International Ocean Film Festival\u003c/strong>\u003c/a> (March 12–15)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://iccnc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Islamic Cultural Center of Northern California\u003c/a>\u003c/strong>\u003cbr>\nAll public events canceled through March 23, including Nowruz celebration on March 14\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.jcceastbay.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Jewish Community Center East Bay\u003c/a> \u003c/strong>\u003cbr>\nAll large events (50 people or more) though March 27 canceled or rescheduled\u003c/p>\n\u003cp>\u003ca href=\"https://www.jccsf.org/staying-healthy-together/\">\u003cstrong>San Francisco Jewish Community Center\u003c/strong> \u003c/a>\u003cbr>\nPurim Festival (March 8) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfcv.org/events-calendar/venue-profiles/knuth-hall-sf-state-university-creative-arts-building\" target=\"_blank\" rel=\"noopener noreferrer\">Knuth Music Hall, SF State\u003c/a>\u003c/strong>\u003cbr>\nPerformances on March 16, 18 and 19 canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>‘The Last Ship’ at the Golden Gate Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"http://www.leftcoastensemble.org/fairytale\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Left Coast Chamber Ensemble\u003c/strong>\u003c/a>\u003cbr>\n‘Fairytale Pieces’ (March 8 and 9) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://legionofhonor.famsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Legion of Honor\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/lesbianswhotech/photos/a.656630677683654/3341946979151997/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a>\u003c/strong> (April 23–25)\u003cbr>\nRescheduled for August, 2020\u003c/p>\n\u003cp>\u003ca href=\"http://www.lindyinthepark.com/\">\u003cstrong>Lindy in the Park\u003c/strong>\u003c/a>\u003cbr>\nMarch 8 and 15 events canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.lhtsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lorraine Hansberry Theatre\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Intimate Apparel’ (March 13–29) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/healthandsafetyupdate/\" rel=\"noopener noreferrer\" target=\"_blank\">Luther Burbank Center\u003c/a>\u003c/strong>\u003cbr>\nAll shows through March canceled or postponed, including Wilco, Brittany Howard, Laura Dern and more\u003c/p>\n\u003cp>\u003ca href=\"https://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>MACLA\u003c/strong>\u003c/a>\u003cbr>\nAll public programs postponed, including \u003cem>We Have Iré\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.marintheatre.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Marin Theatre Co.\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘Love’ and ‘Natural Shocks’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.aztecadancers.com/mexica-new-year\" target=\"_blank\" rel=\"noopener noreferrer\">Mexica New Year Ceremony & Celebration San Jose\u003c/a>\u003c/strong> (March 14)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>New Conservatory Theatre Center\u003c/strong>\u003c/a>\u003cbr>\nAll performances, including \u003cem>The Book of Mountains and Seas\u003c/em>, canceled through March 21\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://apeconcerts.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The New Parish\u003c/a>\u003c/strong>\u003cbr>\nAll concerts through March postponed or canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a>\u003c/strong>\u003cbr>\nMuseum closed to the public through March 27; 50th Anniversary Gala (March 14) canceled as well\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://odc.dance/tripletake\" target=\"_blank\" rel=\"noopener noreferrer\">ODC/RAWDance\u003c/a>\u003c/strong>\u003cbr>\n‘Triple Take’ (March 12–15) postponed to later this year; exact date TBA\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://offthegrid.com/blog/supporting-local-communities-through-implementation-of-covid-19-prevention-best-practices/\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Grid\u003c/a>\u003c/strong>\u003cbr>\nEvent at Fort Mason on March 13 and 20 canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘The Magic Flute’ (April 18–May 3) canceled\u003c/p>\n\u003cp>\u003ca href=\"http://www.cspaloalto.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Palo Alto Christian Science Church\u003c/strong>\u003c/a>\u003cbr>\nJames Welch concert (March 8) postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://pearljam.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">Pearl Jam\u003c/a>\u003c/strong> (April 18–19)\u003cbr>\nEntire tour canceled, including April 18–19 dates at Oakland Arena\u003c/p>\n\u003cp>\u003ca href=\"https://peninsulasymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Peninsula Symphony\u003c/strong>\u003c/a>\u003cbr>\nMarch 13 and 14 ‘Violins of Hope’ concerts postponed; to be rescheduled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://philharmonia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Philharmonia Baroque Orchestra\u003c/a>\u003c/strong>\u003cbr>\nAll performances of ‘Romantic Reflections’ (March 11-15) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/photo.php?fbid=10157788026750552&set=a.211581100551&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rebecca Solnit\u003c/strong>\u003c/a>\u003cbr>\nAll stops on book tour through March 25 canceled, including at Booksmith SF (March 16)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/events/94291513455\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls Trivia Happy Hour with KQED\u003c/a>\u003c/strong> (March 16)\u003cbr>\nPostponed to future date TBA\u003c/p>\n\u003cp>\u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Reboot Ideas Festival\u003c/strong>\u003c/a> (March 26–29)\u003cbr>\nPostponed; working to reschedule\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.roxie.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Roxie Theater\u003c/a>\u003c/strong>\u003cbr>\nCLosed to the public and all screenings canceled through March 31\u003c/p>\n\u003cp>\u003ca href=\"https://salesforcetransitcenter.com/events/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Salesforce Park\u003c/strong>\u003c/a>\u003cbr>\nAll group activities in the park suspended; park itself remains open\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfballet.org/a-message-regarding-the-covid-19-virus/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Ballet\u003c/strong>\u003c/a>\u003cbr>\nComplete run of \u003cem>A Midsummer Night’s Dream\u003c/em> (March 7–15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfbcgala.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Boys Chorus\u003c/a>\u003c/strong>\u003cbr>\nAnnual gala (March 14) rescheduled to May 16\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfca.org/2019-2020-season/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Choral Artists\u003c/a>\u003c/strong>\u003cbr>\n‘Joyful Voices, Stomping Feet’ performances canceled for March 8 (SF), March 14 (Palo Alto) and March 15 (Oakland)\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfgmc.org/welcome/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Gay Men’s Chorus\u003c/a> \u003c/strong>\u003cbr>\nPerformances of ‘Penned in Pink’ (March 26 and 28) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfneofuturists.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Neo-Futurists\u003c/a>\u003c/strong>\u003cbr>\nPerformances of \u003cem>The Infinite Wrench\u003c/em> (March 13 and 14) and \u003cem>Infinite Bitch\u003c/em> (March 19–21) canceled\u003c/p>\n\u003cp>\u003ca href=\"https://sfpl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Public Library\u003c/strong>\u003c/a>\u003cbr>\nAll branches closed and programs canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sfrecpark.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Recreation and Parks\u003c/a>\u003c/strong>\u003cbr>\nAll senior programming canceled through March 21; lawn bowling and summer resource fair canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco Symphony\u003c/strong>\u003c/a>\u003cbr>\nConcerts canceled through April 6, including James Galway, Michael Tilson Thomas and more; tour of New York and Europe (March 17–April 7) also canceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SaintPatricksDaySF/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Francisco St. Patrick’s Day Parade\u003c/strong>\u003c/a> (March 14)\u003cbr>\nPostponed to later in 2020\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SJChamberOrchestra/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Chamber Orchestra\u003c/strong>\u003c/a>\u003cbr>\nMarch 29 ‘Inferno’ concert canceled; to be rescheduled at later date\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>San Jose Children’s Discovery Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.nhl.com/sharks\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Sharks\u003c/a>\u003c/strong>\u003cbr>\nNHL season put on pause; all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.srsymphony.