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"content": "\u003cp>In an age when comics struggle to top what’s happening in Washington, D.C., it’s worth recalling one German playwright who nailed political satire in the age of Adolf Hitler.\u003c/p>\n\u003cp>Bertolt Brecht’s 1941 play, \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Resistible Rise of Arturo Ui\u003c/em>\u003c/a>, is a dark but funny parable about the rise of fascism in 20th century Europe.\u003c/p>\n\u003cp>“Two hours and a half in which you’ll see extortion, murder, arson, larceny, bribery, blackmail, yellow journalism, and other by-products of capitalism,” say announcers Chayenne Greenberg and Parker Hough at the beginning of a Foothill Theatre Arts production up now in Los Altos Hills.\u003c/p>\n\u003cp>American playwright Bruce Norris adapted Brecht’s play two years ago, to take full advantage of the current political climate.\u003c/p>\n\u003cp>“We need to bring back law and order, folks. We need the right defensive measures. I’ll tell you what we need. We need a wall, a human shield to keep the bad ones out, and I’m the only one who can provide it,” says the title character, Arturo Ui, played with understated but effective malice by high school math teacher Anthony Silk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ui is a small time mobster in 1930s Chicago running a protection racket in the local cauliflower business: his thugs ask grocers and wholesalers for money to protect them from the violence the thugs deliver if the hapless business folk don’t pay.\u003c/p>\n\u003cfigure id=\"attachment_13870311\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg\" alt='Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clad in a pin-striped suit and fedora, Ui masters the art of corrupting politicians and judges, while pandering to racists and reporters. “Playing this character who is somewhat the embodiment of both Trump and Hitler has been challenging, and there have been certainly days when I want to go home and take a shower,” Silk says.\u003c/p>\n\u003cp>At one point, Ui gets tutoring from a washed-up Shakespearean actor who teaches Ui the locution and physicality of epic villains like Richard III and Macbeth.\u003c/p>\n\u003cp>“At bloodshed, you experience arousal, and cruelty fills you with inspiration, while kindness only fills you with disgust. You are the very textbook definition of a sociopath!” says grieving widow Betty Dullfeet, played by Margaret Allen. Dullfeet, though, ends up capitulating, too, just like everyone else who doesn’t want to die.\u003c/p>\n\u003cp>Director Bruce McLeod says he wants the audience to think about complicity. Remember, the play’s called the “resistible” rise of Arturo Ui. “Most of [Brecht’s] plays deal in some way with how we deal with people in power. By not doing something, you are essentially acquiescing to people who will take advantage of the situation,” McLeod says.\u003c/p>\n\u003cp>Or as Ui says in the play, “History’s violent and indecent. But as political scientists observe, we only get the leaders we deserve.”\u003c/p>\n\u003cfigure id=\"attachment_13870312\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg\" alt='Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"3000\" height=\"2002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1920x1281.jpg 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, it’s easy to complain about Hitler and other demagogues. But, Brecht is asking, what are you going to do about it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Foothill Theatre Arts delivers \u003cstrong>The Resistible Rise of Arturo Ui\u003c/strong> through November 24, 2019 at Foothill College in Los Altos Hills. For more information, click \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ui is a small time mobster in 1930s Chicago running a protection racket in the local cauliflower business: his thugs ask grocers and wholesalers for money to protect them from the violence the thugs deliver if the hapless business folk don’t pay.\u003c/p>\n\u003cfigure id=\"attachment_13870311\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg\" alt='Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clad in a pin-striped suit and fedora, Ui masters the art of corrupting politicians and judges, while pandering to racists and reporters. “Playing this character who is somewhat the embodiment of both Trump and Hitler has been challenging, and there have been certainly days when I want to go home and take a shower,” Silk says.\u003c/p>\n\u003cp>At one point, Ui gets tutoring from a washed-up Shakespearean actor who teaches Ui the locution and physicality of epic villains like Richard III and Macbeth.\u003c/p>\n\u003cp>“At bloodshed, you experience arousal, and cruelty fills you with inspiration, while kindness only fills you with disgust. You are the very textbook definition of a sociopath!” says grieving widow Betty Dullfeet, played by Margaret Allen. Dullfeet, though, ends up capitulating, too, just like everyone else who doesn’t want to die.