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"content": "\u003cp>Long before \u003cem>Sleep No More\u003c/em> upended \u003cem>Macbeth\u003c/em> in New York City, or San Francisco’s linchpin immersive theater experience \u003cem>The Speakeasy\u003c/em> poured its first gin cocktail, a band of classic misfits began a whimsical, meta-theatrical tribute to the creative genius of author and artist Edward Gorey, who died in 2000. Twenty years later, the Edwardian Ball has evolved into a weekend-long wonderland of choose-your-own adventure pageantry and sensory overdrive.\u003c/p>\n\u003cp>A sumptuous soiree with significant literary underpinnings, the Edwardian Ball and its weekend of auxiliary events has come a long way from its humble beginnings at the Cat Club on Folsom Street. That first foray, coaxed into existence by dark cabaret act Rosin Coven, involved not much more than a slideshow of Gorey’s gleefully morbid abecedarium, \u003cem>The Ghashlycrumb Tinies\u003c/em>, and a concert of their own music. A few years in, they recognized the limitations of that format, and invited the then-emerging circus-centric performance troupe Vau de Vire Society to reenact one of Gorey’s peculiar works onstage. A fertile creative collaboration was born.\u003c/p>\n\u003cp>Though a frequent misconception about the Ball is to conflate the “Edwardian” in the event with period-specificity, co-founder Justin Katz is emphatic about the name as a reference to Edward Gorey, their “patron saint.” This open-ended theme allows participants to let their imagination alone guide them in what to wear and how best to participate.\u003c/p>\n\u003cfigure id=\"attachment_13873509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants dance and mingle at the 2019 Edwardian Ball World’s Faire. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katz confesses a fondness for the costumes with a literary bent—Gorey-an or otherwise—citing participants who clad themselves as \u003ca href=\"https://en.wikipedia.org/wiki/The_Gashlycrumb_Tinies\" rel=\"noopener noreferrer\" target=\"_blank\">Gashlycrumb Tinies\u003c/a>, or \u003ca href=\"https://en.wikipedia.org/wiki/The_Doubtful_Guest\" rel=\"noopener noreferrer\" target=\"_blank\">Doubtful Guests\u003c/a>. But what really excites him are those who go the extra mile to create elaborate, character-driven backstories complemented by but not subsumed by their costumery. As much inspired by Victorian Science Fiction and Nonsense Literature as by Edward Gorey, you’ll find attendees in top hats and spats dancing with ones in homemade replicas of anthropomorphic diving suits, stripe-stockinged bawds escorting bewigged dandies, and plenty of feathers, flounces, and fringe.\u003c/p>\n\u003cp>“Whatever the roleplay that they are doing, people come prepared with their own story,” Katz enthuses. “And I feel like in that way, we are writing the book of the Edwardian Ball each time.”\u003c/p>\n\u003cfigure id=\"attachment_13873508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Bailey and Maggie Powers of the Vau de Vire Society setting the stage at the 2019 Edwardian Ball. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the character traits and artful attire displayed by Ball patrons are those contributed by the Vau de Vire Society. After coming onboard during the Ball’s scrappy Cat Club years, and taking on co-producing duties ever since, the Vau de Vire Society gives the Ball a playful, unpredictable edge, and much of its visual panache. Adapting an Edward Gorey story each year into a narrative for the stage, Vau de Vire’s flamboyant approach to creating spectacle turns Goery’s wryly somber monochromatics into a dazzling, daring tableau.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s really fun to play around with his work,” Vau de Vire co-founder Mike Gaines enthuses. “There’s a lot of openings for story, that we’ll create, or opening to develop a character. We usually dive deep…embellishing their backstory…without deviating from his scripts.” Over the last few years they’ve also engaged the services of director Alexis Poledouris to help them solidify the plot points and motivations, integrating them smoothly with their acrobatic prowess. This year’s Gorey story, \u003cem>The Lost Lions\u003c/em>, features circus dancer Juliano Wade as the lead—a charmed movie star named Hamish—whose propensity for his pet lions lands him in an unusual predicament (unusual predicaments being somewhat of an Edward Gorey specialty).\u003c/p>\n\u003cfigure id=\"attachment_13873507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-800x526.jpeg\" alt=\"Edwardian Ball hosts and progenitors, Rosin Coven, performing at the Lincoln Center in ...\" width=\"800\" height=\"526\" class=\"size-medium wp-image-13873507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-800x526.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-768x505.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwardian Ball hosts and progenitors, Rosin Coven, performing at the Lincoln Center in … \u003ccite>(James Ryan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two decades, the Edwardian Ball has gone through many iterations, forever building upon past lessons with new nuances. From the slideshows and cardboard cutout decor of the early years, the Vau de Vire Society’s first adaptation which involved shrieking demons swooping across the Cat Club on swinging trapezes, and their brief residency at the Great American Music Hall which included Grand Guignol stalwarts, the Thrillpeddlers, gleefully “decapitating” onlookers with their life-size guillotine, every Ball manages to bring something new to the table, even 20 years in.\u003c/p>\n\u003cfigure id=\"attachment_13873511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dark Garden model Lindsay Getzell comfortably ensconced in the Regency Ballroom, current venue of the Edwardian Ball. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, comfortably ensconced at the Regency Ballroom, the Ball is bigger—and admittedly pricier than those earlier productions—but carefully conceptualized. An intricately detailed \u003cem>Wunderkammer\u003c/em> with just enough blank space for each attendee to create their part of the narrative. A multi-faceted world where Tea Parties and museum pieces thrive beside sideshow entertainers and electro-swing, literary nonsense rubs shoulders with morbid curiosity, and kinksters run wilder in clownpaint and knickers, while escape artists emerge from their straitjacket cocoons, and opera singers deliver cameo arias.\u003c/p>\n\u003cp>“One of the things I’ve seen that I find very encouraging is we’ve seen a real uptick in youth participation,” Katz remarks of his all-ages bacchanalia. “A new generation of Edwardians, bringing a lot of new energy and new ideas to the ball. I’m curious to see where advances in film, lighting, (and) theatrical advancements will allow us to go, and allow us to create even more immersive and inclusive experiences…(while continuing) to emphasize the participant-generated environment.”\u003c/p>\n\u003cfigure id=\"attachment_13873515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Couple dancing at the 2019 Edwardian Ball World’s Faire. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what would Edward Gorey, the inspiration for it all, think of his namesake celebration? A well-known facet of his character was his love for the New York Ballet during the Balanchine years, and in 1978 he won a Tony for his innovative work on the Broadway production of \u003cem>Dracula\u003c/em>, for which he designed both costumes and the set. As detailed in the 2018 Mark Dery biography \u003cem>Born to be Posthumous\u003c/em>, even in his college days Gorey was drawn to the performative, penning short plays and creating playbills with Cambridge’s “Poets’ Theatre” along with soon-to-be literary greats such as Frank O’Hara. He then spent his sunset years in Cape Cod working on fanciful puppet theater pieces of his own devising, crafting the narratives, puppets, and stage sets and directing teams of (mostly amateur) puppeteers in weird vignettes with titles such as \u003cem>Lost Shoelaces\u003c/em> and \u003cem>Crazed Teacups.\u003c/em> True, the Edwardian Ball, with its rollicking extravagance, is a far cry from a modest cluster of poets and puppets, but beneath the madness, there is plenty of method.\u003c/p>\n\u003cp>“I think he might find us a bit much,” admits Katz with a laugh. “But I think underneath he would love the theatrical nature of what the Edwardians create together…I wish that Gorey could have seen this at least once, to know that there was this much love and care for the craft that went into it. I think it would be something he could be proud of.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Edwardian Ball runs Jan. 24–25 at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.edwardianball.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A literary tribute-turned-extravaganza celebrates 20 years of Edward Gorey homage.",
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"title": "All’s Faire in Love and Gorey: The Edwardian Ball Turns 20 | KQED",
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"headline": "All’s Faire in Love and Gorey: The Edwardian Ball Turns 20",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before \u003cem>Sleep No More\u003c/em> upended \u003cem>Macbeth\u003c/em> in New York City, or San Francisco’s linchpin immersive theater experience \u003cem>The Speakeasy\u003c/em> poured its first gin cocktail, a band of classic misfits began a whimsical, meta-theatrical tribute to the creative genius of author and artist Edward Gorey, who died in 2000. Twenty years later, the Edwardian Ball has evolved into a weekend-long wonderland of choose-your-own adventure pageantry and sensory overdrive.\u003c/p>\n\u003cp>A sumptuous soiree with significant literary underpinnings, the Edwardian Ball and its weekend of auxiliary events has come a long way from its humble beginnings at the Cat Club on Folsom Street. That first foray, coaxed into existence by dark cabaret act Rosin Coven, involved not much more than a slideshow of Gorey’s gleefully morbid abecedarium, \u003cem>The Ghashlycrumb Tinies\u003c/em>, and a concert of their own music. A few years in, they recognized the limitations of that format, and invited the then-emerging circus-centric performance troupe Vau de Vire Society to reenact one of Gorey’s peculiar works onstage. A fertile creative collaboration was born.\u003c/p>\n\u003cp>Though a frequent misconception about the Ball is to conflate the “Edwardian” in the event with period-specificity, co-founder Justin Katz is emphatic about the name as a reference to Edward Gorey, their “patron saint.” This open-ended theme allows participants to let their imagination alone guide them in what to wear and how best to participate.\u003c/p>\n\u003cfigure id=\"attachment_13873509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFair_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants dance and mingle at the 2019 Edwardian Ball World’s Faire. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Katz confesses a fondness for the costumes with a literary bent—Gorey-an or otherwise—citing participants who clad themselves as \u003ca href=\"https://en.wikipedia.org/wiki/The_Gashlycrumb_Tinies\" rel=\"noopener noreferrer\" target=\"_blank\">Gashlycrumb Tinies\u003c/a>, or \u003ca href=\"https://en.wikipedia.org/wiki/The_Doubtful_Guest\" rel=\"noopener noreferrer\" target=\"_blank\">Doubtful Guests\u003c/a>. But what really excites him are those who go the extra mile to create elaborate, character-driven backstories complemented by but not subsumed by their costumery. As much inspired by Victorian Science Fiction and Nonsense Literature as by Edward Gorey, you’ll find attendees in top hats and spats dancing with ones in homemade replicas of anthropomorphic diving suits, stripe-stockinged bawds escorting bewigged dandies, and plenty of feathers, flounces, and fringe.\u003c/p>\n\u003cp>“Whatever the roleplay that they are doing, people come prepared with their own story,” Katz enthuses. “And I feel like in that way, we are writing the book of the Edwardian Ball each time.”\u003c/p>\n\u003cfigure id=\"attachment_13873508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_StephanieBailey_MaggiePowers_VauDeVireSociety_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Bailey and Maggie Powers of the Vau de Vire Society setting the stage at the 2019 Edwardian Ball. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the character traits and artful attire displayed by Ball patrons are those contributed by the Vau de Vire Society. After coming onboard during the Ball’s scrappy Cat Club years, and taking on co-producing duties ever since, the Vau de Vire Society gives the Ball a playful, unpredictable edge, and much of its visual panache. Adapting an Edward Gorey story each year into a narrative for the stage, Vau de Vire’s flamboyant approach to creating spectacle turns Goery’s wryly somber monochromatics into a dazzling, daring tableau.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s really fun to play around with his work,” Vau de Vire co-founder Mike Gaines enthuses. “There’s a lot of openings for story, that we’ll create, or opening to develop a character. We usually dive deep…embellishing their backstory…without deviating from his scripts.” Over the last few years they’ve also engaged the services of director Alexis Poledouris to help them solidify the plot points and motivations, integrating them smoothly with their acrobatic prowess. This year’s Gorey story, \u003cem>The Lost Lions\u003c/em>, features circus dancer Juliano Wade as the lead—a charmed movie star named Hamish—whose propensity for his pet lions lands him in an unusual predicament (unusual predicaments being somewhat of an Edward Gorey specialty).\u003c/p>\n\u003cfigure id=\"attachment_13873507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-800x526.jpeg\" alt=\"Edwardian Ball hosts and progenitors, Rosin Coven, performing at the Lincoln Center in ...\" width=\"800\" height=\"526\" class=\"size-medium wp-image-13873507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-800x526.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000-768x505.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_FoundersRosin-Coven_LincolnCenter_credit_JamesRyan_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwardian Ball hosts and progenitors, Rosin Coven, performing at the Lincoln Center in … \u003ccite>(James Ryan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two decades, the Edwardian Ball has gone through many iterations, forever building upon past lessons with new nuances. From the slideshows and cardboard cutout decor of the early years, the Vau de Vire Society’s first adaptation which involved shrieking demons swooping across the Cat Club on swinging trapezes, and their brief residency at the Great American Music Hall which included Grand Guignol stalwarts, the Thrillpeddlers, gleefully “decapitating” onlookers with their life-size guillotine, every Ball manages to bring something new to the table, even 20 years in.\u003c/p>\n\u003cfigure id=\"attachment_13873511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-800x534.jpeg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_LindsayGetzell_darkgarden_credit_ZoartPhotography_1000.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dark Garden model Lindsay Getzell comfortably ensconced in the Regency Ballroom, current venue of the Edwardian Ball. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days, comfortably ensconced at the Regency Ballroom, the Ball is bigger—and admittedly pricier than those earlier productions—but carefully conceptualized. An intricately detailed \u003cem>Wunderkammer\u003c/em> with just enough blank space for each attendee to create their part of the narrative. A multi-faceted world where Tea Parties and museum pieces thrive beside sideshow entertainers and electro-swing, literary nonsense rubs shoulders with morbid curiosity, and kinksters run wilder in clownpaint and knickers, while escape artists emerge from their straitjacket cocoons, and opera singers deliver cameo arias.\u003c/p>\n\u003cp>“One of the things I’ve seen that I find very encouraging is we’ve seen a real uptick in youth participation,” Katz remarks of his all-ages bacchanalia. “A new generation of Edwardians, bringing a lot of new energy and new ideas to the ball. I’m curious to see where advances in film, lighting, (and) theatrical advancements will allow us to go, and allow us to create even more immersive and inclusive experiences…(while continuing) to emphasize the participant-generated environment.”\u003c/p>\n\u003cfigure id=\"attachment_13873515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/2019EdwardianBall_WorldsFairCouple_credit_ZoartPhotography.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Couple dancing at the 2019 Edwardian Ball World’s Faire. \u003ccite>(Zoart Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what would Edward Gorey, the inspiration for it all, think of his namesake celebration? A well-known facet of his character was his love for the New York Ballet during the Balanchine years, and in 1978 he won a Tony for his innovative work on the Broadway production of \u003cem>Dracula\u003c/em>, for which he designed both costumes and the set. As detailed in the 2018 Mark Dery biography \u003cem>Born to be Posthumous\u003c/em>, even in his college days Gorey was drawn to the performative, penning short plays and creating playbills with Cambridge’s “Poets’ Theatre” along with soon-to-be literary greats such as Frank O’Hara. He then spent his sunset years in Cape Cod working on fanciful puppet theater pieces of his own devising, crafting the narratives, puppets, and stage sets and directing teams of (mostly amateur) puppeteers in weird vignettes with titles such as \u003cem>Lost Shoelaces\u003c/em> and \u003cem>Crazed Teacups.\u003c/em> True, the Edwardian Ball, with its rollicking extravagance, is a far cry from a modest cluster of poets and puppets, but beneath the madness, there is plenty of method.\u003c/p>\n\u003cp>“I think he might find us a bit much,” admits Katz with a laugh. “But I think underneath he would love the theatrical nature of what the Edwardians create together…I wish that Gorey could have seen this at least once, to know that there was this much love and care for the craft that went into it. I think it would be something he could be proud of.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Edwardian Ball runs Jan. 24–25 at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.edwardianball.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The National Endowment for the Arts (NEA) on Wednesday \u003ca href=\"https://www.arts.gov/news/2020/national-endowment-arts-announces-arts-project-grants-all-50-states-district-columbia-and\">announced\u003c/a> 1,187 grants totaling $27.3 million for arts organizations in every state in the nation, as well as the District of Columbia and Puerto Rico, including $1,730,000 for 72 groups in the nine-county Bay Area. [aside postID=arts_13873232,arts_13849264,arts_13831888]\u003c/p>\n\u003cp>The recipients include literary, film, dance, theater, music and visual arts organizations from granite-stepped institutions to tiny enterprises. All of the projects “connect people through shared experiences and artistic expression,” NEA chair Mary Anne Carter said in a statement.