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Rosa Symphony\u003c/a>\u003c/strong>\u003cbr>\n‘Showcasing Contemporary Women’ program (March 21-23) canceled; Youth Ensemble concert (March 15) canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://sffilm.org/\" rel=\"noopener noreferrer\" target=\"_blank\">SFFILM\u003c/a>\u003c/strong> (April 8-21)\u003cbr>\nEntire 2020 festival canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfjazz.org/visit/health/\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ\u003c/a>\u003c/strong>\u003cbr>\nAll concerts and programming through April 5 postponed\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFMOMA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 27\u003c/p>\n\u003cp>\u003ca href=\"https://live.stanford.edu/calendar/all/all/all/all/all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Live\u003c/strong>\u003c/a>\u003cbr>\nAll large-scale concerts canceled through April 15\u003c/p>\n\u003cp>\u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stanford Theatre\u003c/strong>\u003c/a>\u003cbr>\nAll movie screenings temporarily suspended\u003c/p>\n\u003cp>\u003ca href=\"https://www.sundaystreetssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Sunday Streets: Mission District\u003c/strong>\u003c/a> (March 8)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Tactile Dome at the Exploratorium\u003c/strong>\u003c/a>\u003cbr>\nExhibit closed indefinitely\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.theatreworks.org/covid19/\" rel=\"noopener noreferrer\" target=\"_blank\">TheatreWorks Silicon Valley\u003c/a>\u003c/strong>\u003cbr>\nAll upcoming performances of ‘They Promised Her the Moon’ and ‘Ragtime’ canceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.tonyrobbins.com/news/upw-san-jose-is-postponed/\" target=\"_blank\" rel=\"noopener noreferrer\">UPW San Jose with Tony Robbins\u003c/a>\u003c/strong> (March 12–15)\u003cbr>\nCanceled\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.cinemasf.com/vogue\" rel=\"noopener noreferrer\" target=\"_blank\">Vogue Theatre\u003c/a>\u003c/strong>\u003cbr>\nClosed and all movie screenings canceled until further notice\u003c/p>\n\u003cp>\u003ca href=\"https://www.waltdisney.org/visitor-update\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Walt Disney Museum\u003c/strong>\u003c/a>\u003cbr>\nClosed through March 20\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/MattHaneySF/status/1237792593619996672\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Warriors\u003c/strong>\u003c/a>\u003cbr>\nNBA season put on pause, all games suspended\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.wattis.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Wattis Institute\u003c/a>\u003c/strong>\u003cbr>\nHồng-Ân Trương talk (March 12) and Astria Suparak’s illustrated lecture (March 19) postponed until further notice\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://winchestermysteryhouse.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Winchester Mystery House\u003c/a>\u003c/strong>\u003cbr>\nClosed through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://womensoundoff.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Women Sound Off\u003c/a>\u003c/strong> (slated for April 3–5)\u003cbr>\nPostponed to October 2–4\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blog.ycombinator.com/yc-w20-online-demo-day-now-on-march-16/\" target=\"_blank\" rel=\"noopener noreferrer\">Y Combinator Demo Day\u003c/a>\u003c/strong> (March 23)\u003cbr>\nMoved to March 16, now entirely online\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ybca.org/\" rel=\"noopener noreferrer\" target=\"_blank\">YBCA\u003c/a>\u003c/strong>\u003cbr>\nClosed to the public through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a>\u003c/strong>\u003cbr>\nAll shows will have reduced capacity through March\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/covid-19prep\" rel=\"noopener noreferrer\" target=\"_blank\">Z Space\u003c/a>\u003c/strong>\u003cbr>\nAll performances canceled through March 31\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Zellerbach Hall\u003c/a>\u003c/strong>\u003cbr>\nAll Cal Performances events are still on, but ticketholders may exchange for other dates or request refunds for shows through March 29\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Submit info about canceled events \u003ca href=\"mailto:gmeline@kqed.org?subject=Coronavirus%20Cancelation\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jordan Battle doesn’t ordinarily spend a chunk of her day spritzing and wiping down furniture at \u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Z Space\u003c/a>, the San Francisco performing arts venue where she serves as patron services manager.\u003c/p>\n\u003cp>“I will do the lobby, our bar, our conference room,” she says, gamely applying cleaning agent and elbow grease to the many bar tables and stools dotted across the Z Space lobby. “I wipe down the seats in the theater. We’ll do all of our doors upstairs. And then I go downstairs and do our smaller theater.”\u003c/p>\n\u003cp>With the struggle to slow the spread of COVID-19 causing many public events across the Bay Area to be postponed or canceled, ranging from \u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">performances in San Francisco of \u003cem>Hamilton\u003c/em>\u003c/a> to the \u003ca href=\"https://iccnc.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">Islamic Cultural Center’s Nowruz Celebration in Oakland\u003c/a>, arts and culture groups like Z Space are fighting to keep up with the upheaval.\u003c/p>\n\u003cp>For now, the venue is staying open for business. And that, Battle says, means making audiences feel safe. So it’s all hands on deck with the stepped-up swabbing routine.\u003c/p>\n\u003cp>“Live theater is important,” Battle says. “Making sure that for as long as you can, you keep that accessible to people, until someone says you have to stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The staff at \u003ca href=\"https://www.thenewparkway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The New Parkway\u003c/a> movie theater in Oakland have gotten creative when it comes to upping their hygiene standards.\u003c/p>\n\u003cp>Community outreach manager Carlos Courtade says price gouging and short supply have made it hard to get hold of hand sanitizer.\u003c/p>\n\u003cp>“So we’ve kind of had to engineer some of our own,” he says.\u003c/p>\n\u003cp>His team Googled a DIY recipe. Most YouTube videos prescribe a mixture of rubbing alcohol and aloe vera gel.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DIY Hand Sanitizer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/bUp-wnLT6ew?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“\u003cb>\u003c/b>You go you can find everything online,” Courtade says. “We didn’t have to go to \u003ca href=\"https://en.wikipedia.org/wiki/The_Anarchist_Cookbook\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Anarchist Cookbook\u003c/em>\u003c/a> for that one.\u003ci>“\u003c/i>\u003c/p>\n\u003cp>Courtade says The New Parkway is a much-needed hub for locals to get together and relax in these challenging times. It’s also a lifeline for the people who work there.\u003c/p>\n\u003cp>“A lot of us are kind of living check-to-check,” he says. “So a prolonged closure would definitely have some effects on the day-to-day lives of many of the people that work here.”\u003c/p>\n\u003cp>Faced with a great deal of unpredictability, organizations are having to remain flexible.\u003c/p>\n\u003cp>\u003ca href=\"https://museumca.org/plan-your-visit?gclid=CjwKCAjwmKLzBRBeEiwACCVihiMzLDL48_4FMWy7ZrjRiUrtpzUF-7aYHqSJhujWXtZ2BCdCAdPLJRoCQdcQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a> director Lori Fogarty says her museum is currently committed to staying open. But it just had to cancel upcoming special events in response to a recommendation from Alameda County officials. (\u003cem>\u003cstrong>Update\u003c/strong>: The Oakland Museum of California will be closed to the public through March 27.\u003c/em>)\u003c/p>\n\u003cp>“It’s just not knowing, that’s the greatest uncertainty,” she says. “I don’t think it’s going to be over any time in the next week or so. So that’s what we’re bracing for.”\u003c/p>\n\u003cp>The potential longer term fallout is causing major worries.\u003c/p>\n\u003cp>In San Francisco, a significant portion of arts funding comes from the city’s hotel tax fund. The recent cancelation and postponement of a slew of Moscone Center conventions as the result of the coronavirus—amounting to a total estimated loss of nearly $180 million so far according to the city’s visitors bureau, \u003ca href=\"https://www.sftravel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SFTravel\u003c/a>—is likely to have a negative effect on cultural organizations down the line.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The loss of revenue, whether in direct spending or hotel tax revenue, which funds Grants for the Arts, is going to be significant,” says SFTravel spokeswoman Laurie Armstrong Gossy. “It’s too early to speculate on exactly how much it will be.”\u003c/span>\u003c/p>\n\u003cp>Elsewhere around the Bay, creative groups are also bracing themselves for potential financial hardships.\u003c/p>\n\u003cp>Usha Srinivasan, the founder and president of \u003ca href=\"https://sangamarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sangam Arts\u003c/a>, a multicultural performing arts company based in Silicon Valley, says her group has already had to cancel a couple of grant-funded events, which could impact its relationship with funders.\u003c/p>\n\u003cp>“We may have to sit out the next grant cycle because we haven’t fulfilled our current grant obligations,” she says. “Right now, given both the stock market slump as well as the general mood and potential for a coronavirus-triggered recession, the arts are going to be impacted badly.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jordan Battle doesn’t ordinarily spend a chunk of her day spritzing and wiping down furniture at \u003ca href=\"http://www.zspace.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Z Space\u003c/a>, the San Francisco performing arts venue where she serves as patron services manager.\u003c/p>\n\u003cp>“I will do the lobby, our bar, our conference room,” she says, gamely applying cleaning agent and elbow grease to the many bar tables and stools dotted across the Z Space lobby. “I wipe down the seats in the theater. We’ll do all of our doors upstairs. And then I go downstairs and do our smaller theater.”\u003c/p>\n\u003cp>With the struggle to slow the spread of COVID-19 causing many public events across the Bay Area to be postponed or canceled, ranging from \u003ca href=\"https://www.kqed.org/arts/13876404/hamilton-canceled-in-san-francisco-due-to-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">performances in San Francisco of \u003cem>Hamilton\u003c/em>\u003c/a> to the \u003ca href=\"https://iccnc.