\u003c/p>\n\u003cp>Director Bruce McLeod says he wants the audience to think about complicity. Remember, the play’s called the “resistible” rise of Arturo Ui. “Most of [Brecht’s] plays deal in some way with how we deal with people in power. By not doing something, you are essentially acquiescing to people who will take advantage of the situation,” McLeod says.\u003c/p>\n\u003cp>Or as Ui says in the play, “History’s violent and indecent. But as political scientists observe, we only get the leaders we deserve.”\u003c/p>\n\u003cfigure id=\"attachment_13870312\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg\" alt='Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"3000\" height=\"2002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1920x1281.jpg 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, it’s easy to complain about Hitler and other demagogues. But, Brecht is asking, what are you going to do about it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Foothill Theatre Arts delivers \u003cstrong>The Resistible Rise of Arturo Ui\u003c/strong> through November 24, 2019 at Foothill College in Los Altos Hills. For more information, click \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Totally Epic: A One-Person 'Mahābhārata' at Ubuntu Theater Project",
"headTitle": "Totally Epic: A One-Person ‘Mahābhārata’ at Ubuntu Theater Project | KQED",
"content": "\u003cp>Chances are you’ve heard of \u003cem>The Mahābhārata\u003c/em>, one of the world’s great epics, penned in Sanskrit between 400 BCE and 400 CE. But have you read all 100,000 \u003cem>slokas\u003c/em> (200,000 verses), or attempted to watch the entire thing performed over the course of the 12 days it would take to recite it—with no breaks?\u003c/p>\n\u003cp>At first, J Jha, star of Ubuntu Theater Project’s production of \u003cem>The Mahābhārata\u003c/em>, threatens to do just that: lock the doors and start from the very beginning until the very end. A compromise arrives by offering a whirlwind, crash-course summarization of the world’s longest poem—12 days’ worth of material in under 12 minutes—using a timer to ensure the latter. A confusing blur of names and elaborate titles ensues, before Jha collapses onto the stage, momentarily spent. Clearly this strategy won’t work either.\u003c/p>\n\u003cp>Jha’s solution? To let the roll of the dice decide what stories to tell. Of course, the audience is given quickly to understand that dice are not ruled by random chance, but by destiny. Meaning that whatever story emerges is the one that was meant to be told.\u003c/p>\n\u003cfigure id=\"attachment_13870105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-1920x1371.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha shifts shape in Ubuntu Theater Project’s ‘The Mahābhārata.’ \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last seen with Ubuntu in April’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13855139/in-new-play-down-here-below-the-audience-becomes-one-with-a-homeless-camp\" rel=\"noopener noreferrer\" target=\"_blank\">Down Here Below\u003c/a>\u003c/em>, and more recently in Cal Shakes’ \u003cem>The Good Person of Szechwan\u003c/em>, Jha is both warrior-solid and willow-supple with the multitudes populating Geetha Reddy’s inventive script. Whether portraying the matriarch Kunti from her impetuous youth to her elder years; all five of her legitimate sons; the heroic Pandavas; or their wife-in-common, the revered beauty Draupadi, Jha’s energy never fades. Skipping, slinking, bouncing, stomping, and dancing across the makeshift playing space of the loading dock of Oakland’s FLAX Art Supply store, Jha inhabits not so much the individual characters, but each individual plot twist.\u003c/p>\n\u003cp>Jha rustles skirts and stretches fingers as the “virgin” mother Kunti letting her firstborn son, Karna—the illegitimate son of the sun god Surya (who comes off in this irreverent retelling as a bit of a louche f**ckboi)—float away down the river in his golden baby armor. Jha swaggers delightedly when playing Chitrandaga, a “muscle-bound” warrior princess with her sights set on Arjuna. As Draupadi, Jha is wrapped in an elegantly embroidered sari and sits at a “window,” ready to judge the competition for her hand. Fathers and mothers, brothers and sisters, dozens of cousins, and the occasional incognito god crowd onstage. An entire 18-day war is fought. With an arch of the eyebrow, a knowing smile, a noncommittal head tilt, Jha captures the essence of each shifting account, despite the dizzying complexities of the source material.\u003c/p>\n\u003cfigure id=\"attachment_13870107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870107\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-1920x1371.