\u003c/p>\n\u003cp>New projects supported include San Francisco Museum of Modern Art’s Dawoud Bey photography retrospective; Anne Bluethenthal and Dancers collaboration with Skywatchers ensemble, \u003cem>Life in the Containment Zone\u003c/em>; playwright Ricardo Pérez González’s premiere \u003cem>Don’t Eat the Mangos\u003c/em>; and choreographer Deborah Slater’s \u003cem>inCIVILITY: A Seat at the Table\u003c/em>. \u003c/p>\n\u003cp>Grants in the “Art Works” category range $10,000-$100,000 and recognize projects that celebrate creativity and cultural heritage, while the $10,000 “Challenge America” awards support small and mid-sized organizations serving remote or marginalized populations. \u003c/p>\n\u003cp>President Donald Trump has for the past three years in a row proposed eliminating the NEA and its sister agency the National Endowment for the Humanities entirely. Congress has each time rejected Trump’s proposal, and last year actually boosted the agencies budgets by millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Creative Capital, the New York grant-making outfit formed 20 years ago in part to counter deep 1990s cuts to the NEA, also on Wednesday announced $100,000 awards for three local artists. \u003c/p>\n\u003cp>Below is a complete list of the local organizations to receive NEA funding this year. \u003c/p>\n\u003cp>Berkeley Repertory Theatre (aka Berkeley Rep)\u003cbr>\n$50,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor program.\u003c/p>\n\u003cp>California Shakespeare Theater (aka Cal Shakes)\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and the world premiere production of a new play by Leila Buck and Evren Odcikin, and related project activities. \u003c/p>\n\u003cp>Central Works\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the development and world premiere production of Tres Hermanas, a new play by Cristina Garcia. \u003c/p>\n\u003cp>Kala Institute\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works – Artist\u003cbr>\nCommunities To support residencies for artists working in print and digital media. \u003c/p>\n\u003cp>Small Press Distribution, Inc. (aka SPD)\u003cbr>\n$60,000 Berkeley, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support services to literary small press publishers, including the distribution and marketing of books.\u003c/p>\n\u003cp>Aimusic School\u003cbr>\n$20,000 Cupertino, CA\u003cbr>\nArt Works – Folk & Traditional Arts\u003cbr>\nTo support performances of traditional Chinese music and related educational activities.\u003c/p>\n\u003cp>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003cbr>\n$20,000 Healdsburg, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support Artist and Inspiration: A Woman’s Spirit in Sound performances at the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>API Cultural Center (aka Oakland Asian Cultural Center (OACC))\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support a performing arts program focused on world music and traditional Vietnamese instruments\u003c/p>\n\u003cp>AXIS Dance Company (aka AXIS)\u003cbr>\n$30,000 Oakland, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support a national tour of dance performances and engagement activities.\u003c/p>\n\u003cp>Bay Area Children’s Theatre (aka BACT)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a Theatre for the Very Young production of Wheels on the Bus. \u003c/p>\n\u003cp>California Humanities\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support a touring program of independent films at community colleges throughout California. \u003c/p>\n\u003cp>Creative Growth, Inc.\u003cbr>\n$55,000 Oakland, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support programming for artists with disabilities. \u003c/p>\n\u003cp>Destiny Arts Center (aka Destiny or Destiny Arts)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support spoken word and dance programming for youth. \u003c/p>\n\u003cp>Living Jazz\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support a music concert honoring Dr. Martin Luther King, Jr. \u003c/p>\n\u003cp>Omnira Institute\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support the Black-Eyed Pea Festival, a celebration of African-American music and art. \u003c/p>\n\u003cp>Project Bandaloop (aka BANDALOOP)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation of a comprehensive archival plan with an in-house consultant versed in digital archiving.\u003c/p>\n\u003cp>Transit Books\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of books of fiction and nonfiction, including work in translation.\u003c/p>\n\u003cp>Djerassi Resident Artists Program\u003cbr>\n$35,000 Redwood City, CA\u003cbr>\nArt Works – Artist Communities\u003cbr>\nTo support artist residencies as part of the Playwright’s Initiative. \u003c/p>\n\u003cp>East Bay Center for the Performing Arts\u003cbr>\n$40,000 Richmond, CA\u003cbr>\nArt Works – Arts Education\u003cbr>\nTo support the Young Artist Diploma Program, a multidisciplinary arts education program for middle and high school students. \u003c/p>\n\u003cp>3rd I South Asian Independent Film (aka 3rd i Films)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support 3rd i Films’ San Francisco International South Asian Film Festival and associated public programming. \u003c/p>\n\u003cp>Abada-Capoeira San Francisco\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Folk & Traditional Arts\u003cbr>\nTo support a series of educational workshops and a culminating performance. \u003c/p>\n\u003cp>American Conservatory Theatre Foundation (aka American Conservatory Theater)\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a production of Toni Stone by Lydia R. Diamond. \u003c/p>\n\u003cp>Anne Bluethenthal and Dancers (aka ABD Productions)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the presentation of Life in the Containment Zone, directed by choreographer Anne Bluethenthal in collaboration with the ensemble Skywatchers. \u003c/p>\n\u003cp>Art of the Matter Performance Foundation (aka Deborah Slater Dance Theater)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the premiere of inCIVILITY: A Seat at the Table by choreographer Deborah Slater. \u003c/p>\n\u003cp>Asian Pacific Islander Cultural Center (aka APICC)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nChallenge America\u003cbr>\nTo support The United States of Asian America Festival, a multidisciplinary arts festival celebrating Asian and Pacific Islander American culture.\u003c/p>\n\u003cp>Bay Area Video Coalition, Inc. (aka BAVC)\u003cbr>\n$40,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the provision of video and audio preservation services.\u003c/p>\n\u003cp>California Lawyers for the Arts, Inc.\u003cbr>\n$60,000 San Francisco, CA\u003cbr>\nArt Works – Local Arts Agencies\u003cbr>\nTo support a multistate expansion of the Arts in Corrections Initiative. \u003c/p>\n\u003cp>Canyon Cinema Foundation (aka Canyon Cinema)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support a curatorial fellowship, screening series, and national touring program of experimental film and video works. \u003c/p>\n\u003cp>Center for Asian American Media (aka CAAM)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support CAAMFest, a media arts festival that showcases the work of Asian and Asian-American artists, and related public programming. \u003c/p>\n\u003cp>Center for the Art of Translation\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of international literature. \u003c/p>\n\u003cp>Chinese Culture Foundation of San Francisco (aka Chinese Culture Center)\u003cbr>\n$40,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support an exhibition exploring issues related to gender equity, civil rights, and inclusion. \u003c/p>\n\u003cp>City and County of San Francisco, California\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works – Local Arts Agencies\u003cbr>\nTo support a series of visual arts exhibitions and related programming commemorating the 50th anniversary of the San Francisco Arts Commission Galleries.\u003c/p>\n\u003cp>CounterPulse\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the Artist Residency and Commissioning (ARC) program, which provides space and support for emerging and mid-career choreographers.\u003c/p>\n\u003cp>Crowded Fire Theater Company (aka Crowded Fire)\u003cbr>\n$10,000\u003cbr>\nSan Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a production of The Displaced by Isaac Gomez. \u003c/p>\n\u003cp>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees and travel stipends as part of the San Francisco International Arts Festival. \u003c/p>\n\u003cp>Flyaway Productions\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support performances of Meet Us Quickly With Your Mercy by choreographer Jo Kreiter. \u003c/p>\n\u003cp>foolsFURY Theater Company (aka foolsFURY)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the FURY Factory Festival of Ensemble and Devised Theater. \u003c/p>\n\u003cp>Frameline\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the 44th San Francisco International LGBTQ+ Film Festival and Frameline Encore, a free year-round film exhibition program. \u003c/p>\n\u003cp>Golden Thread Productions\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a co-production of At The Periphery by Sedef Ecer, in a new translation by Evren Odcikin. \u003c/p>\n\u003cp>Gray Area Foundation for the Arts, Inc (aka Gray Area)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the Gray Area Festival and associated public programs.\u003c/p>\n\u003cp>Inneract Project, Inc\u003cbr>\n$20,000 SAN FRANCISCO, CA\u003cbr>\nArt Works – Design\u003cbr>\nTo support the Youth Design Academy, a series of programs introducing design concepts to middle and high school students.\u003c/p>\n\u003cp>Jewish Community Center of San Francisco (aka JCCSF)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support arts programming components of the Re-imagine Freedom series. \u003c/p>\n\u003cp>Kronos Performing Arts Association (aka Kronos Quartet)\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the Kronos Festival. \u003c/p>\n\u003cp>Magic Theatre, Inc.\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the world premiere production of Don’t Eat the Mangos, a new play by Ricardo Pérez González. \u003c/p>\n\u003cp>ODC (aka ODC/Dance)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation and presentation of Decameron, Up for Air, a new dance work by ODC/Dance. \u003c/p>\n\u003cp>ODC Theater\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation and presentation of dance works as part of the performance series Interventions and Collaborations. \u003c/p>\n\u003cp>Open Architecture Collaborative, Inc.\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Design\u003cbr>\nTo support Pathways to Equity Fellowship, a leadership development program for community design practitioners. \u003c/p>\n\u003cp>Opera Parallele\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support the world premiere of a revised and re-orchestrated production of Harvey Milk by composer Stewart Wallace and librettist Michael Korie.\u003c/p>\n\u003cp>Other Minds\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the 25th annual Other Minds new music festival.\u003c/p>\n\u003cp>Philharmonia Baroque Orchestra and Chorale\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support performances of Aci, Galatea, e Polifemo by George Frideric Handel, with re-imagined recitatives by composer and sound designer Mark Grey. \u003c/p>\n\u003cp>Root Division\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support the Second Saturday Exhibition Series, a collection of visual arts events and presentations of work by Bay Area artists. \u003c/p>\n\u003cp>San Francisco Cinematheque\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support public engagement activities for Crossroads 2020, a festival dedicated to experimental film, video, and performance-based cinema. \u003c/p>\n\u003cp>San Francisco Film Society (aka SFFILM)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the San Francisco International Film Festival and other curated film series. \u003c/p>\n\u003cp>San Francisco Green Film Festival (aka Green Film Fest)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the Impact Film program at the San Francisco Green Film Festival. \u003c/p>\n\u003cp>San Francisco Jazz Organization (aka SFJAZZ)\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works and touring activities. \u003c/p>\n\u003cp>San Francisco Jewish Film Festival (aka Jewish Film Institute)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support travel, theater rental, and staff costs for the Jewish Film Institute’s 40th San Francisco Jewish Film Festival.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (aka SFMOMA)\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works – Museums\u003cbr>\nTo support a traveling exhibition and catalogue of the work of photographer Dawoud Bey (b. 1953).\u003c/p>\n\u003cp>San Francisco Opera Association\u003cbr>\n$80,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support the west coast premiere of The Handmaid’s Tale by composer Poul Ruders and librettist Paul Bentley. \u003c/p>\n\u003cp>San Francisco Symphony (aka SFS)\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support staff salaries and artist fees for an artist-in-residence program. \u003c/p>\n\u003cp>Southern Exposure (aka SoEx)\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support a group exhibition and a series of public programs. \u003c/p>\n\u003cp>Stern Grove Festival Association\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees for the Stern Grove Festival. \u003c/p>\n\u003cp>Theatre of Yugen, Incorporated (aka Theatre of Yugen)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and performance of the Native-Noh Project, a new work exploring the intersection of the Native American and Japanese-American immigrant experiences. \u003c/p>\n\u003cp>Women’s Audio Mission (aka WAM)\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works – Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic, a digital media arts training and mentorship program in the San Francisco Unified School District and Oakland Unified School District. \u003c/p>\n\u003cp>World Arts West\u003cbr>\n$60,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support artistic fees and festival facility/production costs associated with the annual San Francisco Ethnic Dance Festival.\u003c/p>\n\u003cp>Zaccho SF (aka Zaccho Dance Theatre)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the choreographer fees of artists participating in the annual San Francisco Aerial Arts Festival.\u003c/p>\n\u003cp>ZYZZYVA, Inc.\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of the journal ZYZZYVA. \u003c/p>\n\u003cp>Opera Cultura\u003cbr>\n$10,000 San Leandro, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support a production of Frida by composer Robert Xavier Rodriguez with book by Hilary Blecher and lyrics and monologue by Migdalia Cruz.\u003c/p>\n\u003cp>Alternative Theater Ensemble (aka AlterTheater Ensemble)\u003cbr>\n$10,000 San Rafael, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the AlterLab new play development and production program. \u003c/p>\n\u003cp>California Film Institute (aka CFI)\u003cbr>\n$20,000 San Rafael, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support community engagement programs associated with the Mill Valley Film Festival.\u003c/p>\n\u003cp>Santa Rosa Symphony Association\u003cbr>\n$15,000 Santa Rosa, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support commissioning and artist fees for a new work by Mexican composer Enrico Chapela Barba premiering at Green Music Center at Sonoma State University.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Headlands Center for the Arts\u003cbr>\n$20,000 Sausalito, CA\u003cbr>\nArt Works – Artist Communities\u003cbr>\nTo support a residency program for emerging and mid-career artists and related public programming.\u003c/p>\n\n",
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"title": "National Endowment for the Arts Awards $1.7 Million to Bay Area Arts Groups | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Endowment for the Arts (NEA) on Wednesday \u003ca href=\"https://www.arts.gov/news/2020/national-endowment-arts-announces-arts-project-grants-all-50-states-district-columbia-and\">announced\u003c/a> 1,187 grants totaling $27.3 million for arts organizations in every state in the nation, as well as the District of Columbia and Puerto Rico, including $1,730,000 for 72 groups in the nine-county Bay Area. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The recipients include literary, film, dance, theater, music and visual arts organizations from granite-stepped institutions to tiny enterprises. All of the projects “connect people through shared experiences and artistic expression,” NEA chair Mary Anne Carter said in a statement.\u003c/p>\n\u003cp>New projects supported include San Francisco Museum of Modern Art’s Dawoud Bey photography retrospective; Anne Bluethenthal and Dancers collaboration with Skywatchers ensemble, \u003cem>Life in the Containment Zone\u003c/em>; playwright Ricardo Pérez González’s premiere \u003cem>Don’t Eat the Mangos\u003c/em>; and choreographer Deborah Slater’s \u003cem>inCIVILITY: A Seat at the Table\u003c/em>. \u003c/p>\n\u003cp>Grants in the “Art Works” category range $10,000-$100,000 and recognize projects that celebrate creativity and cultural heritage, while the $10,000 “Challenge America” awards support small and mid-sized organizations serving remote or marginalized populations. \u003c/p>\n\u003cp>President Donald Trump has for the past three years in a row proposed eliminating the NEA and its sister agency the National Endowment for the Humanities entirely. Congress has each time rejected Trump’s proposal, and last year actually boosted the agencies budgets by millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Creative Capital, the New York grant-making outfit formed 20 years ago in part to counter deep 1990s cuts to the NEA, also on Wednesday announced $100,000 awards for three local artists. \u003c/p>\n\u003cp>Below is a complete list of the local organizations to receive NEA funding this year. \u003c/p>\n\u003cp>Berkeley Repertory Theatre (aka Berkeley Rep)\u003cbr>\n$50,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and development of new work in The Ground Floor program.\u003c/p>\n\u003cp>California Shakespeare Theater (aka Cal Shakes)\u003cbr>\n$30,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and the world premiere production of a new play by Leila Buck and Evren Odcikin, and related project activities. \u003c/p>\n\u003cp>Central Works\u003cbr>\n$15,000 Berkeley, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the development and world premiere production of Tres Hermanas, a new play by Cristina Garcia. \u003c/p>\n\u003cp>Kala Institute\u003cbr>\n$25,000 Berkeley, CA\u003cbr>\nArt Works – Artist\u003cbr>\nCommunities To support residencies for artists working in print and digital media. \u003c/p>\n\u003cp>Small Press Distribution, Inc. (aka SPD)\u003cbr>\n$60,000 Berkeley, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support services to literary small press publishers, including the distribution and marketing of books.\u003c/p>\n\u003cp>Aimusic School\u003cbr>\n$20,000 Cupertino, CA\u003cbr>\nArt Works – Folk & Traditional Arts\u003cbr>\nTo support performances of traditional Chinese music and related educational activities.\u003c/p>\n\u003cp>Healdsburg Jazz Festival, Inc. (aka Healdsburg Jazz)\u003cbr>\n$20,000 Healdsburg, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support Artist and Inspiration: A Woman’s Spirit in Sound performances at the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>API Cultural Center (aka Oakland Asian Cultural Center (OACC))\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support a performing arts program focused on world music and traditional Vietnamese instruments\u003c/p>\n\u003cp>AXIS Dance Company (aka AXIS)\u003cbr>\n$30,000 Oakland, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support a national tour of dance performances and engagement activities.\u003c/p>\n\u003cp>Bay Area Children’s Theatre (aka BACT)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a Theatre for the Very Young production of Wheels on the Bus. \u003c/p>\n\u003cp>California Humanities\u003cbr>\n$20,000 Oakland, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support a touring program of independent films at community colleges throughout California. \u003c/p>\n\u003cp>Creative Growth, Inc.