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">Islamic Cultural Center’s Nowruz Celebration in Oakland\u003c/a>, arts and culture groups like Z Space are fighting to keep up with the upheaval.\u003c/p>\n\u003cp>For now, the venue is staying open for business. And that, Battle says, means making audiences feel safe. So it’s all hands on deck with the stepped-up swabbing routine.\u003c/p>\n\u003cp>“Live theater is important,” Battle says. “Making sure that for as long as you can, you keep that accessible to people, until someone says you have to stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The staff at \u003ca href=\"https://www.thenewparkway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The New Parkway\u003c/a> movie theater in Oakland have gotten creative when it comes to upping their hygiene standards.\u003c/p>\n\u003cp>Community outreach manager Carlos Courtade says price gouging and short supply have made it hard to get hold of hand sanitizer.\u003c/p>\n\u003cp>“So we’ve kind of had to engineer some of our own,” he says.\u003c/p>\n\u003cp>His team Googled a DIY recipe. Most YouTube videos prescribe a mixture of rubbing alcohol and aloe vera gel.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DIY Hand Sanitizer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/bUp-wnLT6ew?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“\u003cb>\u003c/b>You go you can find everything online,” Courtade says. “We didn’t have to go to \u003ca href=\"https://en.wikipedia.org/wiki/The_Anarchist_Cookbook\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Anarchist Cookbook\u003c/em>\u003c/a> for that one.\u003ci>“\u003c/i>\u003c/p>\n\u003cp>Courtade says The New Parkway is a much-needed hub for locals to get together and relax in these challenging times. It’s also a lifeline for the people who work there.\u003c/p>\n\u003cp>“A lot of us are kind of living check-to-check,” he says. “So a prolonged closure would definitely have some effects on the day-to-day lives of many of the people that work here.”\u003c/p>\n\u003cp>Faced with a great deal of unpredictability, organizations are having to remain flexible.\u003c/p>\n\u003cp>\u003ca href=\"https://museumca.org/plan-your-visit?gclid=CjwKCAjwmKLzBRBeEiwACCVihiMzLDL48_4FMWy7ZrjRiUrtpzUF-7aYHqSJhujWXtZ2BCdCAdPLJRoCQdcQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a> director Lori Fogarty says her museum is currently committed to staying open. But it just had to cancel upcoming special events in response to a recommendation from Alameda County officials. (\u003cem>\u003cstrong>Update\u003c/strong>: The Oakland Museum of California will be closed to the public through March 27.\u003c/em>)\u003c/p>\n\u003cp>“It’s just not knowing, that’s the greatest uncertainty,” she says. “I don’t think it’s going to be over any time in the next week or so. So that’s what we’re bracing for.”\u003c/p>\n\u003cp>The potential longer term fallout is causing major worries.\u003c/p>\n\u003cp>In San Francisco, a significant portion of arts funding comes from the city’s hotel tax fund. The recent cancelation and postponement of a slew of Moscone Center conventions as the result of the coronavirus—amounting to a total estimated loss of nearly $180 million so far according to the city’s visitors bureau, \u003ca href=\"https://www.sftravel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SFTravel\u003c/a>—is likely to have a negative effect on cultural organizations down the line.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The loss of revenue, whether in direct spending or hotel tax revenue, which funds Grants for the Arts, is going to be significant,” says SFTravel spokeswoman Laurie Armstrong Gossy. “It’s too early to speculate on exactly how much it will be.”\u003c/span>\u003c/p>\n\u003cp>Elsewhere around the Bay, creative groups are also bracing themselves for potential financial hardships.\u003c/p>\n\u003cp>Usha Srinivasan, the founder and president of \u003ca href=\"https://sangamarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sangam Arts\u003c/a>, a multicultural performing arts company based in Silicon Valley, says her group has already had to cancel a couple of grant-funded events, which could impact its relationship with funders.\u003c/p>\n\u003cp>“We may have to sit out the next grant cycle because we haven’t fulfilled our current grant obligations,” she says. “Right now, given both the stock market slump as well as the general mood and potential for a coronavirus-triggered recession, the arts are going to be impacted badly.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, March 31\u003c/strong>: The current tour of ‘Hamilton’ has now closed for good in San Francisco. It had been scheduled to play through May 31, 2020. ‘The Last Ship’ and others are now \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">canceled as well\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> has gone dark.\u003c/p>\n\u003cp>The hit Broadway musical currently at the Orpheum in San Francisco has been \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">temporarily canceled\u003c/a> due to coronavirus concerns. Additionally, \u003cem>The Last Ship\u003c/em>, starring Sting at the Golden Gate Theatre, has been put on hiatus as well.\u003c/p>\n\u003cp>Starting tonight, all performances of \u003cem>Hamilton\u003c/em> and \u003cem>The Last Ship\u003c/em> will be canceled through Tuesday, March 31. \u003c/p>\n\u003cp>Those who purchased official tickets for one of the canceled shows through \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">BroadwaySF\u003c/a>, the show’s presenter, will get a refund. (Tickets sold on a second-hand site are subject to that site’s terms and conditions.)\u003c/p>\n\u003cp>The statement from the show’s organizers follows: \u003c/p>\n\u003cp>\u003cem>At the direction of the City of San Francisco’s mandate to ban events larger than 1,000 people across the city, all BroadwaySF productions at the Orpheum and Golden Gate Theatres will be canceled beginning this evening (tonight’s performances of HAMILTON at 7pm and THE LAST SHIP at 7:30pm) through \u003cdel datetime=\"2020-03-12T20:58:28+00:00\">Wednesday March 25\u003c/del> Tuesday, March 31.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you have purchased tickets to a performance of HAMILTON or THE LAST SHIP during this time period, you will receive a refund. Tickets purchased through Goldstar, Vivid Seats, TodayTix and any other sources that are not BroadwaySF related should consult their place of purchase for a refund.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We take the health and safety of our patrons, staff and community seriously and urge everyone to continue to follow the guidelines set forth by public health officials.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We will continue to monitor the situation closely and provide updates as we receive them.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, March 31\u003c/strong>: The current tour of ‘Hamilton’ has now closed for good in San Francisco. It had been scheduled to play through May 31, 2020. ‘The Last Ship’ and others are now \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">canceled as well\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> has gone dark.\u003c/p>\n\u003cp>The hit Broadway musical currently at the Orpheum in San Francisco has been \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">temporarily canceled\u003c/a> due to coronavirus concerns. Additionally, \u003cem>The Last Ship\u003c/em>, starring Sting at the Golden Gate Theatre, has been put on hiatus as well.\u003c/p>\n\u003cp>Starting tonight, all performances of \u003cem>Hamilton\u003c/em> and \u003cem>The Last Ship\u003c/em> will be canceled through Tuesday, March 31. \u003c/p>\n\u003cp>Those who purchased official tickets for one of the canceled shows through \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">BroadwaySF\u003c/a>, the show’s presenter, will get a refund. (Tickets sold on a second-hand site are subject to that site’s terms and conditions.)\u003c/p>\n\u003cp>The statement from the show’s organizers follows: \u003c/p>\n\u003cp>\u003cem>At the direction of the City of San Francisco’s mandate to ban events larger than 1,000 people across the city, all BroadwaySF productions at the Orpheum and Golden Gate Theatres will be canceled beginning this evening (tonight’s performances of HAMILTON at 7pm and THE LAST SHIP at 7:30pm) through \u003cdel datetime=\"2020-03-12T20:58:28+00:00\">Wednesday March 25\u003c/del> Tuesday, March 31.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If you have purchased tickets to a performance of HAMILTON or THE LAST SHIP during this time period, you will receive a refund. Tickets purchased through Goldstar, Vivid Seats, TodayTix and any other sources that are not BroadwaySF related should consult their place of purchase for a refund.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We take the health and safety of our patrons, staff and community seriously and urge everyone to continue to follow the guidelines set forth by public health officials.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We will continue to monitor the situation closely and provide updates as we receive them.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Bay Area Braces for Coronavirus Closures and Cancellations",
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"content": "\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” [aside postid=\"arts_13876121\"]\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. [aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Culture Clash Makes America (Still) Great Again at Berkeley Rep",
"headTitle": "Culture Clash Makes America (Still) Great Again at Berkeley Rep | KQED",