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha shifts shape in Ubuntu Theater Project’s ‘The Mahābhārata.’\u003c/figcaption>\u003c/figure>\n\u003cp>Designed by Karla Hargrave, the minimal set cuts a bold swath directly down the center of the space: an arch of blue suggesting the sky, a pathway of reflective material, a low stool and a cup for dice. Pools of light designed by Stephanie Anne Johnson signal moments of transformation or reckoning. The simple, effective costuming provided by Regina Evans offers suggestions of sumptuous finery with a few versatile pieces that allow Jha freedom of movement as well as freedom from gender specificity. And Uriah Findlay’s supportive sound design, full of electronic mixes of traditional Indian music, subtly sets the mood. Director (and Ubuntu’s Artistic Director) Michael Socrates Moran includes a few theatrical tricks in the staging, but the show succeeds best when it relies on the skillful narration and physical stamina of its sole performer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Initially it seems improbable that such a significant work as \u003cem>The Mahābhārata \u003c/em>could be so reduced in scale and still wield an impact. We’re accustomed as audiences to apply the word “epic” to productions with large casts and larger budgets rather than one-person renditions of ancient mythologies. But as Jha reminds us with a smile, most mythologies are passed down through single chroniclers rather than through grand reenactments. Even the original narrator of \u003cem>The Mahābhārata\u003c/em>, Vyasa, reportedly sat and told the tale from beginning to end—all 100,000 \u003cem>slokas\u003c/em>, all 12 uninterrupted days worth—with none other than Ganesha as the scribe. The sweeping genealogies and mythical underpinnings of many of India’s cultural mores assembled into a cohesive, comprehensive version. But still just \u003cem>one\u003c/em> version.\u003c/p>\n\u003cfigure id=\"attachment_13870106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-1920x1371.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha momentarily blinded in Ubuntu Theater Project’s The Mahābhārata. \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By stripping \u003cem>The Mahābhārata\u003c/em> to a bare-bones, one-person show, Geetha Reddy and Ubuntu Theater Project showcase the true heart of an oral tradition—with the potential to transform its audience, its teller, and the story itself. With a nod to the trickster heart of the playwright, and the destiny of the dice, Jha completes this fierce foray on a contemplative note. The journey ends where the audience’s begins: as new guardians of an ancient text, and guarantors of its continued proliferation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Mahābhārata’ plays through Dec. 8 at the FLAX building in Oakland. \u003ca href=\"https://www.ubuntutheaterproject.com/mahabharata/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chances are you’ve heard of \u003cem>The Mahābhārata\u003c/em>, one of the world’s great epics, penned in Sanskrit between 400 BCE and 400 CE. But have you read all 100,000 \u003cem>slokas\u003c/em> (200,000 verses), or attempted to watch the entire thing performed over the course of the 12 days it would take to recite it—with no breaks?\u003c/p>\n\u003cp>At first, J Jha, star of Ubuntu Theater Project’s production of \u003cem>The Mahābhārata\u003c/em>, threatens to do just that: lock the doors and start from the very beginning until the very end. A compromise arrives by offering a whirlwind, crash-course summarization of the world’s longest poem—12 days’ worth of material in under 12 minutes—using a timer to ensure the latter. A confusing blur of names and elaborate titles ensues, before Jha collapses onto the stage, momentarily spent. Clearly this strategy won’t work either.\u003c/p>\n\u003cp>Jha’s solution? To let the roll of the dice decide what stories to tell. Of course, the audience is given quickly to understand that dice are not ruled by random chance, but by destiny. Meaning that whatever story emerges is the one that was meant to be told.\u003c/p>\n\u003cfigure id=\"attachment_13870105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_2-1920x1371.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha shifts shape in Ubuntu Theater Project’s ‘The Mahābhārata.’ \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last seen with Ubuntu in April’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13855139/in-new-play-down-here-below-the-audience-becomes-one-with-a-homeless-camp\" rel=\"noopener noreferrer\" target=\"_blank\">Down Here Below\u003c/a>\u003c/em>, and more recently in Cal Shakes’ \u003cem>The Good Person of Szechwan\u003c/em>, Jha is both warrior-solid and willow-supple with the multitudes populating Geetha Reddy’s inventive script. Whether portraying the matriarch Kunti from her impetuous youth to her elder years; all five of her legitimate sons; the heroic Pandavas; or their wife-in-common, the revered beauty Draupadi, Jha’s energy never fades. Skipping, slinking, bouncing, stomping, and dancing across the makeshift playing space of the loading dock of Oakland’s FLAX Art Supply store, Jha inhabits not so much the individual characters, but each individual plot twist.