\u003cbr>\n$55,000 Oakland, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support programming for artists with disabilities. \u003c/p>\n\u003cp>Destiny Arts Center (aka Destiny or Destiny Arts)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support spoken word and dance programming for youth. \u003c/p>\n\u003cp>Living Jazz\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support a music concert honoring Dr. Martin Luther King, Jr. \u003c/p>\n\u003cp>Omnira Institute\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nChallenge America\u003cbr>\nTo support the Black-Eyed Pea Festival, a celebration of African-American music and art. \u003c/p>\n\u003cp>Project Bandaloop (aka BANDALOOP)\u003cbr>\n$10,000 Oakland, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation of a comprehensive archival plan with an in-house consultant versed in digital archiving.\u003c/p>\n\u003cp>Transit Books\u003cbr>\n$15,000 Oakland, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of books of fiction and nonfiction, including work in translation.\u003c/p>\n\u003cp>Djerassi Resident Artists Program\u003cbr>\n$35,000 Redwood City, CA\u003cbr>\nArt Works – Artist Communities\u003cbr>\nTo support artist residencies as part of the Playwright’s Initiative. \u003c/p>\n\u003cp>East Bay Center for the Performing Arts\u003cbr>\n$40,000 Richmond, CA\u003cbr>\nArt Works – Arts Education\u003cbr>\nTo support the Young Artist Diploma Program, a multidisciplinary arts education program for middle and high school students. \u003c/p>\n\u003cp>3rd I South Asian Independent Film (aka 3rd i Films)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support 3rd i Films’ San Francisco International South Asian Film Festival and associated public programming. \u003c/p>\n\u003cp>Abada-Capoeira San Francisco\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Folk & Traditional Arts\u003cbr>\nTo support a series of educational workshops and a culminating performance. \u003c/p>\n\u003cp>American Conservatory Theatre Foundation (aka American Conservatory Theater)\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a production of Toni Stone by Lydia R. Diamond. \u003c/p>\n\u003cp>Anne Bluethenthal and Dancers (aka ABD Productions)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the presentation of Life in the Containment Zone, directed by choreographer Anne Bluethenthal in collaboration with the ensemble Skywatchers. \u003c/p>\n\u003cp>Art of the Matter Performance Foundation (aka Deborah Slater Dance Theater)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the premiere of inCIVILITY: A Seat at the Table by choreographer Deborah Slater. \u003c/p>\n\u003cp>Asian Pacific Islander Cultural Center (aka APICC)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nChallenge America\u003cbr>\nTo support The United States of Asian America Festival, a multidisciplinary arts festival celebrating Asian and Pacific Islander American culture.\u003c/p>\n\u003cp>Bay Area Video Coalition, Inc. (aka BAVC)\u003cbr>\n$40,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the provision of video and audio preservation services.\u003c/p>\n\u003cp>California Lawyers for the Arts, Inc.\u003cbr>\n$60,000 San Francisco, CA\u003cbr>\nArt Works – Local Arts Agencies\u003cbr>\nTo support a multistate expansion of the Arts in Corrections Initiative. \u003c/p>\n\u003cp>Canyon Cinema Foundation (aka Canyon Cinema)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support a curatorial fellowship, screening series, and national touring program of experimental film and video works. \u003c/p>\n\u003cp>Center for Asian American Media (aka CAAM)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support CAAMFest, a media arts festival that showcases the work of Asian and Asian-American artists, and related public programming. \u003c/p>\n\u003cp>Center for the Art of Translation\u003cbr>\n$50,000 San Francisco, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of international literature. \u003c/p>\n\u003cp>Chinese Culture Foundation of San Francisco (aka Chinese Culture Center)\u003cbr>\n$40,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support an exhibition exploring issues related to gender equity, civil rights, and inclusion. \u003c/p>\n\u003cp>City and County of San Francisco, California\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works – Local Arts Agencies\u003cbr>\nTo support a series of visual arts exhibitions and related programming commemorating the 50th anniversary of the San Francisco Arts Commission Galleries.\u003c/p>\n\u003cp>CounterPulse\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the Artist Residency and Commissioning (ARC) program, which provides space and support for emerging and mid-career choreographers.\u003c/p>\n\u003cp>Crowded Fire Theater Company (aka Crowded Fire)\u003cbr>\n$10,000\u003cbr>\nSan Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a production of The Displaced by Isaac Gomez. \u003c/p>\n\u003cp>Eyes and Ears Foundation (aka San Francisco International Arts Festival)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees and travel stipends as part of the San Francisco International Arts Festival. \u003c/p>\n\u003cp>Flyaway Productions\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support performances of Meet Us Quickly With Your Mercy by choreographer Jo Kreiter. \u003c/p>\n\u003cp>foolsFURY Theater Company (aka foolsFURY)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the FURY Factory Festival of Ensemble and Devised Theater. \u003c/p>\n\u003cp>Frameline\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the 44th San Francisco International LGBTQ+ Film Festival and Frameline Encore, a free year-round film exhibition program. \u003c/p>\n\u003cp>Golden Thread Productions\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support a co-production of At The Periphery by Sedef Ecer, in a new translation by Evren Odcikin. \u003c/p>\n\u003cp>Gray Area Foundation for the Arts, Inc (aka Gray Area)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the Gray Area Festival and associated public programs.\u003c/p>\n\u003cp>Inneract Project, Inc\u003cbr>\n$20,000 SAN FRANCISCO, CA\u003cbr>\nArt Works – Design\u003cbr>\nTo support the Youth Design Academy, a series of programs introducing design concepts to middle and high school students.\u003c/p>\n\u003cp>Jewish Community Center of San Francisco (aka JCCSF)\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support arts programming components of the Re-imagine Freedom series. \u003c/p>\n\u003cp>Kronos Performing Arts Association (aka Kronos Quartet)\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the Kronos Festival. \u003c/p>\n\u003cp>Magic Theatre, Inc.\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the world premiere production of Don’t Eat the Mangos, a new play by Ricardo Pérez González. \u003c/p>\n\u003cp>ODC (aka ODC/Dance)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation and presentation of Decameron, Up for Air, a new dance work by ODC/Dance. \u003c/p>\n\u003cp>ODC Theater\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the creation and presentation of dance works as part of the performance series Interventions and Collaborations. \u003c/p>\n\u003cp>Open Architecture Collaborative, Inc.\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Design\u003cbr>\nTo support Pathways to Equity Fellowship, a leadership development program for community design practitioners. \u003c/p>\n\u003cp>Opera Parallele\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support the world premiere of a revised and re-orchestrated production of Harvey Milk by composer Stewart Wallace and librettist Michael Korie.\u003c/p>\n\u003cp>Other Minds\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the 25th annual Other Minds new music festival.\u003c/p>\n\u003cp>Philharmonia Baroque Orchestra and Chorale\u003cbr>\n$15,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support performances of Aci, Galatea, e Polifemo by George Frideric Handel, with re-imagined recitatives by composer and sound designer Mark Grey. \u003c/p>\n\u003cp>Root Division\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support the Second Saturday Exhibition Series, a collection of visual arts events and presentations of work by Bay Area artists. \u003c/p>\n\u003cp>San Francisco Cinematheque\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support public engagement activities for Crossroads 2020, a festival dedicated to experimental film, video, and performance-based cinema. \u003c/p>\n\u003cp>San Francisco Film Society (aka SFFILM)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the San Francisco International Film Festival and other curated film series. \u003c/p>\n\u003cp>San Francisco Green Film Festival (aka Green Film Fest)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support the Impact Film program at the San Francisco Green Film Festival. \u003c/p>\n\u003cp>San Francisco Jazz Organization (aka SFJAZZ)\u003cbr>\n$30,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support the SFJAZZ Collective’s commissioning, development, and performance of new original works and touring activities. \u003c/p>\n\u003cp>San Francisco Jewish Film Festival (aka Jewish Film Institute)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support travel, theater rental, and staff costs for the Jewish Film Institute’s 40th San Francisco Jewish Film Festival.\u003c/p>\n\u003cp>San Francisco Museum of Modern Art (aka SFMOMA)\u003cbr>\n$45,000 San Francisco, CA\u003cbr>\nArt Works – Museums\u003cbr>\nTo support a traveling exhibition and catalogue of the work of photographer Dawoud Bey (b. 1953).\u003c/p>\n\u003cp>San Francisco Opera Association\u003cbr>\n$80,000 San Francisco, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support the west coast premiere of The Handmaid’s Tale by composer Poul Ruders and librettist Paul Bentley. \u003c/p>\n\u003cp>San Francisco Symphony (aka SFS)\u003cbr>\n$75,000 San Francisco, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support staff salaries and artist fees for an artist-in-residence program. \u003c/p>\n\u003cp>Southern Exposure (aka SoEx)\u003cbr>\n$25,000 San Francisco, CA\u003cbr>\nArt Works – Visual Arts\u003cbr>\nTo support a group exhibition and a series of public programs. \u003c/p>\n\u003cp>Stern Grove Festival Association\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Presenting & Multidisciplinary Works\u003cbr>\nTo support artist fees for the Stern Grove Festival. \u003c/p>\n\u003cp>Theatre of Yugen, Incorporated (aka Theatre of Yugen)\u003cbr>\n$20,000 San Francisco, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the creation and performance of the Native-Noh Project, a new work exploring the intersection of the Native American and Japanese-American immigrant experiences. \u003c/p>\n\u003cp>Women’s Audio Mission (aka WAM)\u003cbr>\n$35,000 San Francisco, CA\u003cbr>\nArt Works – Arts Education\u003cbr>\nTo support the expansion of Girls on the Mic, a digital media arts training and mentorship program in the San Francisco Unified School District and Oakland Unified School District. \u003c/p>\n\u003cp>World Arts West\u003cbr>\n$60,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support artistic fees and festival facility/production costs associated with the annual San Francisco Ethnic Dance Festival.\u003c/p>\n\u003cp>Zaccho SF (aka Zaccho Dance Theatre)\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Dance\u003cbr>\nTo support the choreographer fees of artists participating in the annual San Francisco Aerial Arts Festival.\u003c/p>\n\u003cp>ZYZZYVA, Inc.\u003cbr>\n$10,000 San Francisco, CA\u003cbr>\nArt Works – Literary Arts\u003cbr>\nTo support the publication and promotion of the journal ZYZZYVA. \u003c/p>\n\u003cp>Opera Cultura\u003cbr>\n$10,000 San Leandro, CA\u003cbr>\nArt Works – Opera\u003cbr>\nTo support a production of Frida by composer Robert Xavier Rodriguez with book by Hilary Blecher and lyrics and monologue by Migdalia Cruz.\u003c/p>\n\u003cp>Alternative Theater Ensemble (aka AlterTheater Ensemble)\u003cbr>\n$10,000 San Rafael, CA\u003cbr>\nArt Works – Theater\u003cbr>\nTo support the AlterLab new play development and production program. \u003c/p>\n\u003cp>California Film Institute (aka CFI)\u003cbr>\n$20,000 San Rafael, CA\u003cbr>\nArt Works – Media Arts\u003cbr>\nTo support community engagement programs associated with the Mill Valley Film Festival.\u003c/p>\n\u003cp>Santa Rosa Symphony Association\u003cbr>\n$15,000 Santa Rosa, CA\u003cbr>\nArt Works – Music\u003cbr>\nTo support commissioning and artist fees for a new work by Mexican composer Enrico Chapela Barba premiering at Green Music Center at Sonoma State University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Headlands Center for the Arts\u003cbr>\n$20,000 Sausalito, CA\u003cbr>\nArt Works – Artist Communities\u003cbr>\nTo support a residency program for emerging and mid-career artists and related public programming.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "noura-and-mimis-suitcase-explore-the-iranian-and-iraqi-diasporas",
"title": "'Noura' and 'Mimi’s Suitcase' Explore the Iranian and Iraqi Diasporas",
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"headTitle": "‘Noura’ and ‘Mimi’s Suitcase’ Explore the Iranian and Iraqi Diasporas | KQED",
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"content": "\u003cp>Barely before this month’s New Year’s revelry had quieted, news of the extrajudicial killing of Iran’s Qasem Soleimani by U.S. airstrike dominated the news cycle, and the Middle East was thrust one more into unwelcome focus. And even though the immediate crisis of escalation and threat of war seems to have been brought under some control, there’s no doubt that the reverberations of that action will resonate for years to come: in Iran, Iraq, and worldwide.\u003c/p>\n\u003cp>It’s reverberations such as these that two plays opening this month in the Bay Area are already intricately familiar with. Both \u003cem>Noura\u003c/em>, by Heather Raffo, at Marin Theatre Company, and \u003cem>Mimi’s Suitcase\u003c/em>, by Ana Bayat, at NOH Space, deal explicitly with the long-term effects of immigration on ordinary citizens from the Middle East. Beyond describing reasons to leave, both \u003cem>Noura \u003c/em>and \u003cem>Mimi’s Suitcase\u003c/em> delve into what it means to survive the process of re-routing, and re-rooting, as immigrants, women, and artists.\u003c/p>\n\u003cfigure id=\"attachment_13873142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Noura\u003c/em>, which opened in previews on Jan. 9, explores the Iraqi-American experience through a quotidian, domestic lens. With a hat-tip to Ibsen’s \u003cem>A Doll’s House\u003c/em>, the play takes place over the Christmas holiday, revolving around an Iraqi refugee family who has just received American citizenship after eight years of waiting. Members of a displaced Christian minority, they’ve settled in New York (where playwright Heather Raffo also lives). As the play progresses, as do the complexities of their relationship to each other, to their selves, and to their adopted home.\u003c/p>\n\u003cp>Having performed the role of Noura in the play’s world premiere in 2018, Raffo’s understanding of the character extends beyond the lived experience of growing up with an Iraqi parent. By birthing the role as well as the play, she’s in a unique position of being able to explore Noura’s philosophical layers with a keen familiarity. Through the character, she’s been able to wrestle with her own struggles with the “rugged individualism…of Western American feminism,” and speak to a yearning to use female liberation as a platform for more than self-actualization. Her Noura, an architect, not only juggles the imperative to create with the demands of the domestic, but also the eternal inner conflict of reconciling with a turbulent, dangerous past.\u003c/p>\n\u003cfigure id=\"attachment_13873144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Denmo Ibrahim and Valentino Bertolucci Herrera in Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really wanted to reframe the play (\u003cem>A Doll’s House\u003c/em>) in what does it mean to be actually \u003cem>very\u003c/em> attached?” she explains over the phone. “The question I’m facing in my life isn’t ‘I will just up and leave my family so I can live my life as a full human being’….I can’t do that…most of us wouldn’t want to do that. In this play they are \u003cem>all\u003c/em> Nora Helmer, all post-door slam, all living together, going these are the different ways they’ve chosen to move on, and now what?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not only is Ana Bayat’s solo show \u003cem>Mimi’s Suitcase\u003c/em> a bit of a travelogue, but it’s also well-traveled, having first launched at New York’s United Solo, and following up with appearances at festivals across Europe—including the 70th edition of the Edinburgh Fringe. In the play we first encounter the protagonist as a teenage girl living in Tehran. With shades of Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, Bayat describes the tension and violence of a suppressive state, and its psychological effects on a young woman who’d previously lived in the much more permissive Barcelona.\u003c/p>\n\u003cfigure id=\"attachment_13873143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Bayat in her solo show, ‘Mimi’s Suitcase.’ \u003ccite>(Diaspora Arts Connection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a solo performer, Bayat plays over 25 characters in four languages, including family members, close friends, Republican guards, and immigration officers. Although the action focuses on the time period from 1984 to 2000, as Bayat ruefully notes, the topics of immigration and diaspora that she explores are “very much present in our everyday lives.”\u003c/p>\n\u003cp>With repercussions of 2017’s so-called “Muslim travel ban” still reverberating worldwide, the protagonist’s struggle to obtain a precious student visa feels as urgent as it must have in 2007, when Bayat first began working on the piece as part of W. Kamau Bell’s notable Solo Performance Workshop. And her lived experience as a child trapped within the borders of a repressive regime gives a singular view into a family that has run out of choices. Her protagonist’s decision to leave Iran emphasizes the divergence of choice between those who can obtain a visa and those who cannot. Or as Bayat elegantly puts it, “sometimes what you choose is not necessarily what you can have.”\u003c/p>\n\u003cp>“Political upheaval is not theoretical,” Torange Yeghiazarian of Golden Thread Productions, who is consulting on \u003cem>Noura\u003c/em>, points out. And the undercurrent of the very real dangers faced by their respective protagonists in their home countries gives \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> a vital kinship. But beyond the Middle Eastern diaspora stories illuminated by \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> are larger themes of immigration, family, and home, with broad, cross-cultural implications. In both works we find protagonists who love their families, value themselves, and mourn for their lost opportunities and former homelands, while laying claim to their future—all in the context of an immigration narrative.\u003c/p>\n\u003cp>“Ultimately I believe this is a universal story,” asserts Bayat about \u003cem>Mimi’s Suitcase\u003c/em>. “I’m hoping it humanizes immigrants so we don’t go about life othering. That we realize that at the end of the day…that we have so much in common.”\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>‘Noura’ has been extended at Marin Theatre Company through Feb. 9. Details \u003ca href=\"http://www.marintheatre.org/productions/noura\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mimi’s Suitcase’ plays at NOHspace, Jan. 23-25. Tickets and info \u003ca href=\"http://www.anabayat.com/mimissuitcase\">here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barely before this month’s New Year’s revelry had quieted, news of the extrajudicial killing of Iran’s Qasem Soleimani by U.S. airstrike dominated the news cycle, and the Middle East was thrust one more into unwelcome focus. And even though the immediate crisis of escalation and threat of war seems to have been brought under some control, there’s no doubt that the reverberations of that action will resonate for years to come: in Iran, Iraq, and worldwide.