"content": "\u003cp>If the phrase “documentary theater” makes you think only of earnest excavations of a historical moment performed by a solo shape-shifting storyteller, you owe it to yourself to experience the boisterous irreverence of Culture Clash.\u003c/p>\n\u003cp>Formed in 1984 at Galería de la Raza in San Francisco’s Mission District—with early members including Marga Gomez and Monica Palacios—Culture Clash has created work as a trio since 1988. Using social satire as a frame for focusing attention on Chicano culture and the immigrant experience, Culture Clash uses laughter as a tool of subversion, giving its audiences an alternative history lesson of “America” from the point-of-view of its outsiders. Guillermo Gómez-Peña once dubbed the group “reverse anthropologists.”\u003c/p>\n\u003cp>Currently performing a mélange of their most seminal scenes plus some newer, timelier material at Berkeley Repertory Theatre, their familiarity with the Bay Area informs their humorous asides, including some knowing digs at Orinda, People’s Park protesters, and the Mission District-born Philz coffee.\u003c/p>\n\u003cfigure id=\"attachment_13875744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, Herbert Sigüenza, and Ricardo Salinas are here to document you in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Culture Clash is much more than their one-liners. For over 20 years, they’ve investigated the Chicano/Latino experience using the same rigorous documentarian approaches as theater-makers such as Anna Deavere Smith and Dan Hoyle. Criss-crossing the country, tape recorders and video cameras in hand, their interview subjects include couples in Miami Beach, new citizens at their naturalization ceremony, a hyper-active Nuyorican toting an old-school boombox, and a hopeful Middle-Eastern Uber driver observing dryly that “there is nothing in the Koran about raising an American teenager.” Occasionally, in the spirit of fun, they turn the cameras onto their audience, capturing every reaction with a cheerful thumbs up.\u003c/p>\n\u003cfigure id=\"attachment_13875743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875743\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas as a salsa-parsing Nuyorican in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a staccato burst of loosely-arranged sketches, \u003cem>Culture Clash (Still) in America\u003c/em>, directed by Lisa Peterson, explores its plurality of voices with good-natured portrayals. Even less sympathetic characters such as Floridian blowhard Todd (Herbert Sigüenza), whose casual racism and sexism dominates much of his discourse, seems weirdly vulnerable when confessing his emotional distance from his own family in comparison to that of his Cuban wife (Ricardo Salinas). She, in turn, belies her long-suffering subservience with smilingly delivered contradictions and a swift KO.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other beloved characters from older Culture Clash assemblages reemerge still glorious—such as Herbert Sigüenza’s portrayal of the charmingly candid Adelita, a trans health worker in the Mission who speaks of AIDS education, her macho boyfriend, and her own transition process. The two new citizens—Paolo and Oscar (Salinas and Sigüenza)—stick to their original script through much of the scene, but add the twist of a MAGA hat and an unexpected defense of the Philippines’ President Rodrigo Duterte. A pair of “woke” elders smoke out (Salinas with Richard Montoya) and observe the many ways the world has changed since their “revolutionary” youth, now including an awareness of proper pronoun use.\u003c/p>\n\u003cfigure id=\"attachment_13875740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875740\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas and Herbert Sigüenza as new citizens in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Richard Montoya skillfully portrays both sides of a less-evergreen border crossing story—as both a father whose child has been taken from him, and an overworked immigration lawyer working overtime on their reunification.\u003c/p>\n\u003cp>“It’s a humanitarian crisis,” he observes grimly. “Can a country that cages children…is that country still ‘America?’”\u003c/p>\n\u003cp>In that moment there are no laughs solicited and none given. In a work of mainly comedic vignettes, it stands out as a perhaps too-brief moment of political reckoning. An amalgamation of anger at a system bent on maximizing the humiliation and horror that awaits today’s border detainees, and anguish over the helplessness of even the law to combat it. No other moment in the show comes as close to breaking through the genial cocoon of comic relief, and one wonders how its perspective-shifting impact might have been sustained more thoroughly throughout the evening.\u003c/p>\n\u003cp>The camaraderie and synergy displayed by the three Clasheros onstage is by far the show’s great strength. Drawing on decades of collaboration and companionship, they slip into each character’s skin as easily as a pair of familiar shoes, carrying them ever-forward through each transition and scene change. They skillfully avoid the dead time that punctuates less practiced sketch comedy, and their innate stage presence never flags, even as they shift focus from one performer to another with practiced ease like well-matched athletes.\u003c/p>\n\u003cfigure id=\"attachment_13875741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbert Sigüenza as a poet of the revolution in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With just a few props and minimal set pieces (courtesy of Christopher Acebo) and key lighting moments (Tom Ontiveros), Culture Clash creates a vivid world populated by a multiplicity of voices who often seem very different. But from the Miami-based demolition experts praying for their next hurricane to the desperate detainee on the border giving his daughter an encouraging lie, the commonality they all reveal is the necessity and importance of hope. It may be but a small comfort for some. But at least it’s a comfort still available to the many.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Culture Clash (Still) in America’ runs Feb. 20-April 5 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14546.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the phrase “documentary theater” makes you think only of earnest excavations of a historical moment performed by a solo shape-shifting storyteller, you owe it to yourself to experience the boisterous irreverence of Culture Clash.\u003c/p>\n\u003cp>Formed in 1984 at Galería de la Raza in San Francisco’s Mission District—with early members including Marga Gomez and Monica Palacios—Culture Clash has created work as a trio since 1988. Using social satire as a frame for focusing attention on Chicano culture and the immigrant experience, Culture Clash uses laughter as a tool of subversion, giving its audiences an alternative history lesson of “America” from the point-of-view of its outsiders. Guillermo Gómez-Peña once dubbed the group “reverse anthropologists.”\u003c/p>\n\u003cp>Currently performing a mélange of their most seminal scenes plus some newer, timelier material at Berkeley Repertory Theatre, their familiarity with the Bay Area informs their humorous asides, including some knowing digs at Orinda, People’s Park protesters, and the Mission District-born Philz coffee.\u003c/p>\n\u003cfigure id=\"attachment_13875744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875744\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RichardMontoya_HerbertSiguenza_RicardoSalinas_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, Herbert Sigüenza, and Ricardo Salinas are here to document you in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Culture Clash is much more than their one-liners. For over 20 years, they’ve investigated the Chicano/Latino experience using the same rigorous documentarian approaches as theater-makers such as Anna Deavere Smith and Dan Hoyle. Criss-crossing the country, tape recorders and video cameras in hand, their interview subjects include couples in Miami Beach, new citizens at their naturalization ceremony, a hyper-active Nuyorican toting an old-school boombox, and a hopeful Middle-Eastern Uber driver observing dryly that “there is nothing in the Koran about raising an American teenager.” Occasionally, in the spirit of fun, they turn the cameras onto their audience, capturing every reaction with a cheerful thumbs up.\u003c/p>\n\u003cfigure id=\"attachment_13875743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875743\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas as a salsa-parsing Nuyorican in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a staccato burst of loosely-arranged sketches, \u003cem>Culture Clash (Still) in America\u003c/em>, directed by Lisa Peterson, explores its plurality of voices with good-natured portrayals. Even less sympathetic characters such as Floridian blowhard Todd (Herbert Sigüenza), whose casual racism and sexism dominates much of his discourse, seems weirdly vulnerable when confessing his emotional distance from his own family in comparison to that of his Cuban wife (Ricardo Salinas). She, in turn, belies her long-suffering subservience with smilingly delivered contradictions and a swift KO.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other beloved characters from older Culture Clash assemblages reemerge still glorious—such as Herbert Sigüenza’s portrayal of the charmingly candid Adelita, a trans health worker in the Mission who speaks of AIDS education, her macho boyfriend, and her own transition process. The two new citizens—Paolo and Oscar (Salinas and Sigüenza)—stick to their original script through much of the scene, but add the twist of a MAGA hat and an unexpected defense of the Philippines’ President Rodrigo Duterte. A pair of “woke” elders smoke out (Salinas with Richard Montoya) and observe the many ways the world has changed since their “revolutionary” youth, now including an awareness of proper pronoun use.