\u003c/p>\n\u003cp>Jha rustles skirts and stretches fingers as the “virgin” mother Kunti letting her firstborn son, Karna—the illegitimate son of the sun god Surya (who comes off in this irreverent retelling as a bit of a louche f**ckboi)—float away down the river in his golden baby armor. Jha swaggers delightedly when playing Chitrandaga, a “muscle-bound” warrior princess with her sights set on Arjuna. As Draupadi, Jha is wrapped in an elegantly embroidered sari and sits at a “window,” ready to judge the competition for her hand. Fathers and mothers, brothers and sisters, dozens of cousins, and the occasional incognito god crowd onstage. An entire 18-day war is fought. With an arch of the eyebrow, a knowing smile, a noncommittal head tilt, Jha captures the essence of each shifting account, despite the dizzying complexities of the source material.\u003c/p>\n\u003cfigure id=\"attachment_13870107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870107\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_4-1920x1371.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha shifts shape in Ubuntu Theater Project’s ‘The Mahābhārata.’\u003c/figcaption>\u003c/figure>\n\u003cp>Designed by Karla Hargrave, the minimal set cuts a bold swath directly down the center of the space: an arch of blue suggesting the sky, a pathway of reflective material, a low stool and a cup for dice. Pools of light designed by Stephanie Anne Johnson signal moments of transformation or reckoning. The simple, effective costuming provided by Regina Evans offers suggestions of sumptuous finery with a few versatile pieces that allow Jha freedom of movement as well as freedom from gender specificity. And Uriah Findlay’s supportive sound design, full of electronic mixes of traditional Indian music, subtly sets the mood. Director (and Ubuntu’s Artistic Director) Michael Socrates Moran includes a few theatrical tricks in the staging, but the show succeeds best when it relies on the skillful narration and physical stamina of its sole performer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Initially it seems improbable that such a significant work as \u003cem>The Mahābhārata \u003c/em>could be so reduced in scale and still wield an impact. We’re accustomed as audiences to apply the word “epic” to productions with large casts and larger budgets rather than one-person renditions of ancient mythologies. But as Jha reminds us with a smile, most mythologies are passed down through single chroniclers rather than through grand reenactments. Even the original narrator of \u003cem>The Mahābhārata\u003c/em>, Vyasa, reportedly sat and told the tale from beginning to end—all 100,000 \u003cem>slokas\u003c/em>, all 12 uninterrupted days worth—with none other than Ganesha as the scribe. The sweeping genealogies and mythical underpinnings of many of India’s cultural mores assembled into a cohesive, comprehensive version. But still just \u003cem>one\u003c/em> version.\u003c/p>\n\u003cfigure id=\"attachment_13870106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/UbuntuTheaterProject_Mahabharata_JJha_credit_CarsonFrench_3-1920x1371.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha momentarily blinded in Ubuntu Theater Project’s The Mahābhārata. \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By stripping \u003cem>The Mahābhārata\u003c/em> to a bare-bones, one-person show, Geetha Reddy and Ubuntu Theater Project showcase the true heart of an oral tradition—with the potential to transform its audience, its teller, and the story itself. With a nod to the trickster heart of the playwright, and the destiny of the dice, Jha completes this fierce foray on a contemplative note. The journey ends where the audience’s begins: as new guardians of an ancient text, and guarantors of its continued proliferation.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Mahābhārata’ plays through Dec. 8 at the FLAX building in Oakland. \u003ca href=\"https://www.ubuntutheaterproject.com/mahabharata/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Ragged Wing Ensemble announced Tuesday that \u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a>, Oakland’s only shared black-box theater, will close early next year in a serious loss for the East Bay’s performing arts landscape. \u003c/span>\u003c/p>\n\u003cp>Anna Shneiderman, co-founder and executive director of \u003ca href=\"https://www.raggedwing.org/\">Ragged Wing Ensemble\u003c/a>, stood in the 99-seat theater at 1540 Broadway in downtown Oakland, a venue used for performance, rehearsal and administration by 70 artists and organizations