\u003c/p>\n\u003cp>It’s reverberations such as these that two plays opening this month in the Bay Area are already intricately familiar with. Both \u003cem>Noura\u003c/em>, by Heather Raffo, at Marin Theatre Company, and \u003cem>Mimi’s Suitcase\u003c/em>, by Ana Bayat, at NOH Space, deal explicitly with the long-term effects of immigration on ordinary citizens from the Middle East. Beyond describing reasons to leave, both \u003cem>Noura \u003c/em>and \u003cem>Mimi’s Suitcase\u003c/em> delve into what it means to survive the process of re-routing, and re-rooting, as immigrants, women, and artists.\u003c/p>\n\u003cfigure id=\"attachment_13873142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Noura\u003c/em>, which opened in previews on Jan. 9, explores the Iraqi-American experience through a quotidian, domestic lens. With a hat-tip to Ibsen’s \u003cem>A Doll’s House\u003c/em>, the play takes place over the Christmas holiday, revolving around an Iraqi refugee family who has just received American citizenship after eight years of waiting. Members of a displaced Christian minority, they’ve settled in New York (where playwright Heather Raffo also lives). As the play progresses, as do the complexities of their relationship to each other, to their selves, and to their adopted home.\u003c/p>\n\u003cp>Having performed the role of Noura in the play’s world premiere in 2018, Raffo’s understanding of the character extends beyond the lived experience of growing up with an Iraqi parent. By birthing the role as well as the play, she’s in a unique position of being able to explore Noura’s philosophical layers with a keen familiarity. Through the character, she’s been able to wrestle with her own struggles with the “rugged individualism…of Western American feminism,” and speak to a yearning to use female liberation as a platform for more than self-actualization. Her Noura, an architect, not only juggles the imperative to create with the demands of the domestic, but also the eternal inner conflict of reconciling with a turbulent, dangerous past.\u003c/p>\n\u003cfigure id=\"attachment_13873144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Denmo Ibrahim and Valentino Bertolucci Herrera in Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really wanted to reframe the play (\u003cem>A Doll’s House\u003c/em>) in what does it mean to be actually \u003cem>very\u003c/em> attached?” she explains over the phone. “The question I’m facing in my life isn’t ‘I will just up and leave my family so I can live my life as a full human being’….I can’t do that…most of us wouldn’t want to do that. In this play they are \u003cem>all\u003c/em> Nora Helmer, all post-door slam, all living together, going these are the different ways they’ve chosen to move on, and now what?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not only is Ana Bayat’s solo show \u003cem>Mimi’s Suitcase\u003c/em> a bit of a travelogue, but it’s also well-traveled, having first launched at New York’s United Solo, and following up with appearances at festivals across Europe—including the 70th edition of the Edinburgh Fringe. In the play we first encounter the protagonist as a teenage girl living in Tehran. With shades of Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, Bayat describes the tension and violence of a suppressive state, and its psychological effects on a young woman who’d previously lived in the much more permissive Barcelona.\u003c/p>\n\u003cfigure id=\"attachment_13873143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Bayat in her solo show, ‘Mimi’s Suitcase.’ \u003ccite>(Diaspora Arts Connection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a solo performer, Bayat plays over 25 characters in four languages, including family members, close friends, Republican guards, and immigration officers. Although the action focuses on the time period from 1984 to 2000, as Bayat ruefully notes, the topics of immigration and diaspora that she explores are “very much present in our everyday lives.”\u003c/p>\n\u003cp>With repercussions of 2017’s so-called “Muslim travel ban” still reverberating worldwide, the protagonist’s struggle to obtain a precious student visa feels as urgent as it must have in 2007, when Bayat first began working on the piece as part of W. Kamau Bell’s notable Solo Performance Workshop. And her lived experience as a child trapped within the borders of a repressive regime gives a singular view into a family that has run out of choices. Her protagonist’s decision to leave Iran emphasizes the divergence of choice between those who can obtain a visa and those who cannot. Or as Bayat elegantly puts it, “sometimes what you choose is not necessarily what you can have.”\u003c/p>\n\u003cp>“Political upheaval is not theoretical,” Torange Yeghiazarian of Golden Thread Productions, who is consulting on \u003cem>Noura\u003c/em>, points out. And the undercurrent of the very real dangers faced by their respective protagonists in their home countries gives \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> a vital kinship. But beyond the Middle Eastern diaspora stories illuminated by \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> are larger themes of immigration, family, and home, with broad, cross-cultural implications. In both works we find protagonists who love their families, value themselves, and mourn for their lost opportunities and former homelands, while laying claim to their future—all in the context of an immigration narrative.\u003c/p>\n\u003cp>“Ultimately I believe this is a universal story,” asserts Bayat about \u003cem>Mimi’s Suitcase\u003c/em>. “I’m hoping it humanizes immigrants so we don’t go about life othering. That we realize that at the end of the day…that we have so much in common.”\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>‘Noura’ has been extended at Marin Theatre Company through Feb. 9. Details \u003ca href=\"http://www.marintheatre.org/productions/noura\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mimi’s Suitcase’ plays at NOHspace, Jan. 23-25. Tickets and info \u003ca href=\"http://www.anabayat.com/mimissuitcase\">here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Ana Bayat returned with her family to Tehran in the 1980s, after a childhood spent in Barcelona, she found herself in a country drastically different than the Iran she remembered from the early 1970s. In her one-woman show \u003cem>Mimi’s Suitcase\u003c/em>, Bayat tells the story of those teenage years in post-revolutionary Iran: a time of new cultural rules and the quiet resistance to them. Throughout, she weaves together themes of resilience and identity, playing 27 different characters and performing in English, Spanish, French and Farsi (with English subtitles). \u003c/p>\n\u003cp>\u003cem>Mimi’s Suitcase\u003c/em> was originally developed in a 2007 workshop hosted by W. Kamau Bell, and recently won “Pick of the Fringe” at the 2017 Edinburgh Fringe Festival. As tensions mount between the United States and Iran, and as the United States detains Iranian travelers at its borders, the play provides a window into Iranian history and migration. Bayat, now living in the Bay Area, performs \u003cem>Mimi’s Suitcase\u003c/em> for just four performances, on Jan. 23–25, at Theater of Yugen in San Francisco. \u003ca href=\"http://www.theatreofyugen.org/venue-calendar/2020/1/23/mimis-suitcase\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Ana Bayat returned with her family to Tehran in the 1980s, after a childhood spent in Barcelona, she found herself in a country drastically different than the Iran she remembered from the early 1970s. In her one-woman show \u003cem>Mimi’s Suitcase\u003c/em>, Bayat tells the story of those teenage years in post-revolutionary Iran: a time of new cultural rules and the quiet resistance to them. Throughout, she weaves together themes of resilience and identity, playing 27 different characters and performing in English, Spanish, French and Farsi (with English subtitles). \u003c/p>\n\u003cp>\u003cem>Mimi’s Suitcase\u003c/em> was originally developed in a 2007 workshop hosted by W. Kamau Bell, and recently won “Pick of the Fringe” at the 2017 Edinburgh Fringe Festival. As tensions mount between the United States and Iran, and as the United States detains Iranian travelers at its borders, the play provides a window into Iranian history and migration. Bayat, now living in the Bay Area, performs \u003cem>Mimi’s Suitcase\u003c/em> for just four performances, on Jan. 23–25, at Theater of Yugen in San Francisco. \u003ca href=\"http://www.theatreofyugen.org/venue-calendar/2020/1/23/mimis-suitcase\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Flashback to 1969, the year the performance artist known as Hibiscus founded the Cockettes, a theater collective that requires not just one adjective, but several, to fully describe its aesthetic: avant-garde, psychedelic, hippie, genderfluid and glitter-covered, among others. The Cockettes’ history is brief but glorious: performing regularly at San Francisco’s Palace Theater, their show became a must-see experience of the city’s gay scene. After a disastrous attempt to break into the New York theater scene, the group disbanded in 1972.\u003c/p>\n\u003cp>Their influence is visible in David Bowie’s glam, in the musical kitsch of \u003ci>The Rocky Horror Picture Show\u003c/i>, and in the careers of former members \u003ca href=\"https://www.kqed.org/arts/13854644/how-the-world-caught-up-to-sylvester\" target=\"_blank\" rel=\"noopener noreferrer\">Sylvester\u003c/a> and Divine. And the Cockettes themselves didn’t fade into history. That’s thanks in part to San Francisco’s obsession with all things Summer of Love, a \u003ca href=\"https://www.cockettes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">2002 eponymous documentary\u003c/a> and the local theater troupe Thrillpeddlers’ recent revivals of Cockettes plays, including \u003ci>Pearls over Shanghai\u003c/i> and \u003ci>Vice Palace\u003c/i>.\u003c/p>\n\u003cp>On Jan. 4, remaining members of the Cockettes and “special guests” reminisce, re-enact and revel in the 50th anniversary of the legendary group’s founding. Befitting their penchant for all things glimmering and bedazzled, that’s a golden anniversary. \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Flashback to 1969, the year the performance artist known as Hibiscus founded the Cockettes, a theater collective that requires not just one adjective, but several, to fully describe its aesthetic: avant-garde, psychedelic, hippie, genderfluid and glitter-covered, among others. The Cockettes’ history is brief but glorious: performing regularly at San Francisco’s Palace Theater, their show became a must-see experience of the city’s gay scene. After a disastrous attempt to break into the New York theater scene, the group disbanded in 1972.\u003c/p>\n\u003cp>Their influence is visible in David Bowie’s glam, in the musical kitsch of \u003ci>The Rocky Horror Picture Show\u003c/i>, and in the careers of former members \u003ca href=\"https://www.kqed.org/arts/13854644/how-the-world-caught-up-to-sylvester\" target=\"_blank\" rel=\"noopener noreferrer\">Sylvester\u003c/a> and Divine. And the Cockettes themselves didn’t fade into history. That’s thanks in part to San Francisco’s obsession with all things Summer of Love, a \u003ca href=\"https://www.cockettes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">2002 eponymous documentary\u003c/a> and the local theater troupe Thrillpeddlers’ recent revivals of Cockettes plays, including \u003ci>Pearls over Shanghai\u003c/i> and \u003ci>Vice Palace\u003c/i>.\u003c/p>\n\u003cp>On Jan. 4, remaining members of the Cockettes and “special guests” reminisce, re-enact and revel in the 50th anniversary of the legendary group’s founding. Befitting their penchant for all things glimmering and bedazzled, that’s a golden anniversary. \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Best Bay Area Theater of 2019",
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"content": "\u003cp>As our calendars poise to flip from the teens to the ’20s, it’s time to indulge in a final burst of nostalgia for the year in theater.\u003c/p>\n\u003cp>Filled with resonance and unexpected gems, the best Bay Area productions of the year looked at the world and found it filled with catastrophe, daring and hope—a reminder that artists are our best documentarians and our most prescient prophets. Here are some of the biggest takeaways from this year—and a toast of encouragement for the next.\u003c/p>\n\u003cfigure id=\"attachment_13867210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-800x532.jpg\" alt=\"Stacy Ross skis down the San Francisco slopes with Charlie Gray (left) and Miyaka P. Cochrane (right) in 'Free For All: A New “Miss Julie” for a New World.'\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross skis down the San Francisco slopes with Charlie Gray (left) and Miyaka P. Cochrane (right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Climate Change on Stage\u003c/strong>\u003c/p>\n\u003cp>Some of the most eclectic, energetic and experimental shows of the year delved into the ever-present issue of climate change and its devastating effects. The California wildfires raged in the background of Shotgun Players’ \u003cem>Kill the Debbie Downers! Kill Them! Kill Them! Kill Them Off!; \u003c/em>Cutting Ball Theater’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">Free for All\u003c/a> \u003c/em>prophesized an underwater future; and nightmare creatures of combustion, avarice and denial stalked the stage of Antic in a Drain’s \u003cem>Tempting Fate. \u003c/em>Global warming was one hot topic that demanded creative attention.\u003c/p>\n\u003cfigure id=\"attachment_13872055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/JNGLPRO-20-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/JNGLPRO-20-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/JNGLPRO-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/JNGLPRO-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/JNGLPRO-20.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of The Jungle at Curran Theatre, Spring 2019. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Immigration and Borders\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As with climate change, the theme of borders was one that preoccupied playwrights. Immigrants, operatives and governments took centerstage in Dan Hoyle’s bare-bones documentary theater piece \u003cem>Border People\u003c/em> at the Marsh and the sprawling, immersive world of \u003cem>The Jungle\u003c/em> at the Curran. Meanwhile, tightening U.S. borders impacted the theater world another way: visas were denied or delayed for international artists working with entities such as the \u003ca href=\"https://www.sfcv.org/article/states-of-denial-visa-rejections-cause-cancellations-at-sf-international-arts-festival\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Arts Festival\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13850872/exit-theatre-cancels-show-after-us-immigration-blocks-canadian-performer\" target=\"_blank\" rel=\"noopener noreferrer\">EXIT Theatre \u003c/a>and the Imaginists. (Full disclosure: I work with EXIT Theatre.)\u003c/p>\n\u003cfigure id=\"attachment_13854603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones and Nancy Moricette in Mfoniso Udofia’s In Old Age at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Shows in Conversation\u003c/strong>\u003c/p>\n\u003cp>Some theatrical “conversations” this year were planned—such as the twin productions of Mfoniso Udofia’s \u003cem>Her Portmanteau\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13854596/magic-theatre-does-what-it-does-best-with-mfoniso-udofias-in-old-age\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Old Age\u003c/em>\u003c/a> at A.C.T. and the Magic Theatre. Meanwhile, others seemed to emerge from pure happy coincidence. These included Poltergeist Theatre Project’s first full-length debut, \u003cem>The Julie Cycle\u003c/em>, and Cutting Ball Theater’s \u003cem>Free for All\u003c/em>, which both remixed August Strindberg’s \u003cem>Miss Julie\u003c/em>. African-American Shakespeare Company’s \u003cem>Macbeth\u003c/em> and Ubuntu Theater Project’s \u003cem>Down Here Below \u003c/em>both featured homeless encampments. The common themes of these shows magnified their individual impacts.\u003c/p>\n\u003cfigure id=\"attachment_13849913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlie (James Carpenter) and Nancy (Ellen McLaughlin) panic at the appearance of Sarah (Sarah Nina Hayon) and Leslie (Seann Gallagher) \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Leadership Changes\u003c/strong>\u003c/p>\n\u003cp>This was a year of goodbye and hello as long-standing artistic directors of cherished institutions moved on or announced their pending departures, and new appointees took their posts. A.C.T.’s \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener noreferrer\">Pam MacKinnon \u003c/a>cemented her first full season by directing both Edward Albee’s \u003cem>Seascape\u003c/em> and Kate Attwell’s \u003cem>Testmatch\u003c/em>. Johanna Pfaelzer, \u003ca href=\"https://www.kqed.org/arts/13848822/cargenie-halls-jeremy-n-geffen-named-cal-performances-director\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Geffen\u003c/a> and Josh Costello stepped into their new appointments at Berkeley Repertory Theater, Cal Performances and Aurora Theatre Company, respectively.\u003c/p>\n\u003cp>Tim Bond was announced as TheatreWorks second-ever artistic director, set to take over from Robert Kelley in July 2020. And the iconic \u003ca href=\"https://www.kqed.org/arts/13855327/beach-blanket-babylon-san-franciscos-long-running-celebration-of-camp-to-end\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beach Blanket Babylon\u003c/em>\u003c/a> called it quits after 45 years. Meanwhile, Oakland company Ragged Wing announced that it would give up its black-box space \u003ca href=\"https://www.kqed.org/arts/13855327/beach-blanket-babylon-san-franciscos-long-running-celebration-of-camp-to-end\" target=\"_blank\" rel=\"noopener noreferrer\">The Flight Deck\u003c/a> in March 2020 due to high operational costs, a call to action to a wider community of independent artists who may be able to take on its management in the future.\u003c/p>\n\u003cfigure id=\"attachment_13870730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg\" alt=\"An epic battle against darkness in 'Harry Potter and the Cursed Child' at the Curran Theatre.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An epic battle against darkness in ‘Harry Potter and the Cursed Child’ at the Curran Theatre. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Technical Wizardry\u003c/strong>\u003c/p>\n\u003cp>As a longtime tech booth lurker, I thrill at the possibilities of good design, and this year offered plenty of marvels. Berkeley Repertory Theater flexed its production muscles with the watery basin that contained Mary Zimmerman’s \u003cem>Metamorphoses \u003c/em>and Bill T. Jones’ stunning \u003cem>Paradise Square\u003c/em> choreography. \u003cem>The Jungle\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> astoundingly transformed of the Curran.\u003c/p>\n\u003cp>Innovative design flourished in smaller houses as well, including Colm McNally’s stunningly integrated set and lighting for \u003cem>Ripped\u003c/em> at Z Space, Ronlin Foreman’s diabolical masks for Antic in a Drain’s \u003cem>Tempting Fate\u003c/em> and Celeste Martore’s strikingly austere set for \u003cem>Kill Move Paradise\u003c/em> at Shotgun Players.