\u003c/p>\n\u003cfigure id=\"attachment_13875740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875740\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_RicardoSalinas_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricardo Salinas and Herbert Sigüenza as new citizens in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Richard Montoya skillfully portrays both sides of a less-evergreen border crossing story—as both a father whose child has been taken from him, and an overworked immigration lawyer working overtime on their reunification.\u003c/p>\n\u003cp>“It’s a humanitarian crisis,” he observes grimly. “Can a country that cages children…is that country still ‘America?’”\u003c/p>\n\u003cp>In that moment there are no laughs solicited and none given. In a work of mainly comedic vignettes, it stands out as a perhaps too-brief moment of political reckoning. An amalgamation of anger at a system bent on maximizing the humiliation and horror that awaits today’s border detainees, and anguish over the helplessness of even the law to combat it. No other moment in the show comes as close to breaking through the genial cocoon of comic relief, and one wonders how its perspective-shifting impact might have been sustained more thoroughly throughout the evening.\u003c/p>\n\u003cp>The camaraderie and synergy displayed by the three Clasheros onstage is by far the show’s great strength. Drawing on decades of collaboration and companionship, they slip into each character’s skin as easily as a pair of familiar shoes, carrying them ever-forward through each transition and scene change. They skillfully avoid the dead time that punctuates less practiced sketch comedy, and their innate stage presence never flags, even as they shift focus from one performer to another with practiced ease like well-matched athletes.\u003c/p>\n\u003cfigure id=\"attachment_13875741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/CultureClash_HerbertSiguenza_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbert Sigüenza as a poet of the revolution in ‘Culture Clash (Still) in America’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With just a few props and minimal set pieces (courtesy of Christopher Acebo) and key lighting moments (Tom Ontiveros), Culture Clash creates a vivid world populated by a multiplicity of voices who often seem very different. But from the Miami-based demolition experts praying for their next hurricane to the desperate detainee on the border giving his daughter an encouraging lie, the commonality they all reveal is the necessity and importance of hope. It may be but a small comfort for some. But at least it’s a comfort still available to the many.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Culture Clash (Still) in America’ runs Feb. 20-April 5 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14546.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco City officials have given the green light for the return of \u003ca href=\"https://zinzanni.com/sf/\" target=\"_blank\" rel=\"noopener noreferrer\">Teatro ZinZanni\u003c/a> to the Embarcadero after an absence of nine years.\u003c/p>\n\u003cp>For just over a decade, from 2000 to 2011, the beloved entertainment spot attracted hundreds of thousands of tourists and locals to Pier 29 with its popular blend of circus, cabaret, comedy and dinner—all of it served up in a vintage wooden tent lined with mirrors and stained glass known as the “spiegeltent.”\u003c/p>\n\u003cp>But the Teatro ZinZanni company, which also has locations in Seattle and Chicago, was forced to shut down its San Francisco operation to make way for the 2013 America’s Cup sailboat race.\u003c/p>\n\u003cp>It’s been negotiating with city officials to reopen ever since.\u003c/p>\n\u003cfigure id=\"attachment_13875623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the spiegeltent. \u003ccite>(Teatro ZinZanni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have worked for almost a decade to return to the city we love,” said Teatro ZinZanni founder Norman Langill, in a statement about the $142 million project. “We know it would not have been possible without the strong support of the community, our artists and our fans.”\u003c/p>\n\u003cp>Over the past nine years, several circus shows in a similar vein to Teatro ZinZanni emerged in the Bay Area, including the \u003ca href=\"https://thesoileddove.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soiled Dove\u003c/a>, held in a giant tent pitched on Broadway in downtown Oakland. Teatro ZinZanni’s return, say officials, is intended to be permanent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plans for the new Teatro ZinZanni—which will be housed in a different location, a port-owned seawall property at Embarcadero and Broadway (currently a parking lot)—will include a 192-room hotel and surrounding public park.\u003c/p>\n\u003cp>But the spiegeltent itself, known as the “Palais Nostalgique,” will be the same one that operated in San Francisco at Pier 29.\u003c/p>\n\u003cp>Teatro ZinZanni aims to reopen its doors in summer 2022.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco City officials have given the green light for the return of \u003ca href=\"https://zinzanni.com/sf/\" target=\"_blank\" rel=\"noopener noreferrer\">Teatro ZinZanni\u003c/a> to the Embarcadero after an absence of nine years.\u003c/p>\n\u003cp>For just over a decade, from 2000 to 2011, the beloved entertainment spot attracted hundreds of thousands of tourists and locals to Pier 29 with its popular blend of circus, cabaret, comedy and dinner—all of it served up in a vintage wooden tent lined with mirrors and stained glass known as the “spiegeltent.”\u003c/p>\n\u003cp>But the Teatro ZinZanni company, which also has locations in Seattle and Chicago, was forced to shut down its San Francisco operation to make way for the 2013 America’s Cup sailboat race.\u003c/p>\n\u003cp>It’s been negotiating with city officials to reopen ever since.\u003c/p>\n\u003cfigure id=\"attachment_13875623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the spiegeltent. \u003ccite>(Teatro ZinZanni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have worked for almost a decade to return to the city we love,” said Teatro ZinZanni founder Norman Langill, in a statement about the $142 million project. “We know it would not have been possible without the strong support of the community, our artists and our fans.”\u003c/p>\n\u003cp>Over the past nine years, several circus shows in a similar vein to Teatro ZinZanni emerged in the Bay Area, including the \u003ca href=\"https://thesoileddove.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soiled Dove\u003c/a>, held in a giant tent pitched on Broadway in downtown Oakland. Teatro ZinZanni’s return, say officials, is intended to be permanent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plans for the new Teatro ZinZanni—which will be housed in a different location, a port-owned seawall property at Embarcadero and Broadway (currently a parking lot)—will include a 192-room hotel and surrounding public park.\u003c/p>\n\u003cp>But the spiegeltent itself, known as the “Palais Nostalgique,” will be the same one that operated in San Francisco at Pier 29.\u003c/p>\n\u003cp>Teatro ZinZanni aims to reopen its doors in summer 2022.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since taking over the Theatre Artaud space in 2009, Z Space has presented and produced a wide spectrum of disciplines and narrative techniques. From rock operas to lyric operas, cabaret to Kathak, innovative touring companies to local playwrights, Z Space is a place one goes to experience outside-of-the-box theatricals.\u003c/p>\n\u003cp>This past weekend, I camped out at Z Space and its companion venue, Z Below, to experience its wide variety with two world premieres that are worlds apart: \u003cem>The Supers\u003c/em>, by Sara Moore, and \u003cem>Retablos\u003c/em>, by Word for Word.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> multi-dimensional, multi-media expedition, \u003cem>The Supers\u003c/em> unfolds across a playfully conceptualized universe. Propelled by a cinematic score composed by Rob Reich, and accompanied by videos of colorful constellations designed by director Colin Johnson, a quintet of mostly non-verbal clowns hurtle through space in search of sanctuary. After losing one of their party—the presumptive hero, Jess, played by writer of the show and Director of the Clown Conservatory at Circus Center, Sara Moore—the remaining four land on Earth to start over.\u003c/p>\n\u003cfigure id=\"attachment_13875351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Moore, Maureen McVerry, Guilhem Milhau, DeMarcello Funes and Kaylamay Paz Suarez discover electricity. \u003ccite>(Fernando Gamberoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A now-leaderless collective of outcasts, each has a signature source of power. Helena (Maureen McVerry), an older spinster in power reds, displays a penchant for torch songs. The deceptively sweet Oopsy (Kaylamay Paz Suarez) packs a powerful punch and totes a marshmallow-shooting rifle. The plaid-clad Charlie (Guilhem Milhau) generates electricity from his fingertips. And the fatigue-wearing Edgar (DeMarcello Funes) has traveled the universe, gathering experiences and hoarding oranges. Though they frequently react with skittish, fearful energy at the many obstacles they encounter on their journey, they manage to stick together, and stand up for themselves when it counts.\u003c/p>\n\u003cp>Their Earthly immigrant experience begins like so many: by crowding into a rundown tenement of cramped single-occupancy rooms (courtesy of Katie Whitcraft and Jacque Bugler) run by a suspicious curmudgeon in coveralls (Adam Roy). As they figure out their daily routines, they’re spied upon, threatened, and have their possessions stolen by the increasingly paranoid “Super” whose rage contorts his body in every direction. At times he appears to be made of convulsive silly-putty, his limbs appearing to elongate and contract with his acrimony. His unfortunate companion, Waldo (Joel Baker), does his best to keep his equilibrium under the Super’s erratic onslaughts, showing off his superlative ability to keep a straight face.