annually, and described the building seven years ago. “The roof was caving in,” she said. “You could see through this floor to the dirt underneath.” [aside postID=arts_13861153,arts_13866354,arts_13850988]\u003c/p>\n\u003cp>Shneiderman, who’d run Ragged Wing as a nomadic theater troupe with artistic director Amy Sass since 2004, raised $300,000 to create a 4,000-square-foot performing-arts hub within the dilapidated warehouse, immediately attracting resident companies such as \u003ca href=\"http://www.lowerbottomplayaz.com/\">Lower Bottom Playaz\u003c/a>. “With no marketing, people were banging on the door,” she said. Flight Deck, which Ragged Wing operates, is now booked 50 weeks a year, and since 2014 has quintupled its budget to more than $500,000.\u003c/p>\n\u003cp>Yet Flight Deck’s critical role in the East Bay theater community belies Ragged Wing’s financial insecurity. Facilities costs are double the rental revenue, Shneiderman said, and ticket prices similarly lag behind production expenses. Ragged Wing raises the shortfall, but even with key institutional support, its several part-time employees remain underpaid and without benefits. With its five-year lease set to lapse, Shneiderman sees little more room to grow.\u003c/p>\n\u003cp>“The looming lease renewal prompted some soul-searching,” she said. “Is this sustainable?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flight Deck will close following a “\u003ca href=\"http://www.theflightdeck.org/the-art-of-leaving.html\">ceremonial exit\u003c/a>” program March 29, 2020 entitled \u003cem>The Art of Leaving\u003c/em>. Ragged Wing, like Ayodele Nzinga’s troupe Lower Bottom Playaz, will resume a nomadic existence; an Oakland beacon and resource to dozens of artists will go dark. Shneiderman wants another entity to take over the lease, but Flight Deck as it’s known is done.\u003c/p>\n\u003cp>“Ragged Wing started Flight Deck because there was nowhere to stage a play in downtown Oakland,” she said. “Unless someone takes over our lease, it could be that way again.”\u003c/p>\n\u003cp>In either case, Shneiderman now believes the nonprofit arts system is broken beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_13870008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg\" alt=\"Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga founded Lower Bottom Playaz, an original Flight Deck resident, 20 years ago to produce original works and canonical black theater. It’s known for staging all of \u003cem>Century Cycle\u003c/em>, August Wilson’s epic exploration of the African-American experience, and in September premiered one-woman plays by Nzinga, Cat Brooks and Kharyshi Wiginton. Nzinga is also an activist who helps run a new \u003ca href=\"https://www.ccedoakland.org/\">anti-displacement fund\u003c/a>, and one day recently she sat in Flight Deck’s gallery distributing checks. “It feels fantastic,” she said, smiling to note the ironic timing and setting.\u003c/p>\n\u003cp>Theater in Oakland faces challenges besides the lack of venues. San Francisco companies tend to charge more at the door, and city government exponentially outspends Oakland in art grants; in Oakland’s most recent budget process, arts funding \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">even dipped\u003c/a>. Berkeley has several venues with resident companies supported by a wealthier, better-established audience. “We’re courting a different demographic,” Nzinga said. “We have a pricing scale, and we pass a hat at the end of each show—the joke is you have to pay at the door and then pay to leave.”\u003c/p>\n\u003cp>Flight Deck’s monthly overhead, according to Shneiderman, is $20,000-$25,000. Rental rates, though subsidized by fundraising, make it difficult to fairly compensate performers while offering affordable tickets. TheatreFIRST, at Berkeley’s Live Oak Theater, this year replaced stipends with an hourly rate. Ragged Wing is instituting a similar policy in order to “prioritize people over space,” Shneiderman said. “Why commit all this money to rent and not pay our people right?”\u003c/p>\n\u003cp>For companies such as Ragged Wing and Lower Bottom Playaz, reducing overhead is necessary to offer a living wage. Gritty City Repertory Youth Theatre, a former resident company at Flight Deck, earlier this year moved its office and rehearsal space to the Flax Building, where Ubuntu Theater Project also operates. Nzinga similarly foresees a roving future—anchored in Oakland, performing in surrounding cities—for Lower Bottom Playaz.\u003c/p>\n\u003cp>“Maybe we need to be nimble enough again to perform in homeless shelters and halfway houses like when we started out, or outdoors in Frank Ogawa Plaza,” Nzinga said.