\u003c/p>\n\u003cfigure id=\"attachment_13870104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-800x571.jpg\" alt=\"J Jha portrays an army of warriors in Ubuntu Theater Project's 'The Mahābhārata.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-1920x1371.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha portrays an army of warriors in Ubuntu Theater Project’s ‘The Mahābhārata.’ \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now for superlatives.\u003c/p>\n\u003cp>\u003cstrong>MVPs:\u003ca href=\"https://www.kqed.org/arts/13870102/totally-epic-a-one-person-mahabharata-at-ubuntu-theater-project\" target=\"_blank\" rel=\"noopener noreferrer\"> J Jha\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13850094/beyond-shrimp-boy-the-family-ties-of-lauren-yees-king-of-the-yees\" target=\"_blank\" rel=\"noopener noreferrer\">Krystle Piamonte\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13856717/far-far-better-things-in-berkeley-spotlights-the-hidden-lives-of-women\" target=\"_blank\" rel=\"noopener noreferrer\">Neiry Rojo\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">Stacy Ross\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>While I saw many good performances this year, these four actors in particular inhabited their roles in multiple shows with verve, charisma, tenacity and compassion. Each one was mesmerizing and magnificent to watch all year long.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Best Party at the End of the World: \u003c/strong>\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Free for All \u003c/em>\u003c/strong>\u003c/a>\u003cstrong>by Megan Cohen at Cutting Ball Theater\u003c/strong>\u003c/p>\n\u003cp style=\"font-weight: 400\">A brand new play by local wordsmith Megan Cohen is always cause for celebration, and her futuristic \u003cem>Free For All\u003c/em> at Cutting Ball Theater was a particular treat. Cohen offered a champagne toast to a climate-ravaged San Francisco, poised either at the precipice of unmitigated disaster or of a brave new day.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Most Transformative Theatrical Experience: \u003c/strong>\u003ca href=\"https://sfcurran.com/shows/the-jungle/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The Jungle\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> by Joe Murphy and Joe Robertson at the Curran\u003c/strong>\u003c/p>\n\u003cp style=\"font-weight: 400\">As noted above, this production took over the meticulously restored Curran and turned it into a startlingly realistic refugee camp, where audiences sat at picnic tables and sampled the wares of Salar’s restaurant as the actors—some of whom were once refugees at the Calais camp where the play is set—assembled for the “meeting.” So often, immersive pieces feel like they’re trying too hard to engage an audience mostly intent on spectating comfortably, but \u003cem>The Jungle \u003c/em>showed that actually they’re not trying hard enough. The show set the bar incredibly high, creating an unforgettable, often unforgiving, experience.\u003c/p>\n\u003cp>\u003cstrong>Show Most Likely to Provoke Intense Debate: \u003c/strong>\u003ca href=\"http://www.zspace.org/rippedshow?spektrix_bounce=true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Ripped\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> by Rachel Bublitz at Z Space\u003c/strong>\u003c/p>\n\u003cp>The genius of \u003cem>Ripped\u003c/em> is that of all the plays I saw this year, this one kept me questioning my own reactions to it, even six months later. This play—which had a notable reading at Z Space’s 2018 inaugural Problematic Play Festival—invited debate with its daring excavation of the “gray” areas of intent, consent and reliable witness, directed in a taut, compelling production by Lisa Steindler.\u003c/p>\n\u003cp>\u003cstrong>Most Devastating Afterlife: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13861398/review-kill-move-paradise-pulses-with-life-at-shotgun-players\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Kill Move Paradise\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> by James Ijames at Shotgun Players\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A haunting, haunted exploration of murdered black men and women, \u003cem>Kill Move Paradise\u003c/em> did more than talk about black pain: its characters embodied it with every vibration. Trapped in a porcelain-slick room with curved walls and an oppressive audience watching their every move, the four characters relived their deaths in a focused attempt to break the cycle of violence. Riveting, heart-breaking and damning.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As our calendars poise to flip from the teens to the ’20s, it’s time to indulge in a final burst of nostalgia for the year in theater.\u003c/p>\n\u003cp>Filled with resonance and unexpected gems, the best Bay Area productions of the year looked at the world and found it filled with catastrophe, daring and hope—a reminder that artists are our best documentarians and our most prescient prophets. Here are some of the biggest takeaways from this year—and a toast of encouragement for the next.\u003c/p>\n\u003cfigure id=\"attachment_13867210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-800x532.jpg\" alt=\"Stacy Ross skis down the San Francisco slopes with Charlie Gray (left) and Miyaka P. Cochrane (right) in 'Free For All: A New “Miss Julie” for a New World.'\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross skis down the San Francisco slopes with Charlie Gray (left) and Miyaka P. Cochrane (right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Climate Change on Stage\u003c/strong>\u003c/p>\n\u003cp>Some of the most eclectic, energetic and experimental shows of the year delved into the ever-present issue of climate change and its devastating effects. The California wildfires raged in the background of Shotgun Players’ \u003cem>Kill the Debbie Downers! Kill Them! Kill Them! Kill Them Off!; \u003c/em>Cutting Ball Theater’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">Free for All\u003c/a> \u003c/em>prophesized an underwater future; and nightmare creatures of combustion, avarice and denial stalked the stage of Antic in a Drain’s \u003cem>Tempting Fate. \u003c/em>Global warming was one hot topic that demanded creative attention.\u003c/p>\n\u003cfigure id=\"attachment_13872055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13872055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/JNGLPRO-20-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/JNGLPRO-20-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/JNGLPRO-20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/JNGLPRO-20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/JNGLPRO-20.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cast of The Jungle at Curran Theatre, Spring 2019. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Immigration and Borders\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As with climate change, the theme of borders was one that preoccupied playwrights. Immigrants, operatives and governments took centerstage in Dan Hoyle’s bare-bones documentary theater piece \u003cem>Border People\u003c/em> at the Marsh and the sprawling, immersive world of \u003cem>The Jungle\u003c/em> at the Curran. Meanwhile, tightening U.S. borders impacted the theater world another way: visas were denied or delayed for international artists working with entities such as the \u003ca href=\"https://www.sfcv.org/article/states-of-denial-visa-rejections-cause-cancellations-at-sf-international-arts-festival\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Arts Festival\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13850872/exit-theatre-cancels-show-after-us-immigration-blocks-canadian-performer\" target=\"_blank\" rel=\"noopener noreferrer\">EXIT Theatre \u003c/a>and the Imaginists. (Full disclosure: I work with EXIT Theatre.)\u003c/p>\n\u003cfigure id=\"attachment_13854603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/3_Steven-Anthony-Jones-and-Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones and Nancy Moricette in Mfoniso Udofia’s In Old Age at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Shows in Conversation\u003c/strong>\u003c/p>\n\u003cp>Some theatrical “conversations” this year were planned—such as the twin productions of Mfoniso Udofia’s \u003cem>Her Portmanteau\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13854596/magic-theatre-does-what-it-does-best-with-mfoniso-udofias-in-old-age\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>In Old Age\u003c/em>\u003c/a> at A.C.T. and the Magic Theatre. Meanwhile, others seemed to emerge from pure happy coincidence. These included Poltergeist Theatre Project’s first full-length debut, \u003cem>The Julie Cycle\u003c/em>, and Cutting Ball Theater’s \u003cem>Free for All\u003c/em>, which both remixed August Strindberg’s \u003cem>Miss Julie\u003c/em>. African-American Shakespeare Company’s \u003cem>Macbeth\u003c/em> and Ubuntu Theater Project’s \u003cem>Down Here Below \u003c/em>both featured homeless encampments. The common themes of these shows magnified their individual impacts.\u003c/p>\n\u003cfigure id=\"attachment_13849913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_SarahNinaHayon_SeannGallagher_EllenMcLaughlin_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlie (James Carpenter) and Nancy (Ellen McLaughlin) panic at the appearance of Sarah (Sarah Nina Hayon) and Leslie (Seann Gallagher) \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Leadership Changes\u003c/strong>\u003c/p>\n\u003cp>This was a year of goodbye and hello as long-standing artistic directors of cherished institutions moved on or announced their pending departures, and new appointees took their posts. A.C.T.’s \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener noreferrer\">Pam MacKinnon \u003c/a>cemented her first full season by directing both Edward Albee’s \u003cem>Seascape\u003c/em> and Kate Attwell’s \u003cem>Testmatch\u003c/em>. Johanna Pfaelzer, \u003ca href=\"https://www.kqed.org/arts/13848822/cargenie-halls-jeremy-n-geffen-named-cal-performances-director\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Geffen\u003c/a> and Josh Costello stepped into their new appointments at Berkeley Repertory Theater, Cal Performances and Aurora Theatre Company, respectively.\u003c/p>\n\u003cp>Tim Bond was announced as TheatreWorks second-ever artistic director, set to take over from Robert Kelley in July 2020. And the iconic \u003ca href=\"https://www.kqed.org/arts/13855327/beach-blanket-babylon-san-franciscos-long-running-celebration-of-camp-to-end\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beach Blanket Babylon\u003c/em>\u003c/a> called it quits after 45 years. Meanwhile, Oakland company Ragged Wing announced that it would give up its black-box space \u003ca href=\"https://www.kqed.org/arts/13855327/beach-blanket-babylon-san-franciscos-long-running-celebration-of-camp-to-end\" target=\"_blank\" rel=\"noopener noreferrer\">The Flight Deck\u003c/a> in March 2020 due to high operational costs, a call to action to a wider community of independent artists who may be able to take on its management in the future.\u003c/p>\n\u003cfigure id=\"attachment_13870730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg\" alt=\"An epic battle against darkness in 'Harry Potter and the Cursed Child' at the Curran Theatre.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An epic battle against darkness in ‘Harry Potter and the Cursed Child’ at the Curran Theatre. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Technical Wizardry\u003c/strong>\u003c/p>\n\u003cp>As a longtime tech booth lurker, I thrill at the possibilities of good design, and this year offered plenty of marvels. Berkeley Repertory Theater flexed its production muscles with the watery basin that contained Mary Zimmerman’s \u003cem>Metamorphoses \u003c/em>and Bill T. Jones’ stunning \u003cem>Paradise Square\u003c/em> choreography. \u003cem>The Jungle\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13870645/bedlam-and-broomsticks-a-12-year-old-fan-reviews-harry-potter-and-the-cursed-child\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> astoundingly transformed of the Curran.\u003c/p>\n\u003cp>Innovative design flourished in smaller houses as well, including Colm McNally’s stunningly integrated set and lighting for \u003cem>Ripped\u003c/em> at Z Space, Ronlin Foreman’s diabolical masks for Antic in a Drain’s \u003cem>Tempting Fate\u003c/em> and Celeste Martore’s strikingly austere set for \u003cem>Kill Move Paradise\u003c/em> at Shotgun Players.\u003c/p>\n\u003cfigure id=\"attachment_13870104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870104\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-800x571.jpg\" alt=\"J Jha portrays an army of warriors in Ubuntu Theater Project's 'The Mahābhārata.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_1-1920x1371.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha portrays an army of warriors in Ubuntu Theater Project’s ‘The Mahābhārata.’ \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And now for superlatives.\u003c/p>\n\u003cp>\u003cstrong>MVPs:\u003ca href=\"https://www.kqed.org/arts/13870102/totally-epic-a-one-person-mahabharata-at-ubuntu-theater-project\" target=\"_blank\" rel=\"noopener noreferrer\"> J Jha\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13850094/beyond-shrimp-boy-the-family-ties-of-lauren-yees-king-of-the-yees\" target=\"_blank\" rel=\"noopener noreferrer\">Krystle Piamonte\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13856717/far-far-better-things-in-berkeley-spotlights-the-hidden-lives-of-women\" target=\"_blank\" rel=\"noopener noreferrer\">Neiry Rojo\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">Stacy Ross\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>While I saw many good performances this year, these four actors in particular inhabited their roles in multiple shows with verve, charisma, tenacity and compassion. Each one was mesmerizing and magnificent to watch all year long.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Best Party at the End of the World: \u003c/strong>\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Free for All \u003c/em>\u003c/strong>\u003c/a>\u003cstrong>by Megan Cohen at Cutting Ball Theater\u003c/strong>\u003c/p>\n\u003cp style=\"font-weight: 400\">A brand new play by local wordsmith Megan Cohen is always cause for celebration, and her futuristic \u003cem>Free For All\u003c/em> at Cutting Ball Theater was a particular treat. Cohen offered a champagne toast to a climate-ravaged San Francisco, poised either at the precipice of unmitigated disaster or of a brave new day.\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003cstrong>Most Transformative Theatrical Experience: \u003c/strong>\u003ca href=\"https://sfcurran.com/shows/the-jungle/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The Jungle\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> by Joe Murphy and Joe Robertson at the Curran\u003c/strong>\u003c/p>\n\u003cp style=\"font-weight: 400\">As noted above, this production took over the meticulously restored Curran and turned it into a startlingly realistic refugee camp, where audiences sat at picnic tables and sampled the wares of Salar’s restaurant as the actors—some of whom were once refugees at the Calais camp where the play is set—assembled for the “meeting.” So often, immersive pieces feel like they’re trying too hard to engage an audience mostly intent on spectating comfortably, but \u003cem>The Jungle \u003c/em>showed that actually they’re not trying hard enough. The show set the bar incredibly high, creating an unforgettable, often unforgiving, experience.\u003c/p>\n\u003cp>\u003cstrong>Show Most Likely to Provoke Intense Debate: \u003c/strong>\u003ca href=\"http://www.zspace.org/rippedshow?spektrix_bounce=true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Ripped\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> by Rachel Bublitz at Z Space\u003c/strong>\u003c/p>\n\u003cp>The genius of \u003cem>Ripped\u003c/em> is that of all the plays I saw this year, this one kept me questioning my own reactions to it, even six months later. This play—which had a notable reading at Z Space’s 2018 inaugural Problematic Play Festival—invited debate with its daring excavation of the “gray” areas of intent, consent and reliable witness, directed in a taut, compelling production by Lisa Steindler.\u003c/p>\n\u003cp>\u003cstrong>Most Devastating Afterlife: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13861398/review-kill-move-paradise-pulses-with-life-at-shotgun-players\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Kill Move Paradise\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> by James Ijames at Shotgun Players\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A haunting, haunted exploration of murdered black men and women, \u003cem>Kill Move Paradise\u003c/em> did more than talk about black pain: its characters embodied it with every vibration. Trapped in a porcelain-slick room with curved walls and an oppressive audience watching their every move, the four characters relived their deaths in a focused attempt to break the cycle of violence. Riveting, heart-breaking and damning.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-is-black-art-in-san-francisco-in-2019",
"title": "What is 'Black Art' in San Francisco in 2019 ?",
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"headTitle": "What is ‘Black Art’ in San Francisco in 2019 ? | KQED",