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That each character is able to convey so much of their backstory non-verbally—assisted by some key animated sequences—is \u003cem>The Supers\u003c/em> ecstatic superpower. And while it’s not always clear how each vignette connects to the next, the plucky performances occasionally becoming overwhelmed by the force of the immersive soundscape, this vibrant and colorful “human cartoon” admirably showcases its whimsical ensemble with genuine heart.\u003c/p>\n\u003cfigure id=\"attachment_13875352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875352\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Moore, Maureen McVerry, Guilhem Milhau, DeMarcello Funes and Kaylamay Paz Suarez confronting a fear. \u003ccite>(Fernando Gamberoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>n immigrant experience more rooted on Earth, though refracted through the gently blurred lens of reminiscence, is Octavio Solis’ \u003cem>Retablos\u003c/em>, a collection of short stories set in the El Paso of Solis’ childhood. Staged by Z Space’s resident theater company, Word for Word, each tale unfolds against a stunning backdrop of mountains and ominously looming clouds (set design Nina Ball, Scenic Artisan Vola Rubens) in a shimmering mélange of memories and emotion. A stooped old woman crosses the border to sweep floors and feed children who do not yet understand what she must have sacrificed to be their caretaker, a Mexican-American immigration officer terrorizes the local teenagers, a macho father struggles to apologize to his son for his missteps, a hungry child drinks a bottle of turpentine—yet lives.\u003c/p>\n\u003cfigure id=\"attachment_13875357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family moment with Regina Morales, Gabriel Montoya, Brady Morales-Woolery and Carla Gallardo. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans of Word for Word already know, and new converts to the method via Elevator Repair Service’s \u003cem>Gatz\u003c/em> (playing at Berkeley Rep until March 1) may wish to, the stories in Solis’ poetic, episodic memoir are spoken exactly as written on the page, with every “\u003cem>dice ella\u003c/em>/she said” integrated into the actor’s lines. In rotation, the actors in Word for Word’s production enact the spoken text with measured grace, trading roles as they go. One story might be narrated by the youthful Edie Flores, whose rakish pompadour sweeps high above his perpetually startled-looking eyes. Another might issue from Gabriel Montoya, whose maturity tinges his storytelling with the inescapable weight of melancholy. Altogether, an ensemble of eight paints a portrait of as El Paso as delicate and intricate as an altar piece, or \u003cem>retablo.\u003c/em>\u003c/p>\n\u003cp>Because most of the stories take place in the past, co-directors Sheila Balter and Jim Cave use the stylistic framing of a “memory play” to bolster their directing choices. Assisted greatly by the saturated secondary colors of Jeff Rowlings’ lighting and the flowing musical interludes and key effects of David R. Molina’s sound design, Solis’ El Paso floats to the surface, as if emerging from a subterranean consciousness.\u003c/p>\n\u003cfigure id=\"attachment_13875355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_Quincean%CC%83eraDance_credit_LorenzoFernandez-Kopec-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the Quinceañera, with the cast of ‘Retablos’ at Z Below. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an illustrative vignette, a teenager (Edie Flores) at a Quinceañera finds himself dancing, not with the girl he’d been flirting with the night before, but her sullen sister (Carla Gallardo), who’s encumbered by a leg brace. Recalling the classic Tennessee Williams “memory play,” \u003cem>The Glass Menagerie,\u003c/em> the scene spins by in a whirl of dimmed light, the lurching burden of the brace, the tender moment where Flores becomes aware of Gallardo’s breath at his shoulder. Throughout, the music takes on a muffled, distorted quality, while the LED-laden DJ Ball fills the room with prismatic flashes of light, giving the entire scene an otherworldly incandescence—until the kicker of an earthy last line.\u003c/p>\n\u003cp>Memory, like dream, is as fleeting as it is mutable. We can never be certain that our memories are completely accurate, and yet we insist on revisiting them, retelling them, and revising them in a continual compilation of our own mythology. By honoring the page as it is written, Word for Word is able to allow Solis’ singular mythology to take center stage, his lush recollections materializing briefly, one by one, only to slip away leaving the audience with an embodied experience of a singular El Paso, melding with our own unreliable remembrances in the realm of reverie.\u003c/p>\n\u003cfigure id=\"attachment_13875354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Regina Morales as the Virgen de Guadalupe, in ‘Retablos,’ at Z Below. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Supers’ runs at Z Space through Feb. 29; \u003ca href=\"http://www.zspace.org/supers\">details here\u003c/a>. ‘Retablos’ runs at Z Below through March 15; \u003ca href=\"http://www.zspace.org/retablos-word-for-word\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since taking over the Theatre Artaud space in 2009, Z Space has presented and produced a wide spectrum of disciplines and narrative techniques. From rock operas to lyric operas, cabaret to Kathak, innovative touring companies to local playwrights, Z Space is a place one goes to experience outside-of-the-box theatricals.\u003c/p>\n\u003cp>This past weekend, I camped out at Z Space and its companion venue, Z Below, to experience its wide variety with two world premieres that are worlds apart: \u003cem>The Supers\u003c/em>, by Sara Moore, and \u003cem>Retablos\u003c/em>, by Word for Word.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> multi-dimensional, multi-media expedition, \u003cem>The Supers\u003c/em> unfolds across a playfully conceptualized universe. Propelled by a cinematic score composed by Rob Reich, and accompanied by videos of colorful constellations designed by director Colin Johnson, a quintet of mostly non-verbal clowns hurtle through space in search of sanctuary. After losing one of their party—the presumptive hero, Jess, played by writer of the show and Director of the Clown Conservatory at Circus Center, Sara Moore—the remaining four land on Earth to start over.\u003c/p>\n\u003cfigure id=\"attachment_13875351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/TheSuper_electricity_credit_FernandoGamberoni.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Moore, Maureen McVerry, Guilhem Milhau, DeMarcello Funes and Kaylamay Paz Suarez discover electricity. \u003ccite>(Fernando Gamberoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A now-leaderless collective of outcasts, each has a signature source of power. Helena (Maureen McVerry), an older spinster in power reds, displays a penchant for torch songs. The deceptively sweet Oopsy (Kaylamay Paz Suarez) packs a powerful punch and totes a marshmallow-shooting rifle. The plaid-clad Charlie (Guilhem Milhau) generates electricity from his fingertips. And the fatigue-wearing Edgar (DeMarcello Funes) has traveled the universe, gathering experiences and hoarding oranges. Though they frequently react with skittish, fearful energy at the many obstacles they encounter on their journey, they manage to stick together, and stand up for themselves when it counts.\u003c/p>\n\u003cp>Their Earthly immigrant experience begins like so many: by crowding into a rundown tenement of cramped single-occupancy rooms (courtesy of Katie Whitcraft and Jacque Bugler) run by a suspicious curmudgeon in coveralls (Adam Roy). As they figure out their daily routines, they’re spied upon, threatened, and have their possessions stolen by the increasingly paranoid “Super” whose rage contorts his body in every direction. At times he appears to be made of convulsive silly-putty, his limbs appearing to elongate and contract with his acrimony. His unfortunate companion, Waldo (Joel Baker), does his best to keep his equilibrium under the Super’s erratic onslaughts, showing off his superlative ability to keep a straight face.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That each character is able to convey so much of their backstory non-verbally—assisted by some key animated sequences—is \u003cem>The Supers\u003c/em> ecstatic superpower. And while it’s not always clear how each vignette connects to the next, the plucky performances occasionally becoming overwhelmed by the force of the immersive soundscape, this vibrant and colorful “human cartoon” admirably showcases its whimsical ensemble with genuine heart.\u003c/p>\n\u003cfigure id=\"attachment_13875352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875352\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/thesupers_fear_credit_FernandoGamberoni.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sara Moore, Maureen McVerry, Guilhem Milhau, DeMarcello Funes and Kaylamay Paz Suarez confronting a fear. \u003ccite>(Fernando Gamberoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>n immigrant experience more rooted on Earth, though refracted through the gently blurred lens of reminiscence, is Octavio Solis’ \u003cem>Retablos\u003c/em>, a collection of short stories set in the El Paso of Solis’ childhood. Staged by Z Space’s resident theater company, Word for Word, each tale unfolds against a stunning backdrop of mountains and ominously looming clouds (set design Nina Ball, Scenic Artisan Vola Rubens) in a shimmering mélange of memories and emotion. A stooped old woman crosses the border to sweep floors and feed children who do not yet understand what she must have sacrificed to be their caretaker, a Mexican-American immigration officer terrorizes the local teenagers, a macho father struggles to apologize to his son for his missteps, a hungry child drinks a bottle of turpentine—yet lives.