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"content": "\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> voice came from the area near the door in the lobby of the CounterPulse Theatre and Gallery in San Francisco, asking for all the attendees who identify as black of African American to come with them; the rest of the audience was instructed to head toward the general seating area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>A dozen black folks, a baker’s dozen including myself, were escorted up a set of stairs and into a small room. That’s where we saw a performance, an Igbo masquerade, for our eyes only. I’m not at liberty to recount further details of that aspect of the evening, but I can tell you this: I found what I had been searching for.\u003c/p>\n\u003cp>I had spent the previous week looking for, and trying to define, “black art.”\u003c/p>\n\u003cp>I read the article in the \u003cem>New York Times\u003c/em> about the “\u003ca href=\"https://www.nytimes.com/2019/11/24/arts/design/black-artists.html\" target=\"_blank\" rel=\"noopener noreferrer\">rising presence of black artists of every ilk\u003c/a>“—and the side-eye responses.\u003c/p>\n\u003cp>I saw the film \u003cem>Queen & Slim\u003c/em>, read the articles\u003ca href=\"https://www.nytimes.com/2019/11/21/magazine/queen-slim-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\"> praising it\u003c/a> and \u003ca href=\"https://www.vulture.com/2019/11/queen-and-slim-movie-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">critiquing it\u003c/a> (and I cracked up at the hashtag \u003ca href=\"https://twitter.com/hashtag/TweetLikeLena?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#TweetLikeLena\u003c/a>).\u003c/p>\n\u003cp>I read about the issues around\u003ca href=\"https://www.nytimes.com/2019/12/03/arts/design/art-basel-miami-black-art.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Art spaces and ownership\u003c/a>, spawned by Art Basel. (And of course, I saw the story about the \u003ca href=\"https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan\" target=\"_blank\" rel=\"noopener noreferrer\">$120,000 banana\u003c/a>, and \u003ca href=\"https://www.cnn.com/style/article/david-datuna-banana-art-basel-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the person who ate the banana\u003c/a>, and\u003ca href=\"https://twitter.com/fwmj/status/1204808132926394368?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> the Kanye meme\u003c/a> it inspired.)\u003c/p>\n\u003cp>And I’ve been following Chicago rapper and book club founder Noname. She shook a few folks when she publicly stated\u003ca href=\"https://uproxx.com/music/noname-white-audiences-black-art/\" target=\"_blank\" rel=\"noopener noreferrer\"> her stance against performing in front of majority white audiences\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13871393\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13871393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png\" alt=\"Via Noname's Twtitter\" width=\"640\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-160x152.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-800x758.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-768x728.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1020x966.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM.png 1330w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Via Noname’s Twitter. \u003ccite>(Via Noname's Twtitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found myself awake at 2am watching this interview with \u003ca href=\"https://www.youtube.com/watch?v=F4vIGvKpT1c\" target=\"_blank\" rel=\"noopener noreferrer\">Toni Morrison\u003c/a>, describing what it’s like to not adhere to the “white gaze” in her art. I also watched this old episode of Bernie Mac on \u003ca href=\"https://www.youtube.com/watch?v=UaXVt1QTwRU&t=21s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Def Comedy Jam\u003c/em>\u003c/a>, because I’m pretty sure that’s where I get \u003cem>my\u003c/em> definition of Black Art. The artists’ method of oral storytelling, the audience rolling in the aisle in reaction, and ownership over the content.\u003c/p>\n\u003cp>But… damn. What about the venue owner? And the distributor? (I was watching on YouTube, owned by Google.) There’s always something. Can you really have art that is fully black in America? Or is \u003cem>that\u003c/em> a part of Black Art? You know, being creative despite the circumstances?\u003c/p>\n\u003cfigure id=\"attachment_13871418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-800x450.jpg\" alt='\"mouth/full\" performance at CounterPulse.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“mouth/full” performance at CounterPulse. \u003ccite>( Photos by Robbie Sweeny)\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>t Counterpulse, after coming down the stairs from the small room, we were asked to sit on three pews set up in a triangle in the middle of the stage area. Two long pieces of church-style red carpet made a cross in the middle of the pews; a pulpit sat in the middle of that.\u003c/p>\n\u003cp>We were in the show. Everyone else sat outside of the triangle, in the theatre seating.\u003c/p>\n\u003cp>The two-person \u003cem>mouth//full\u003c/em>, written and performed by \u003ca href=\"http://counterpulse.org/other-artists/gabriel-christian-chibueze-crouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Christian and Chibueze Crouch\u003c/a>, included a set of spiritual dance performances and monologues focusing on experiences in the Black Church. Throughout the performance, the carpet became disheveled, and the minister’s pulpit was hoisted on Gabriel’s back and carried away; almost symbolically going from organized religion back to a space of open spirituality.\u003c/p>\n\u003cp>By the end of the performance, the group of us in the pews were invited to step into one of four groups based on affirmative statements we identified with—two of them led by guest artists \u003ca href=\"https://www.afrourban.org/post/180567987456/about-moclearly-monica-hastings-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Hastings-Smith\u003c/a> and Rev. Mutima Imani. Once groups were established, we shared in a session of communal chanting.\u003c/p>\n\u003cp>I damn near forgot there were other people in the audience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Intermission came and I caught a little fresh air before doubling back for the second act, \u003cem>She-Verse,\u003c/em> a multimedia piece by \u003ca href=\"http://counterpulse.org/other-artists/cherie-hill-iriedance/\">Cherie Hill IrieDance, \u003c/a>which explores the parallels between the way women and the planet are treated. The racially diverse group—Lashon A. Daley, Andreína Maldonado, Rose Rothfeder and dancer/choreographer Cherie Hill—put on a show that was a little lighter than the piece prior to it. But still, being written by a black woman makes it Black Art, right? Hill, \u003ca href=\"http://www.iriedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dance scholar\u003c/a>, believes so.\u003c/p>\n\u003cp>“My work comes from black feminism. And when I think of Black Art, I think it comes from black people,” she told me. “Black people are diverse, so there are going to be a lot of different things put out there.”\u003c/p>\n\u003cp>Chibueze Crouch also believes there’s a broad answer to the question, but when it boils down to it, “There’s a shared sense of community in Black Art… there’s always something shared in the experiences between the creators and consumers of Black Art.”\u003c/p>\n\u003cp>In regard to the opening, Crouch told me, the aim was to center black experiences, uplift tradition and modernize it with subtle changes that nod to gender rights, as well. “It’s about reclaiming that black spirituality; the masquerade was the original church, the original place where black people could gather and do art,” Crouch said. “It’s where Black Art comes from: the spirituality, the shared experience.”\u003c/p>\n\u003cp>Gabriel Christian added, in regards to the play’s format, that “everyone else has the privilege of seeing us in communion, but not everyone is going to get it… I’ve already had reviews from white people talking about how they didn’t get it, and that’s fine. I don’t think it was meant to be gotten by anybody but the folks inside of that triangle.”\u003c/p>\n\u003cp>Christian emphasized that those outside the triangle are privy to only “a snapshot of what it’s like for us to be in community, and how powerful it is, and how sacred it is.”\u003c/p>\n\u003cfigure id=\"attachment_13871456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-1-800x533.jpg\" alt=\"The Cherie Hill IrieDance cast\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cherie Hill IrieDance cast. \u003ccite>(Robbie Sweeny)\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\">O\u003c/span>n that small stage, I saw something that spoke to Noname’s concerns over who’s consuming our art, as well as the conversation around \u003cem>Queen & Slim\u003c/em>, and how black trauma is shown and African American Vernacular English is used.\u003c/p>\n\u003cp>Before concluding our conversation, Christian said, “I think it’s impossible to \u003cem>not\u003c/em> be an artist, and be a black person living here.”\u003c/p>\n\u003cp>To which Crouch added: “We have to make survival palatable.”\u003c/p>\n\u003cp>It made me think of the poet Toni Cade Bambara, whose work contributed to the\u003ca href=\"https://libguides.wustl.edu/poetry-bam/timeline\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Arts Movement\u003c/a>, and who once wrote: “The purpose of a writer is to make revolution \u003cem>irresistible\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘She-Verse’ and ‘mouth//full’ run for two more performances, Dec. 13 and 14, at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/performingdiaspora2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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> voice came from the area near the door in the lobby of the CounterPulse Theatre and Gallery in San Francisco, asking for all the attendees who identify as black of African American to come with them; the rest of the audience was instructed to head toward the general seating area.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>A dozen black folks, a baker’s dozen including myself, were escorted up a set of stairs and into a small room. That’s where we saw a performance, an Igbo masquerade, for our eyes only. I’m not at liberty to recount further details of that aspect of the evening, but I can tell you this: I found what I had been searching for.\u003c/p>\n\u003cp>I had spent the previous week looking for, and trying to define, “black art.”\u003c/p>\n\u003cp>I read the article in the \u003cem>New York Times\u003c/em> about the “\u003ca href=\"https://www.nytimes.com/2019/11/24/arts/design/black-artists.html\" target=\"_blank\" rel=\"noopener noreferrer\">rising presence of black artists of every ilk\u003c/a>“—and the side-eye responses.\u003c/p>\n\u003cp>I saw the film \u003cem>Queen & Slim\u003c/em>, read the articles\u003ca href=\"https://www.nytimes.com/2019/11/21/magazine/queen-slim-movie.html\" target=\"_blank\" rel=\"noopener noreferrer\"> praising it\u003c/a> and \u003ca href=\"https://www.vulture.com/2019/11/queen-and-slim-movie-review.html\" target=\"_blank\" rel=\"noopener noreferrer\">critiquing it\u003c/a> (and I cracked up at the hashtag \u003ca href=\"https://twitter.com/hashtag/TweetLikeLena?src=hashtag_click\" target=\"_blank\" rel=\"noopener noreferrer\">#TweetLikeLena\u003c/a>).\u003c/p>\n\u003cp>I read about the issues around\u003ca href=\"https://www.nytimes.com/2019/12/03/arts/design/art-basel-miami-black-art.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Art spaces and ownership\u003c/a>, spawned by Art Basel. (And of course, I saw the story about the \u003ca href=\"https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan\" target=\"_blank\" rel=\"noopener noreferrer\">$120,000 banana\u003c/a>, and \u003ca href=\"https://www.cnn.com/style/article/david-datuna-banana-art-basel-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the person who ate the banana\u003c/a>, and\u003ca href=\"https://twitter.com/fwmj/status/1204808132926394368?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> the Kanye meme\u003c/a> it inspired.)\u003c/p>\n\u003cp>And I’ve been following Chicago rapper and book club founder Noname. She shook a few folks when she publicly stated\u003ca href=\"https://uproxx.com/music/noname-white-audiences-black-art/\" target=\"_blank\" rel=\"noopener noreferrer\"> her stance against performing in front of majority white audiences\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13871393\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-complete_open_graph wp-image-13871393\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png\" alt=\"Via Noname's Twtitter\" width=\"640\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1200x1137.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-160x152.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-800x758.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-768x728.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM-1020x966.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Screen-Shot-2019-12-12-at-6.42.14-AM.png 1330w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Via Noname’s Twitter. \u003ccite>(Via Noname's Twtitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I found myself awake at 2am watching this interview with \u003ca href=\"https://www.youtube.com/watch?v=F4vIGvKpT1c\" target=\"_blank\" rel=\"noopener noreferrer\">Toni Morrison\u003c/a>, describing what it’s like to not adhere to the “white gaze” in her art. I also watched this old episode of Bernie Mac on \u003ca href=\"https://www.youtube.com/watch?v=UaXVt1QTwRU&t=21s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Def Comedy Jam\u003c/em>\u003c/a>, because I’m pretty sure that’s where I get \u003cem>my\u003c/em> definition of Black Art. The artists’ method of oral storytelling, the audience rolling in the aisle in reaction, and ownership over the content.\u003c/p>\n\u003cp>But… damn. What about the venue owner? And the distributor? (I was watching on YouTube, owned by Google.) There’s always something. Can you really have art that is fully black in America? Or is \u003cem>that\u003c/em> a part of Black Art? You know, being creative despite the circumstances?\u003c/p>\n\u003cfigure id=\"attachment_13871418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-800x450.jpg\" alt='\"mouth/full\" performance at CounterPulse.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“mouth/full” performance at CounterPulse. \u003ccite>( Photos by Robbie Sweeny)\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>t Counterpulse, after coming down the stairs from the small room, we were asked to sit on three pews set up in a triangle in the middle of the stage area. Two long pieces of church-style red carpet made a cross in the middle of the pews; a pulpit sat in the middle of that.\u003c/p>\n\u003cp>We were in the show. Everyone else sat outside of the triangle, in the theatre seating.\u003c/p>\n\u003cp>The two-person \u003cem>mouth//full\u003c/em>, written and performed by \u003ca href=\"http://counterpulse.org/other-artists/gabriel-christian-chibueze-crouch/\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Christian and Chibueze Crouch\u003c/a>, included a set of spiritual dance performances and monologues focusing on experiences in the Black Church. Throughout the performance, the carpet became disheveled, and the minister’s pulpit was hoisted on Gabriel’s back and carried away; almost symbolically going from organized religion back to a space of open spirituality.\u003c/p>\n\u003cp>By the end of the performance, the group of us in the pews were invited to step into one of four groups based on affirmative statements we identified with—two of them led by guest artists \u003ca href=\"https://www.afrourban.org/post/180567987456/about-moclearly-monica-hastings-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Monica Hastings-Smith\u003c/a> and Rev. Mutima Imani. Once groups were established, we shared in a session of communal chanting.\u003c/p>\n\u003cp>I damn near forgot there were other people in the audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Intermission came and I caught a little fresh air before doubling back for the second act, \u003cem>She-Verse,\u003c/em> a multimedia piece by \u003ca href=\"http://counterpulse.org/other-artists/cherie-hill-iriedance/\">Cherie Hill IrieDance, \u003c/a>which explores the parallels between the way women and the planet are treated. The racially diverse group—Lashon A. Daley, Andreína Maldonado, Rose Rothfeder and dancer/choreographer Cherie Hill—put on a show that was a little lighter than the piece prior to it. But still, being written by a black woman makes it Black Art, right? Hill, \u003ca href=\"http://www.iriedance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a dance scholar\u003c/a>, believes so.\u003c/p>\n\u003cp>“My work comes from black feminism. And when I think of Black Art, I think it comes from black people,” she told me. “Black people are diverse, so there are going to be a lot of different things put out there.”\u003c/p>\n\u003cp>Chibueze Crouch also believes there’s a broad answer to the question, but when it boils down to it, “There’s a shared sense of community in Black Art… there’s always something shared in the experiences between the creators and consumers of Black Art.”\u003c/p>\n\u003cp>In regard to the opening, Crouch told me, the aim was to center black experiences, uplift tradition and modernize it with subtle changes that nod to gender rights, as well. “It’s about reclaiming that black spirituality; the masquerade was the original church, the original place where black people could gather and do art,” Crouch said. “It’s where Black Art comes from: the spirituality, the shared experience.”\u003c/p>\n\u003cp>Gabriel Christian added, in regards to the play’s format, that “everyone else has the privilege of seeing us in communion, but not everyone is going to get it… I’ve already had reviews from white people talking about how they didn’t get it, and that’s fine. I don’t think it was meant to be gotten by anybody but the folks inside of that triangle.”\u003c/p>\n\u003cp>Christian emphasized that those outside the triangle are privy to only “a snapshot of what it’s like for us to be in community, and how powerful it is, and how sacred it is.”\u003c/p>\n\u003cfigure id=\"attachment_13871456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/0-1-800x533.jpg\" alt=\"The Cherie Hill IrieDance cast\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/0-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cherie Hill IrieDance cast. \u003ccite>(Robbie Sweeny)\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\">O\u003c/span>n that small stage, I saw something that spoke to Noname’s concerns over who’s consuming our art, as well as the conversation around \u003cem>Queen & Slim\u003c/em>, and how black trauma is shown and African American Vernacular English is used.\u003c/p>\n\u003cp>Before concluding our conversation, Christian said, “I think it’s impossible to \u003cem>not\u003c/em> be an artist, and be a black person living here.”\u003c/p>\n\u003cp>To which Crouch added: “We have to make survival palatable.”\u003c/p>\n\u003cp>It made me think of the poet Toni Cade Bambara, whose work contributed to the\u003ca href=\"https://libguides.wustl.edu/poetry-bam/timeline\" target=\"_blank\" rel=\"noopener noreferrer\"> Black Arts Movement\u003c/a>, and who once wrote: “The purpose of a writer is to make revolution \u003cem>irresistible\u003c/em>.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘She-Verse’ and ‘mouth//full’ run for two more performances, Dec. 13 and 14, at CounterPulse in San Francisco. \u003ca href=\"https://counterpulse.org/event/performingdiaspora2019/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "5 Plays to See for the Holidays (That Aren't 'A Christmas Carol')",
"headTitle": "5 Plays to See for the Holidays (That Aren’t ‘A Christmas Carol’) | KQED",
"content": "\u003cp>Ah, December. The most magical time of year… unless the relentless onslaught of the holly-daze leaves you cold.\u003c/p>\n\u003cp>I gave up counting how many Christmas-themed theater shows are currently running in the Bay Area, from the old standby \u003cem>A Christmas Carol\u003c/em> to fanciful mashups such as \u003cem>Christmas in OZ\u003c/em> and Peaches Christ’s \u003cem>Femlins\u003c/em>. (Not to mention at least eight versions of \u003cem>The Nutcracker\u003c/em>.) And while these clearly beloved classics and comedies appeal to a specific, doubtlessly enthusiastic audience, for the non-denominational arts lover in December it can be difficult to find secular alternatives. \u003c/p>\n\u003cp>Happily, they do exist. Here are just a few standouts to get you started on your mistletoe-free theater spree.\u003c/p>\n\u003cfigure id=\"attachment_13871098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-1200x855.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King.jpg 1658w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Aaron Oh, Will Livingston, and Caitlin Evenson in Shualee Cook’s ‘An Invitation Out,’ presented by Quantum Dragon Theatre. \u003ccite>(Morgan Finley King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An Invitation Out’\u003c/h2>\n\u003cp>\u003cstrong>By Shualee Cook, Quantum Dragon Theatre\u003c/strong>\u003c/p>\n\u003cp>The Bay Area’s only theatre company dedicated to the production of science fiction and fantasy plays presents the West Coast premiere of Shualee Cook’s \u003cem>An Invitation Out.\u003c/em> Billed as a “science fiction comedy of manners,” this social-media inspired futuristic comedy is set in an online virtual reality, where one can assume and shed identities with the click of a button. But can anything convince them to “unplug” and rejoin the world of the Outdwellers? Anchored by a nine-person cast of Bay Area stalwarts, and directed by Kieran Beccia, this play delves into the questions that make us human—while wrapped in neo-Victorian/cyberspace glamour. (\u003cem>Runs Dec. 14-29; \u003ca href=\"http://www.quantumdragon.org/an-invitation-out\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871097\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-805x1200.jpg\" alt=\"Robert Ernst as Niels Bohr in 'Copenhagen,' by Michael Frayn, presented by Indra's Net Theater.\" width=\"640\" height=\"954\" class=\"size-complete_open_graph wp-image-13871097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-805x1200.jpg 805w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-800x1193.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-768x1145.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ernst as Niels Bohr in ‘Copenhagen,’ by Michael Frayn, presented by Indra’s Net Theater. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Copenhagen’\u003c/h2>\n\u003cp>\u003cstrong>By Michael Frayn, Indra’s Net Theater\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From science fiction to scientists, Bay Area Theater is carving out a space for scientific discourse of many kinds, and Indra’s Net Theater is at the forefront. As a company focused on producing plays about hard science, their characters include Richard Feynman, Stephen Hawking, and Shrinivasa Ramanujan. This year they’re reprising their successful 2013 production, \u003cem>Copenhagen\u003c/em>—a play about a secret meeting between Niels Bohr and Werner Heisenberg to discuss the viability of an atomic bomb. After new information about the historic meeting between Bohr and Heisenberg came to light in 2018, Michael Frayn made some changes to his Tony Award-winning script to reflect the additional material. This is the Bay Area premiere of the newly revised script, and a chance to revisit this ethical dilemma as it plays out in the afterlife. (\u003cem>Runs Dec. 19, 2019-Jan. 12, 2020. \u003ca href=\"http://www.indrasnettheater.com/\">Details here\u003c/a>\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13871094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Reed in Berkeley Repertory Theatre’s production of Sarah Ruhl’s world premiere, ‘Becky Nurse.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Becky Nurse’\u003c/h2>\n\u003cp>\u003cstrong>By Sarah Ruhl, Berkeley Repertory Theatre\u003c/strong>\u003c/p>\n\u003cp>Wrestling with the complex reverberations of the Salem Witch trials through the eyes of a present-day descendant of Rebecca Nurse, one of the wrongfully accused and murdered, this world premiere production ties the two together with dark comedy and a magickal reckoning. Written by Sarah Ruhl, an award-winning playwright whose deft and inspired comedies have been produced five other times on the Berkeley Rep stage, and starring Pamela Reed in the titular role, \u003cem>Becky Nurse \u003c/em>will provide a bracing antidote to the “holiday spirit” with its nods to the occult, female power, and the art of speaking out. (\u003cem>Previews from Dec. 12, show runs through Jan. 26, 2020. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14545.asp\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-800x503.jpg\" alt=\"\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Trout as Alice in ‘Vinegar Tom,’ by Caryl Churchill, presented by Shotgun Players. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Vinegar Tom’\u003c/h2>\n\u003cp>\u003cstrong>By Caryl Churchill, Shotgun Players\u003c/strong>\u003c/p>\n\u003cp>Speaking of the occult and female power, Caryl Churchill’s exploration of witchy women \u003cem>Vinegar Tom\u003c/em> gets the Shotgun Players treatment this month on the Ashby Stage. Directed by Ariel Craft, with music direction by Daniel Alley and original music by songwriter Diana Lawrence, this audacious nod to Brechtian “epic theater” examines the ruling power’s propensity to demonize its challengers—one witch trial and contemporary ballad at a time. Celebrate the continuation of the Bay Area’s spontaneous Caryl Churchill revival with the fourth play of hers to be produced this year on area stages, with a fifth to open at Magic Theatre next April. (\u003cem>Runs Dec. 6, 2019-Jan. 5, 2020. \u003ca href=\"http://bit.ly/2FPuyCJ\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871095\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-960x1200.jpg\" alt=\"Devin A. Cunningham and Funmi Lola in the African-American Shakespeare Company's annual presentation of 'Cinderella.'\" width=\"640\" height=\"800\" class=\"size-complete_open_graph wp-image-13871095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Devin A. Cunningham and Funmi Lola in the African-American Shakespeare Company’s annual presentation of ‘Cinderella.’ \u003ccite>(Lance Huntley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Cinderella’\u003c/h2>\n\u003cp>\u003cstrong>By the African American Shakespeare Company\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to spend time with family during the holidays, but there are only so many times one can bring the kids to the \u003cem>Nutcracker\u003c/em> before “Dance of the Sugar Plum Fairy” imprints itself permanently into your auditory cortex. Spare yourself and take the kiddies instead to \u003cem>Cinderella\u003c/em>, presented by the African American Shakespeare Company. This traditional offering, now in its 18th year, is an elegant, big-hearted foray into a world of lovers, dreamers, and fairy magic (not the sugar plum kind) sprinkled throughout. This year’s action-packed weekend of shows also includes an activity-filled afternoon tea with a meet-and-greet opportunity with the cast, and treats for all. Directed by Sherri Young. (Runs Dec. 20-22. \u003ca href=\"http://www.african-americanshakes.org/productions/cinderella/\">Details here\u003c/a>.)\u003c/p>\n\n",
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"excerpt": "Science fiction! Witches! Cinderella! There's more than 'The Nutcracker' on Bay Area stages this December.",
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"description": "Science fiction! Witches! Cinderella! There's more than 'The Nutcracker' on Bay Area stages this December.",
"title": "5 Plays to See for the Holidays (That Aren't 'A Christmas Carol') | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, December. The most magical time of year… unless the relentless onslaught of the holly-daze leaves you cold.\u003c/p>\n\u003cp>I gave up counting how many Christmas-themed theater shows are currently running in the Bay Area, from the old standby \u003cem>A Christmas Carol\u003c/em> to fanciful mashups such as \u003cem>Christmas in OZ\u003c/em> and Peaches Christ’s \u003cem>Femlins\u003c/em>. (Not to mention at least eight versions of \u003cem>The Nutcracker\u003c/em>.) And while these clearly beloved classics and comedies appeal to a specific, doubtlessly enthusiastic audience, for the non-denominational arts lover in December it can be difficult to find secular alternatives. \u003c/p>\n\u003cp>Happily, they do exist. Here are just a few standouts to get you started on your mistletoe-free theater spree.\u003c/p>\n\u003cfigure id=\"attachment_13871098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King-1200x855.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/QuantumDragon_James-Aaron-Oh-as-FlyByNiteSOA-Will-Livingston-as-Wridget-Caitlin-Evenson-as-Flutterbye99__credit-Morgan-Finley-King.jpg 1658w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Aaron Oh, Will Livingston, and Caitlin Evenson in Shualee Cook’s ‘An Invitation Out,’ presented by Quantum Dragon Theatre. \u003ccite>(Morgan Finley King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An Invitation Out’\u003c/h2>\n\u003cp>\u003cstrong>By Shualee Cook, Quantum Dragon Theatre\u003c/strong>\u003c/p>\n\u003cp>The Bay Area’s only theatre company dedicated to the production of science fiction and fantasy plays presents the West Coast premiere of Shualee Cook’s \u003cem>An Invitation Out.\u003c/em> Billed as a “science fiction comedy of manners,” this social-media inspired futuristic comedy is set in an online virtual reality, where one can assume and shed identities with the click of a button. But can anything convince them to “unplug” and rejoin the world of the Outdwellers? Anchored by a nine-person cast of Bay Area stalwarts, and directed by Kieran Beccia, this play delves into the questions that make us human—while wrapped in neo-Victorian/cyberspace glamour. (\u003cem>Runs Dec. 14-29; \u003ca href=\"http://www.quantumdragon.org/an-invitation-out\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871097\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-805x1200.jpg\" alt=\"Robert Ernst as Niels Bohr in 'Copenhagen,' by Michael Frayn, presented by Indra's Net Theater.\" width=\"640\" height=\"954\" class=\"size-complete_open_graph wp-image-13871097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-805x1200.jpg 805w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-800x1193.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young-768x1145.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/IndrasNet_Robert-Ernst_0339HiResPRINT_by-Irene-Young.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ernst as Niels Bohr in ‘Copenhagen,’ by Michael Frayn, presented by Indra’s Net Theater. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Copenhagen’\u003c/h2>\n\u003cp>\u003cstrong>By Michael Frayn, Indra’s Net Theater\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From science fiction to scientists, Bay Area Theater is carving out a space for scientific discourse of many kinds, and Indra’s Net Theater is at the forefront. As a company focused on producing plays about hard science, their characters include Richard Feynman, Stephen Hawking, and Shrinivasa Ramanujan. This year they’re reprising their successful 2013 production, \u003cem>Copenhagen\u003c/em>—a play about a secret meeting between Niels Bohr and Werner Heisenberg to discuss the viability of an atomic bomb. After new information about the historic meeting between Bohr and Heisenberg came to light in 2018, Michael Frayn made some changes to his Tony Award-winning script to reflect the additional material. This is the Bay Area premiere of the newly revised script, and a chance to revisit this ethical dilemma as it plays out in the afterlife. (\u003cem>Runs Dec. 19, 2019-Jan. 12, 2020. \u003ca href=\"http://www.indrasnettheater.com/\">Details here\u003c/a>\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13871094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871094\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/berkeleyrep_Beckynurse_PamelaReed_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pamela Reed in Berkeley Repertory Theatre’s production of Sarah Ruhl’s world premiere, ‘Becky Nurse.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Becky Nurse’\u003c/h2>\n\u003cp>\u003cstrong>By Sarah Ruhl, Berkeley Repertory Theatre\u003c/strong>\u003c/p>\n\u003cp>Wrestling with the complex reverberations of the Salem Witch trials through the eyes of a present-day descendant of Rebecca Nurse, one of the wrongfully accused and murdered, this world premiere production ties the two together with dark comedy and a magickal reckoning. Written by Sarah Ruhl, an award-winning playwright whose deft and inspired comedies have been produced five other times on the Berkeley Rep stage, and starring Pamela Reed in the titular role, \u003cem>Becky Nurse \u003c/em>will provide a bracing antidote to the “holiday spirit” with its nods to the occult, female power, and the art of speaking out. (\u003cem>Previews from Dec. 12, show runs through Jan. 26, 2020. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14545.asp\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-800x503.jpg\" alt=\"\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1020x641.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1200x754.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/VinegarTom_ShotgunPlayer_MeganTrout_credit_.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Trout as Alice in ‘Vinegar Tom,’ by Caryl Churchill, presented by Shotgun Players. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Vinegar Tom’\u003c/h2>\n\u003cp>\u003cstrong>By Caryl Churchill, Shotgun Players\u003c/strong>\u003c/p>\n\u003cp>Speaking of the occult and female power, Caryl Churchill’s exploration of witchy women \u003cem>Vinegar Tom\u003c/em> gets the Shotgun Players treatment this month on the Ashby Stage. Directed by Ariel Craft, with music direction by Daniel Alley and original music by songwriter Diana Lawrence, this audacious nod to Brechtian “epic theater” examines the ruling power’s propensity to demonize its challengers—one witch trial and contemporary ballad at a time. Celebrate the continuation of the Bay Area’s spontaneous Caryl Churchill revival with the fourth play of hers to be produced this year on area stages, with a fifth to open at Magic Theatre next April. (\u003cem>Runs Dec. 6, 2019-Jan. 5, 2020. \u003ca href=\"http://bit.ly/2FPuyCJ\">Details here\u003c/a>.\u003c/em>)\u003c/p>\n\u003cfigure id=\"attachment_13871095\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-960x1200.jpg\" alt=\"Devin A. Cunningham and Funmi Lola in the African-American Shakespeare Company's annual presentation of 'Cinderella.'\" width=\"640\" height=\"800\" class=\"size-complete_open_graph wp-image-13871095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-960x1200.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/AASC_DevinACunninham_FunmiLola_crdit_LanceHuntley.jpg 1000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Devin A. Cunningham and Funmi Lola in the African-American Shakespeare Company’s annual presentation of ‘Cinderella.’ \u003ccite>(Lance Huntley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Cinderella’\u003c/h2>\n\u003cp>\u003cstrong>By the African American Shakespeare Company\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to spend time with family during the holidays, but there are only so many times one can bring the kids to the \u003cem>Nutcracker\u003c/em> before “Dance of the Sugar Plum Fairy” imprints itself permanently into your auditory cortex. Spare yourself and take the kiddies instead to \u003cem>Cinderella\u003c/em>, presented by the African American Shakespeare Company. This traditional offering, now in its 18th year, is an elegant, big-hearted foray into a world of lovers, dreamers, and fairy magic (not the sugar plum kind) sprinkled throughout. This year’s action-packed weekend of shows also includes an activity-filled afternoon tea with a meet-and-greet opportunity with the cast, and treats for all. Directed by Sherri Young. (Runs Dec. 20-22. \u003ca href=\"http://www.african-americanshakes.org/productions/cinderella/\">Details here\u003c/a>.)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mills College, the private liberal arts institution in Oakland, plans to sell its coveted 1623 copy of playwright William Shakespeare’s First Folio as well as a handwritten musical score by the 18th-century composer Wolfgang Amadeus Mozart, KQED has learned. [aside postID=arts_13870226,arts_12248119,arts_13389908]\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mills College, the private liberal arts institution in Oakland, plans to sell its coveted 1623 copy of playwright William Shakespeare’s First Folio as well as a handwritten musical score by the 18th-century composer Wolfgang Amadeus Mozart, KQED has learned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an internal email Thursday, college president Elizabeth Hillman revealed the planned sale of the First Folio—one of the English language’s most influential and valuable books, expected to draw millions of dollars at auction—as part of “MillsNext,” the school’s plan to overcome a budget deficit that’s led to controversial layoffs of tenured faculty and union organizing among staff. Selling the “precious assets” will support current programs “while we build a bridge to a sustainable future,” the email reads.\u003c/p>\n\u003cp>Hillman’s email also mentions selling a “musical transcript,” which a source close to Mills’ F.W. Olin Library said refers to Mozart’s notation of five epistle sonatas created in the early 1770s. The source also said the First Folio will be auctioned by Christie’s, while the manuscript is being sold privately. As a private college, Mills is not obligated to publicly disclose its de-accessions.\u003c/p>\n\u003cp>“My first thought is disappointment,” said Thomas Goldwasser, an antiquarian book dealer in San Francisco. “It’s a shame because institutional libraries are supposed to steward and preserve cultural properties, and use them to teach and inspire, not treat them as commodities.”\u003c/p>\n\u003cp>“Christie’s has no news to announce at this time,” an auction house spokesperson said. Library staff directed inquiries to the Mills administration, and a school spokesperson declined to provide information for this article. “These gifts have been treasured deeply by the Mills community and will now be sold in compliance with College regulations,” reads Hillman’s email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mills, a historic private college for women and gender non-binary students, with graduate programs for all genders, enrolls some 1,200 students in East Oakland. The Olin Library’s special collections and archives includes the papers of artists such as Pauline Oliveros and Patti Smith, and as recently as Tuesday the website listed the First Folio in its Early Printed Books Collection.\u003c/p>\n\u003cp>The book, which the source close to the library said has already left campus, was a 1977 gift from Mary Louise O’Brien in honor of her father Elias Olan James, a former English professor at Mills and namesake of a Shakespeare collection at the Olin Library.\u003c/p>\n\u003cp>When copies of the First Folio change hands, it tends to make headlines. Christie’s sold one in 2001 for $6.1 million, establishing a then-world record for a 17th-century book, and another copy fetched $5.1 million in 2006 at Sotheby’s. Most recently, in 2016, a newly-discovered copy of the First Folio exceeded Christie’s auctioneers expectations by garnering $2.75 million.\u003c/p>\n\u003cp>Goldwasser expects Mills’ First Folio to also snare millions, while the Mozart manuscript is easily worth six figures. It’s not unusual for Mills and other private institutions to quietly sell assets, he said, but the First Folio is uniquely monumental, and its sale will dissuade prospective donors from continuing to bestow important research objects and archives to Mills’ special collections.\u003c/p>\n\u003cp>“Maybe Shakespeare’s not so important anymore at some undergraduate institutions,” he said.\u003c/p>\n\u003cp>Mills’ First Folio is one of 235 extant copies of the book known worldwide, according to the Folger Shakespeare Library. Its original publication in 1623, seven years after the playwright’s death, marked the first-ever printed appearance of 18 of its 36 collected plays, including \u003cem>Macbeth\u003c/em> and \u003cem>The Tempest\u003c/em>, changing the course of English literature.\u003c/p>\n\u003cp>“Without this particular copy, we wouldn’t have authoritative versions of many of Shakespeare’s works,” said Diana Kohnke, a librarian at the California State Library’s Sutro Library in San Francisco, one of few other local institutions possessing a First Folio. “Laws prohibit us from selling—our deed from the Sutro family says the collection can’t even leave San Francisco.”\u003c/p>\n\u003cp>Peter Hanff, deputy director of the Bancroft Library at UC Berkeley, another academic research library with a First Folio, said that the sale signals a smaller institution redefining or narrowing its primary purpose—and weighing a cash infusion against the book’s research value to students. “They’re going, ‘This doesn’t advance our primary mission,’ and making a challenging decision,” Hanff said. “Personally I still hate it when this happens, because I really value the accessibility.”\u003c/p>\n\u003cp>The sales reflect Mills’ efforts to manage a budget deficit due in part to declining enrollment. In 2017, the school declared a financial emergency, and controversially moved to lay off 11 professors, many of them tenured, including renowned composer Roscoe Mitchell. The restructuring particularly impacted the storied Center for Contemporary Music; co-directors Maggi Payne and Chris Brown retired early in the hopes of pre-empting additional cuts.