\u003c/p>\n\u003cfigure id=\"attachment_13875357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_GabrielMontoya_BradyMorales-Woolery_CarlaGallardo_credit_LorenzoFernandez-Kopec.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family moment with Regina Morales, Gabriel Montoya, Brady Morales-Woolery and Carla Gallardo. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans of Word for Word already know, and new converts to the method via Elevator Repair Service’s \u003cem>Gatz\u003c/em> (playing at Berkeley Rep until March 1) may wish to, the stories in Solis’ poetic, episodic memoir are spoken exactly as written on the page, with every “\u003cem>dice ella\u003c/em>/she said” integrated into the actor’s lines. In rotation, the actors in Word for Word’s production enact the spoken text with measured grace, trading roles as they go. One story might be narrated by the youthful Edie Flores, whose rakish pompadour sweeps high above his perpetually startled-looking eyes. Another might issue from Gabriel Montoya, whose maturity tinges his storytelling with the inescapable weight of melancholy. Altogether, an ensemble of eight paints a portrait of as El Paso as delicate and intricate as an altar piece, or \u003cem>retablo.\u003c/em>\u003c/p>\n\u003cp>Because most of the stories take place in the past, co-directors Sheila Balter and Jim Cave use the stylistic framing of a “memory play” to bolster their directing choices. Assisted greatly by the saturated secondary colors of Jeff Rowlings’ lighting and the flowing musical interludes and key effects of David R. Molina’s sound design, Solis’ El Paso floats to the surface, as if emerging from a subterranean consciousness.\u003c/p>\n\u003cfigure id=\"attachment_13875355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_Quincean%CC%83eraDance_credit_LorenzoFernandez-Kopec-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_QuinceañeraDance_credit_LorenzoFernandez-Kopec.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the Quinceañera, with the cast of ‘Retablos’ at Z Below. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an illustrative vignette, a teenager (Edie Flores) at a Quinceañera finds himself dancing, not with the girl he’d been flirting with the night before, but her sullen sister (Carla Gallardo), who’s encumbered by a leg brace. Recalling the classic Tennessee Williams “memory play,” \u003cem>The Glass Menagerie,\u003c/em> the scene spins by in a whirl of dimmed light, the lurching burden of the brace, the tender moment where Flores becomes aware of Gallardo’s breath at his shoulder. Throughout, the music takes on a muffled, distorted quality, while the LED-laden DJ Ball fills the room with prismatic flashes of light, giving the entire scene an otherworldly incandescence—until the kicker of an earthy last line.\u003c/p>\n\u003cp>Memory, like dream, is as fleeting as it is mutable. We can never be certain that our memories are completely accurate, and yet we insist on revisiting them, retelling them, and revising them in a continual compilation of our own mythology. By honoring the page as it is written, Word for Word is able to allow Solis’ singular mythology to take center stage, his lush recollections materializing briefly, one by one, only to slip away leaving the audience with an embodied experience of a singular El Paso, melding with our own unreliable remembrances in the realm of reverie.\u003c/p>\n\u003cfigure id=\"attachment_13875354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875354\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Retablos_ReginaMorales_credit_LorenzoFernandez-Kopec-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Regina Morales as the Virgen de Guadalupe, in ‘Retablos,’ at Z Below. \u003ccite>(Lorenzo Fernandez-Kopec)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Supers’ runs at Z Space through Feb. 29; \u003ca href=\"http://www.zspace.org/supers\">details here\u003c/a>. ‘Retablos’ runs at Z Below through March 15; \u003ca href=\"http://www.zspace.org/retablos-word-for-word\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Working at a movie theater is the definition of “hurry up and wait.” You hustle to sell tickets and popcorn, you get everyone in their seats, and then you have two hours of downtime. What happens in the long spaces between movies? \u003cem>The Flick\u003c/em> is a Pulitzer-winning play about just that. With only three characters, all of them working at an outdated one-screen movie theater, the play covers idle chatter, dance-offs, romantic pursuits, brash confessions, tête-à-têtes, and an ongoing game of \u003ca href=\"https://en.wikipedia.org/wiki/Six_Degrees_of_Kevin_Bacon\" rel=\"noopener noreferrer\" target=\"_blank\">Six Degrees of Kevin Bacon\u003c/a>.\u003c/p>\n\u003cp>I saw \u003cem>The Flick\u003c/em> when it was at Shotgun Players in Berkeley last year, and it wasn’t perfect, but having firsthand knowledge of the tedium and drudgery of movie theater employment, I can say that it got a lot of things right. Enough so that I’m excited to see it in the hands of Left Edge Theater company in Santa Rosa, a small company with a big reputation for excellence. If you’ve ever worked at a movie theater, or really any job working with the public, I fully recommend it. It runs March 6-29 at Left Edge Theater, in the Luther Burbank Center in Santa Rosa.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Working at a movie theater is the definition of “hurry up and wait.” You hustle to sell tickets and popcorn, you get everyone in their seats, and then you have two hours of downtime. What happens in the long spaces between movies? \u003cem>The Flick\u003c/em> is a Pulitzer-winning play about just that. With only three characters, all of them working at an outdated one-screen movie theater, the play covers idle chatter, dance-offs, romantic pursuits, brash confessions, tête-à-têtes, and an ongoing game of \u003ca href=\"https://en.wikipedia.org/wiki/Six_Degrees_of_Kevin_Bacon\" rel=\"noopener noreferrer\" target=\"_blank\">Six Degrees of Kevin Bacon\u003c/a>.\u003c/p>\n\u003cp>I saw \u003cem>The Flick\u003c/em> when it was at Shotgun Players in Berkeley last year, and it wasn’t perfect, but having firsthand knowledge of the tedium and drudgery of movie theater employment, I can say that it got a lot of things right. Enough so that I’m excited to see it in the hands of Left Edge Theater company in Santa Rosa, a small company with a big reputation for excellence. If you’ve ever worked at a movie theater, or really any job working with the public, I fully recommend it. It runs March 6-29 at Left Edge Theater, in the Luther Burbank Center in Santa Rosa.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Man vs. Manifesto: Rotimi Agbabiaka Explains it All at Brava Theater Center",
"headTitle": "Man vs. Manifesto: Rotimi Agbabiaka Explains it All at Brava Theater Center | KQED",
"content": "\u003cp>To sell out or not to sell out? That is the question. Or is it?\u003c/p>\n\u003cp>Did Shakespeare consider himself a hack? Or was he too busy keeping the Lord Chamberlain’s Men afloat with the quality (and quantity) of his playscripts? Did he encounter the strange impulse in his audiences to lionize and then tear down what he had the audacity to be paid for? Did he suffer from that obtuse inclination to feel guilty once he achieved a modicum of financial stability?\u003c/p>\n\u003cp>What does it actually mean to “sell out”—and is that even a relevant concern in a city where market-rate rents far exceed most artists’ capacity to pay them no matter what salary they command?\u003c/p>\n\u003cfigure id=\"attachment_13874645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-1920x1198.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka in Manifesto at Brava Theater Center. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an age-old dilemma, and as such, one cannot expect it to be solved in a scant hour, the approximate length of Rotimi Agbabiaka’s newest solo show, \u003cem>Manifesto\u003c/em>. While the struggle to reconcile the artistic conscience with the hierarchy of needs is real, in Agbabiaka’s hands it somehow becomes \u003cem>fun\u003c/em>. Like a juicy gossip sesh with your “gay best friend,” \u003cem>Manifesto\u003c/em> lets us listen in on Agbabiaka’s questioning internal monologue—along with all of the voices he carries with him, from fame mongers to talk-show hosts, James Baldwin to Beyoncé.\u003c/p>\n\u003cp>With all the \u003cem>bonhomie\u003c/em> of a television personality, Agbabiaka bounds onto the stage to an Afrobeat soundtrack, to bask in audience applause. Serving Nigerian-cool realness, his energy crackles and dominates the room, but in a friendly way. “Wow,” he observes, laughing delightedly. “You have \u003cem>no idea what you’re in for.”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What follows is a series of humorous sketches, gently directed by Edris Cooper-Anifowoshe, skewering the theater “industry” and Agbabiaka’s role in it. He tells us right away that we don’t need “permission” to create. Don’t need to wait by the phone for that “call.” That the call comes in the very next stage moment is the punchline, and we’re whisked off to New York City where he beats out Laverne Cox for a coveted off-Broadway role (last Spring, Agbabiaka was a featured player in Playwrights Horizons’ \u003cem>If Pretty Hurts Ugly Must Be a Muhfucka\u003c/em>). This minor success sets off a rampage of soul-searching for which there are no definitive answers.\u003c/p>\n\u003cfigure id=\"attachment_13874644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka in Manifesto at Brava Theater Center. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Does his accomplishment turn him into one of the aggressively soulless wannabes who jockey for position on that beloved game show, \u003cem>Show Biz Circle Jerk\u003c/em>? How about the fact that he’s considering leaning into his African heritage as a selling point, despite having grown up in Texas?\u003c/p>\n\u003cp>“If you need a Nigerian, I’m your guy,” he tells his fellow contestants. “I’m taking this shit all the way to Hollywood!” On a more quixotic note, he tries to explain to his dryly unimpressed (and hilariously deadpan) father how his vision of theater is one of revolutionary ideas, even as he admits that he won’t do theater in Nigeria since there’s no money in it.\u003c/p>\n\u003cp>“That’s all we want, isn’t it?” expounds game-show Rotimi. “I want that Jay-Z-Beyoncé price! Cause ain’t \u003cem>that\u003c/em> the revolution?”\u003c/p>\n\u003cp>In Agbabiaka’s animated hands, each character is lovingly lampooned, including himself and his contradictory ambitions. With his sheer physical presence, a chair, and the dramatic ambers and aquas of Jenny B./Shady Lady’s lighting design, Agbabiaka fills the room with a wealth of insider buzz and infectious laughter. The \u003cem>New York Times\u003c/em> has called him “whimsical,” he makes a point of mentioning. He is a delight.\u003c/p>\n\u003cfigure id=\"attachment_13874647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">God, the Nigerian Drag Queen, takes the stage in Rotimi Agbabiaka’s Manifesto. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for a show called\u003cem> Manifesto\u003c/em>, written by a performer known for his affiliations with artistically idealistic organizations such as the San Francisco Mime Troupe, there’s actually very little in the way of politicized content. Even a cameo appearance from God—a pep-talking, Nigerian Drag Queen—and an additional world-weary word of inspiration from James Baldwin glosses over the crux of the dilemma we started with. What is a fair price tag for the life artistic?\u003c/p>\n\u003cp>It’s not at all clear what Agbabiaka’s course of action for the future will be, as he considers the crossroads of conscience and commerce, or how he truly feels about putting the question to the test. For all of his playful vignettes poking fun at the addled agents, vapid influencers, and tone-deaf producers that crowd the industry, there’s no real moment of reckoning: not for them, not for Agbabiaka, and not for us.\u003c/p>\n\u003cp>Only the final monologue, a pithy poem entitled “The Revolution Will Not Be Tweeted,” hints at Agbabiaka’s deeper political inclinations. It’s a brilliant, headline-parsing chant, taking to task our obsessions with celebrity, and wryly noting that “the revolution” will not “give you an endorsement deal.” A postscript, if you will, to this love/hate letter to the actor’s life, with an undercurrent of warning. Which side are you on, Agbabiaka asks his audience with a winning smile. As to determining what side he’s on, the mic drop will have to suffice as a signifier.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manifesto’ plays through Saturday, Feb. 15, at Brava Theater Center in San Francisco. \u003ca href=\"https://brava.secure.force.com/ticket/#/events/a0S2M00000HJ5K6UAL\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A luminary of the Bay Area stage asks the question: To sell out or not to sell out? ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To sell out or not to sell out? That is the question. Or is it?\u003c/p>\n\u003cp>Did Shakespeare consider himself a hack? Or was he too busy keeping the Lord Chamberlain’s Men afloat with the quality (and quantity) of his playscripts? Did he encounter the strange impulse in his audiences to lionize and then tear down what he had the audacity to be paid for? Did he suffer from that obtuse inclination to feel guilty once he achieved a modicum of financial stability?\u003c/p>\n\u003cp>What does it actually mean to “sell out”—and is that even a relevant concern in a city where market-rate rents far exceed most artists’ capacity to pay them no matter what salary they command?\u003c/p>\n\u003cfigure id=\"attachment_13874645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-800x499.jpg\" alt=\"\" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny-1920x1198.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka3_credit_RobbieSweeny.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka in Manifesto at Brava Theater Center. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s an age-old dilemma, and as such, one cannot expect it to be solved in a scant hour, the approximate length of Rotimi Agbabiaka’s newest solo show, \u003cem>Manifesto\u003c/em>. While the struggle to reconcile the artistic conscience with the hierarchy of needs is real, in Agbabiaka’s hands it somehow becomes \u003cem>fun\u003c/em>. Like a juicy gossip sesh with your “gay best friend,” \u003cem>Manifesto\u003c/em> lets us listen in on Agbabiaka’s questioning internal monologue—along with all of the voices he carries with him, from fame mongers to talk-show hosts, James Baldwin to Beyoncé.\u003c/p>\n\u003cp>With all the \u003cem>bonhomie\u003c/em> of a television personality, Agbabiaka bounds onto the stage to an Afrobeat soundtrack, to bask in audience applause. Serving Nigerian-cool realness, his energy crackles and dominates the room, but in a friendly way. “Wow,” he observes, laughing delightedly. “You have \u003cem>no idea what you’re in for.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What follows is a series of humorous sketches, gently directed by Edris Cooper-Anifowoshe, skewering the theater “industry” and Agbabiaka’s role in it. He tells us right away that we don’t need “permission” to create. Don’t need to wait by the phone for that “call.” That the call comes in the very next stage moment is the punchline, and we’re whisked off to New York City where he beats out Laverne Cox for a coveted off-Broadway role (last Spring, Agbabiaka was a featured player in Playwrights Horizons’ \u003cem>If Pretty Hurts Ugly Must Be a Muhfucka\u003c/em>). This minor success sets off a rampage of soul-searching for which there are no definitive answers.\u003c/p>\n\u003cfigure id=\"attachment_13874644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka4_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rotimi Agbabiaka in Manifesto at Brava Theater Center. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Does his accomplishment turn him into one of the aggressively soulless wannabes who jockey for position on that beloved game show, \u003cem>Show Biz Circle Jerk\u003c/em>? How about the fact that he’s considering leaning into his African heritage as a selling point, despite having grown up in Texas?\u003c/p>\n\u003cp>“If you need a Nigerian, I’m your guy,” he tells his fellow contestants. “I’m taking this shit all the way to Hollywood!” On a more quixotic note, he tries to explain to his dryly unimpressed (and hilariously deadpan) father how his vision of theater is one of revolutionary ideas, even as he admits that he won’t do theater in Nigeria since there’s no money in it.\u003c/p>\n\u003cp>“That’s all we want, isn’t it?” expounds game-show Rotimi. “I want that Jay-Z-Beyoncé price! Cause ain’t \u003cem>that\u003c/em> the revolution?”\u003c/p>\n\u003cp>In Agbabiaka’s animated hands, each character is lovingly lampooned, including himself and his contradictory ambitions. With his sheer physical presence, a chair, and the dramatic ambers and aquas of Jenny B./Shady Lady’s lighting design, Agbabiaka fills the room with a wealth of insider buzz and infectious laughter. The \u003cem>New York Times\u003c/em> has called him “whimsical,” he makes a point of mentioning. He is a delight.\u003c/p>\n\u003cfigure id=\"attachment_13874647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Manifesto_RotimiAgbabiaka_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">God, the Nigerian Drag Queen, takes the stage in Rotimi Agbabiaka’s Manifesto. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for a show called\u003cem> Manifesto\u003c/em>, written by a performer known for his affiliations with artistically idealistic organizations such as the San Francisco Mime Troupe, there’s actually very little in the way of politicized content. Even a cameo appearance from God—a pep-talking, Nigerian Drag Queen—and an additional world-weary word of inspiration from James Baldwin glosses over the crux of the dilemma we started with. What is a fair price tag for the life artistic?\u003c/p>\n\u003cp>It’s not at all clear what Agbabiaka’s course of action for the future will be, as he considers the crossroads of conscience and commerce, or how he truly feels about putting the question to the test. For all of his playful vignettes poking fun at the addled agents, vapid influencers, and tone-deaf producers that crowd the industry, there’s no real moment of reckoning: not for them, not for Agbabiaka, and not for us.\u003c/p>\n\u003cp>Only the final monologue, a pithy poem entitled “The Revolution Will Not Be Tweeted,” hints at Agbabiaka’s deeper political inclinations. It’s a brilliant, headline-parsing chant, taking to task our obsessions with celebrity, and wryly noting that “the revolution” will not “give you an endorsement deal.” A postscript, if you will, to this love/hate letter to the actor’s life, with an undercurrent of warning. Which side are you on, Agbabiaka asks his audience with a winning smile. As to determining what side he’s on, the mic drop will have to suffice as a signifier.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manifesto’ plays through Saturday, Feb. 15, at Brava Theater Center in San Francisco. \u003ca href=\"https://brava.secure.force.com/ticket/#/events/a0S2M00000HJ5K6UAL\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "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"
},
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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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
},
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"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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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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",
"imageAlt": "On Our Watch from NPR and KQED",
"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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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