\u003c/p>\n\u003cp>Replacing tenured faculty with adjunct professors has become a common cost-saving strategy for college administrations, one deeply unpopular with academics and students alike. (Mills recently posted job listings for several adjunct music professors.) Brown, the former CCM co-director, said Mills selling the documents is another worrisome sign. “My impression is this is part of the pattern—things have not improved since the purge,” he said. “Now it’s the rainy day.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Staff at Mills recently launched a campaign to unionize with Service Employees International Union (SEIU) Local 1021, which already represents school faculty. Members of the organizing committee previously told KQED that part of their motivation for unionizing is to attain greater representation and transparency in institutional decision-making as the administration tries to rebound financially.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Opera\u003c/a> has a new music director. It’s the first time a top-tier opera company in the United States has hired a woman in this role.\u003c/p>\n\u003cp>An accomplished orchestral conductor, \u003ca href=\"https://sfopera.com/about-us/people/bios/artists/Eun-Sun-Kim/\" target=\"_blank\" rel=\"noopener noreferrer\">Eun Sun Kim \u003c/a>is originally from South Korea, and is under 40. She stands out among the other people holding key artistic positions in the opera world, who are mostly white, male and older.\u003c/p>\n\u003cp>“It’s very unusual to have a female conductor for any major opera house or symphony. San Francisco Opera only had their first main stage woman conductor in 2004—Sara Jobin, with \u003cem>Tosca—\u003c/em>and only has had a handful since,” said Bay Area-based opera commentator Charlise Tiee, who blogs at \u003ca href=\"https://operatattler.typepad.com/opera/\" target=\"_blank\" rel=\"noopener noreferrer\">The Opera Tattler\u003c/a>. “I think it’s a great choice and it’s a long time coming.”\u003c/p>\n\u003cp>Indeed, the roster of women in top artistic roles with opera companies around the country is pitifully short. The Chicago Opera Theater, a smaller company than the San Francisco Opera, also has a woman music director, Lidiya Yankovskaya. Karen Keltner was a resident conductor with the San Diego Opera for many years, a role with fewer responsibilities than music director. Francesca Zambello, who often directs productions in San Francisco, stands alone as an artistic director of a major U.S. opera company: she leads the Washington National Opera.\u003c/p>\n\u003cp>Kim is the fourth person to have held the role of music director with the nearly 100-year-old San Francisco Opera. She succeeds Italian conductor Nicola Luisotti, who left in 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“From my very first moments at San Francisco Opera, I felt this was home,” said Kim in a press release. “There was an unusual feeling of open collaboration across so many facets of the company—a real sense of professional alchemy.”\u003c/p>\n\u003cp>Kim’s career includes significant credits as a conductor in both opera houses and concert halls. She has led productions for major opera companies like the Washington National Opera and the Houston Grand Opera. Her symphonic appearances include the Los Angeles Philharmonic, and she has upcoming engagements with the New York Philharmonic and the Metropolitan Opera House.\u003c/p>\n\u003cp>“I am moved to hear that my gifted colleague Eun Sun Kim, in addition to being Houston Grand Opera’s principal guest conductor, will be the new music director of San Francisco Opera,” said Patrick Summers, artistic and music director of the Houston Grand Opera, in an email. “She is a brilliant musician, a superb conductor, a keen judge of talent and an empathic and gracious colleague. She is the perfect person at the perfect time for beloved company.”\u003c/p>\n\u003cp>Kim, who conducted the San Francisco Opera’s recent production of \u003cem>Rusalka\u003c/em>, officially begins her tenure in August 2021. Her responsibilities will include leading the opera’s orchestra, chorus and music staff as well as helping with artistic planning.\u003c/p>\n\u003cp>She’ll be making an early appearance with the company this Friday, Dec. 6, leading some of its young resident artists—the Adler Fellows—in their \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/2019-Adler-Fellows-Concert/\" target=\"_blank\" rel=\"noopener noreferrer\">final concert\u003c/a> of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Eun Sun Kim brings a unique energy to San Francisco Opera,” said the company’s director general, Matthew Shilvock, in a press statement. “She connects all of us—audiences, artists, technicians, administrators—in the pursuit of one singular artistic journey, bringing thoughtful leadership, deep compassion and an incredible respect for everyone in the theater.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://sfopera.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The San Francisco Opera\u003c/a> has a new music director. It’s the first time a top-tier opera company in the United States has hired a woman in this role.\u003c/p>\n\u003cp>An accomplished orchestral conductor, \u003ca href=\"https://sfopera.com/about-us/people/bios/artists/Eun-Sun-Kim/\" target=\"_blank\" rel=\"noopener noreferrer\">Eun Sun Kim \u003c/a>is originally from South Korea, and is under 40. She stands out among the other people holding key artistic positions in the opera world, who are mostly white, male and older.\u003c/p>\n\u003cp>“It’s very unusual to have a female conductor for any major opera house or symphony. San Francisco Opera only had their first main stage woman conductor in 2004—Sara Jobin, with \u003cem>Tosca—\u003c/em>and only has had a handful since,” said Bay Area-based opera commentator Charlise Tiee, who blogs at \u003ca href=\"https://operatattler.typepad.com/opera/\" target=\"_blank\" rel=\"noopener noreferrer\">The Opera Tattler\u003c/a>. “I think it’s a great choice and it’s a long time coming.”\u003c/p>\n\u003cp>Indeed, the roster of women in top artistic roles with opera companies around the country is pitifully short. The Chicago Opera Theater, a smaller company than the San Francisco Opera, also has a woman music director, Lidiya Yankovskaya. Karen Keltner was a resident conductor with the San Diego Opera for many years, a role with fewer responsibilities than music director. Francesca Zambello, who often directs productions in San Francisco, stands alone as an artistic director of a major U.S. opera company: she leads the Washington National Opera.\u003c/p>\n\u003cp>Kim is the fourth person to have held the role of music director with the nearly 100-year-old San Francisco Opera. She succeeds Italian conductor Nicola Luisotti, who left in 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“From my very first moments at San Francisco Opera, I felt this was home,” said Kim in a press release. “There was an unusual feeling of open collaboration across so many facets of the company—a real sense of professional alchemy.”\u003c/p>\n\u003cp>Kim’s career includes significant credits as a conductor in both opera houses and concert halls. She has led productions for major opera companies like the Washington National Opera and the Houston Grand Opera. Her symphonic appearances include the Los Angeles Philharmonic, and she has upcoming engagements with the New York Philharmonic and the Metropolitan Opera House.\u003c/p>\n\u003cp>“I am moved to hear that my gifted colleague Eun Sun Kim, in addition to being Houston Grand Opera’s principal guest conductor, will be the new music director of San Francisco Opera,” said Patrick Summers, artistic and music director of the Houston Grand Opera, in an email. “She is a brilliant musician, a superb conductor, a keen judge of talent and an empathic and gracious colleague. She is the perfect person at the perfect time for beloved company.”\u003c/p>\n\u003cp>Kim, who conducted the San Francisco Opera’s recent production of \u003cem>Rusalka\u003c/em>, officially begins her tenure in August 2021. Her responsibilities will include leading the opera’s orchestra, chorus and music staff as well as helping with artistic planning.\u003c/p>\n\u003cp>She’ll be making an early appearance with the company this Friday, Dec. 6, leading some of its young resident artists—the Adler Fellows—in their \u003ca href=\"https://sfopera.com/about-us/press-room/press-releases/2019-Adler-Fellows-Concert/\" target=\"_blank\" rel=\"noopener noreferrer\">final concert\u003c/a> of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Eun Sun Kim brings a unique energy to San Francisco Opera,” said the company’s director general, Matthew Shilvock, in a press statement. “She connects all of us—audiences, artists, technicians, administrators—in the pursuit of one singular artistic journey, bringing thoughtful leadership, deep compassion and an incredible respect for everyone in the theater.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bedlam and Broomsticks: A 12-Year-Old Fan Reviews 'Harry Potter and the Cursed Child'",
"headTitle": "Bedlam and Broomsticks: A 12-Year-Old Fan Reviews ‘Harry Potter and the Cursed Child’ | KQED",
"content": "\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Our guest reviewer Juliana Greco is 12 years old, a proud Gryffindor, and has plenty to say about 'Harry Potter and the Cursed Child' at the Curran Theatre.",
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"description": "Our guest reviewer Juliana Greco is 12 years old, a proud Gryffindor, and has plenty to say about 'Harry Potter and the Cursed Child' at the Curran Theatre.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than a month of previews, \u003cem>Harry Potter and the Cursed Child \u003c/em>opened at the Curran Theatre with a Sunday marathon of both Parts One and Two—over five hours of wizardly drama and human emotion.\u003c/p>\n\u003cp>Beyond the first few books, my knowledge of Harry Potter lore is woefully minimal. So I brought a guide. Juliana Greco is 12 years old, and a proud Gryffindor. She first read the entire series of Harry Potter books when she was eight, has seen all the movies, and even went to a midnight book release party for the published script of \u003cem>Harry Potter and the Cursed Child\u003c/em> in 2016. Plus, she went to the very first preview performance of \u003cem>Harry Potter and the Cursed Child\u003c/em> back in October. Besides \u003cem>The Nutcracker\u003c/em> at the San Francisco Ballet, this wildly inventive, epic production is her first play.\u003c/p>\n\u003cfigure id=\"attachment_13870658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870658\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern--1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HarryPotter_JulianaGreco_photo_NicoleGluckstern-.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My tour guide to all things Harry Potter, guest critic Juliana Greco. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KQED: What’s something you noticed this time around that you hadn’t noticed before (during the preview performance)?\u003c/strong>\u003c/p>\n\u003cp>Juliana Greco: They use suitcases a lot, as props. They sat on the suitcases in the Hogwarts Express, and then they used them stacked for the top of the train, and then they walked out with the suitcases while they put things on the stage, to distract us.\u003c/p>\n\u003cfigure id=\"attachment_13870668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TrolleyWitch_Albus_Scorpius_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suitcase-train car, with Katherine Leask, Benjamin Papac, and Jon Steiger. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>That’s a really good observation. They use them as tombstones too, I noticed. What’s another?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lighting. I noticed that in different scenes it’s lighter or darker…like the forbidden forest and the lake need to be darker, but they still put small spotlights on the people so we could see them. And then in later scenes, like at Hogwarts, or the Ministry of Magic, you would need more light.\u003c/p>\n\u003cp>\u003cstrong>I thought the lighting (designed by Neil Austin) was \u003cem>very\u003c/em> well done. As long as we’re talking about lights, how did the sound affect you? What did you think about it?\u003c/strong>\u003c/p>\n\u003cp>I liked the sound, because it kind of helped make it more magical, and make the effects seem like they had sounds…The music is there to \u003cem>feel\u003c/em> it, so you don’t just hear talking, but you can feel what they feel as their characters…like maybe they’re sad or there’s something they’re realizing.\u003c/p>\n\u003cfigure id=\"attachment_13870666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_HappyVoldemortDay_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A perfect lighting moment in an alternate, totalitarian universe. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s a favorite magic trick that you saw in the play?\u003c/strong>\u003c/p>\n\u003cp>I think the time-turner, because it brings them back in time. And that wavy movement on the stage, as if time is rippling back, is really magical.\u003c/p>\n\u003cp>\u003cstrong>It’s pretty cool. I don’t think I’ve seen something like that on a stage before.\u003c/strong>\u003c/p>\n\u003cp>Also, the sound makes it feel like it’s vibrating, which makes you feel like you’re vibrating.\u003c/p>\n\u003cp>\u003cstrong>Yeah, like \u003cem>you’re \u003c/em>going back in time.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13870662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_MagicBookcase_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A magic bookcase is one of the many, inventive effects in Harry Potter and the Cursed Child. With Yanna McIntosh, David Abeles, and John Skelley. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production design was indeed a highlight. Although the musical score penned by alt-rocker Imogen Heap struck me in places as being overly cinematic, as Juliana noted, the sound design by Gareth Fry lent veracity to the magic effects. The lighting shouldered much of the burden of shifting time and place, in a palette that encompassed the warm glow of a family home, the aquatic blues of a dazzling underwater sequence, and the harsh vision of a totalitarian alternate reality. Meanwhile, the magical staging offered just the right balance between humor and wonder (illusions and magic by Jamie Harrison, bolstered by key video projections by Finn Ross and Ash J. Woodward). Startling, immersive flourishes beyond the elaborately arched set (Christine Jones), such as the Hogwarts carpeting and wallpaper adorning the Curran, and occasional breaks in the fourth wall added greatly to the experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13870663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg\" alt=\"\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1200x785.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy-1920x1256.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Scorpius_Albus_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BFF’s Scorpius Malfoy (Jon Steiger) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What did you think of the acting?\u003c/strong>\u003c/p>\n\u003cp>I think the actor who plays Scorpius Malfoy (Jon Steiger) does a really good job.\u003c/p>\n\u003cp>\u003cstrong>I agree, he makes you really feel for the character. What do you think of Scorpius as a character? He seems very different than any of the characters that we’re used to from the books.\u003c/strong>\u003c/p>\n\u003cp>I like how he represents how you don’t have to be evil to be Slytherin. He kind of shows that just because he is Draco’s son doesn’t mean he’s mean, or that he \u003cem>wants\u003c/em> to be a Malfoy. Just like Albus doesn’t want to be Harry Potter’s son….But after he comes back (from the time-travel altered world), he is braver. He sort of helps to lead Albus, instead of him following.\u003c/p>\n\u003cp>\u003cstrong>What other acting stands out for you?\u003c/strong>\u003c/p>\n\u003cp>I think the actor of Ginny Potter (Angela Reed) stands out really well, and also all of the actors that are \u003cem>meant\u003c/em> to stand out. Especially Delphi Diggory (Emily Juliette Murphy) and Moaning Myrtle (Brittany Zeinstra).\u003c/p>\n\u003cfigure id=\"attachment_13870661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Ginny_Harry_McGonigal_Draco_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ginny Potter (Angela Reed), Harry Potter (John Skelley), Professor McGonagal (Shannon Cochran), and Draco Malfoy (Lucas Hall) search for clues. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any characters that you see yourself in, or that you identify with or feel really connected to?\u003c/strong>\u003c/p>\n\u003cp>Maybe Ginny Potter. Because she’s kind of what Gryffindor is. She’s friendly. She has courage. I’m friendly and I have courage. And she has friends, and she likes being who she is!\u003c/p>\n\u003cp>\u003cstrong>Do you think there’s a message to \u003cem>Harry Potter and the Cursed Child\u003c/em>? Is there something we should be learning from it?\u003c/strong>\u003c/p>\n\u003cp>They did bring up that “love blinds you,” a lot. So I guess it’s about finding the true meaning in somebody, rather than what you think they are.\u003c/p>\n\u003cp>\u003cstrong>Would you recommend this play?\u003c/strong>\u003c/p>\n\u003cp>Yes! But you should probably review the books. You just need to know some facts that will be necessary in watching the play so you don’t have a lot of questions.\u003c/p>\n\u003cfigure id=\"attachment_13870665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg\" alt=\"\" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_Harry_Albus_Photo-by-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Love blinds. A father-son moment with Harry Potter (John Skelley) and Albus Potter (Benjamin Papac). \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For both of us, Jon Steiger as Scorpius definitely stood out, as a character who undergoes one of the biggest personal evolutions. I also appreciated the jokey, guileless nature of Ron Weasley (David Abeles), the steadfast accountability of Hermione Granger (Yanna McIntosh), and the complementary brusqueness of Draco Malfoy (Lucas Hall) and Professor McGonagall (Shannon Cochran). Although I didn’t always get an at-odds, father-son vibe from the actors who play Harry Potter and Albus Potter (John Skelley and Benjamin Papac), Papac’s BFF connection to Steiger was a delight.\u003c/p>\n\u003cp>As Juliana mentioned, a central theme in the play is that of love, informing even the play’s darkest characters, and bringing everyone’s deepest fears and boldest choices into the light. Occasionally, the many speeches about the powers and pitfalls of love hinder rather than drive the action onstage, and there are definitely scenes that seem superfluous, even maudlin, in this regard. I wouldn’t have understood the details of the historic Triwizard Cup debacle without my tour guide, and those five-plus hours of stage time are a pretty big ask for a fair-weather fan. But the audacious theatricality of \u003cem>Harry Potter and the Cursed Child\u003c/em> does create a real opportunity to turn a new generation onto the magic of live performance, one Polyjuice potion and levitating Dementor at a time.\u003c/p>\n\u003cfigure id=\"attachment_13870667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1200x773.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/HPATCC_TriwizardCup_Photo-by-Matthew-Murphy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don’t forget to brush up on your Triwizard Cup knowledge before the show. \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>Tickets for ‘Harry Potter and the Cursed Child’ at the Curran Theatre in San Francisco are currently available through June 2020. \u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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