\u003c/p>\n\u003cfigure id=\"attachment_13870009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg\" alt=\"Props and posters rest in Flight Deck's office mezzanine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Props and posters rest in Flight Deck’s office mezzanine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month Shneiderman spoke at a “social impact” business conference in Berkeley about “endemic problems in the nonprofit arts sector,” describing the struggles of Flight Deck and Ragged Wing as systemic problems of an industry beholden to philanthropic largesse.\u003c/p>\n\u003cp>Institutional funders want to support projects with marquee visibility instead of humdrum operating costs, and wages for staff suffer, she explained. Organizations compete against each other for grants, yielding programming tailored to the vision of a few private foundations. Nonprofits with too little or too much money alienate funders, discouraging growth. And few audience members realize this constant hustle effectively subsidizes the price of their tickets.\u003c/p>\n\u003cp>Part of the problem is the city’s cost-of-living outpacing public and private arts funding. Another is development: Cranes and new luxury housing in downtown Oakland make the neighborhood’s art spaces look like placeholders. Highbridge Capital Management, a hedge fund subsidiary of JPMorgan Chase, bought the Flight Deck building two years ago as part of a rush on commercial real-estate in the area. It’s the only single-story structure on the block.\u003c/p>\n\u003cfigure id=\"attachment_13870010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg\" alt=\"Posters for past productions hang framed in the Flight Deck hallway.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters for past productions hang framed in the Flight Deck hallway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even an abundance of grants and a longer-term lease on friendly terms wouldn’t address the underlying issue, Shneiderman believes. Relying on wealthy individual donors bends programming to a narrow demographic. “It begs the question of who’s being served,” she said. The arts nonprofit system entrenches instead of disperses social and economic standing, and donors receive tax advantages and burnished names without “rebalancing wealth or power in any significant way,” Shneiderman said, calling the model a form of “extractive capitalism.”\u003c/p>\n\u003cp>For Shneiderman, this critique is the prelude to a pitch for what she’s calling the “Oakland Cultural Space Cooperative,” a network of extant spaces for rehearsal and performance with a centralized booking portal. She’s preparing to begin a year-long design process—supported by local and state philanthropies—in collaboration with several other organizations. “We want it to also have a pathway to ownership,” she added.\u003c/p>\n\u003cp>Before then, Ragged Wing Ensemble will present \u003cem>The Art of Leaving\u003c/em>, its final program at Flight Deck, on March 29, 2020. Shneiderman describes it as a “multi-layered, participatory project” to gather thoughts on leaving from attendees, celebrate resiliency and culminate with a raucous march along Broadway. Like Nzinga with Lower Bottom Playaz, Shneiderman anticipates Ragged Wing returning to presenting compact, tourable productions in nontraditional venues such as homes and outdoor spaces.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s sad,” she said. “But it’s precipitating something new.”\u003c/p>\n\n",
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"title": "Flight Deck, Oakland’s Only Black Box Theater, to Close in March | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Ragged Wing Ensemble announced Tuesday that \u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a>, Oakland’s only shared black-box theater, will close early next year in a serious loss for the East Bay’s performing arts landscape. \u003c/span>\u003c/p>\n\u003cp>Anna Shneiderman, co-founder and executive director of \u003ca href=\"https://www.raggedwing.org/\">Ragged Wing Ensemble\u003c/a>, stood in the 99-seat theater at 1540 Broadway in downtown Oakland, a venue used for performance, rehearsal and administration by 70 artists and organizations annually, and described the building seven years ago. “The roof was caving in,” she said. “You could see through this floor to the dirt underneath.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shneiderman, who’d run Ragged Wing as a nomadic theater troupe with artistic director Amy Sass since 2004, raised $300,000 to create a 4,000-square-foot performing-arts hub within the dilapidated warehouse, immediately attracting resident companies such as \u003ca href=\"http://www.lowerbottomplayaz.com/\">Lower Bottom Playaz\u003c/a>. “With no marketing, people were banging on the door,” she said. Flight Deck, which Ragged Wing operates, is now booked 50 weeks a year, and since 2014 has quintupled its budget to more than $500,000.\u003c/p>\n\u003cp>Yet Flight Deck’s critical role in the East Bay theater community belies Ragged Wing’s financial insecurity. Facilities costs are double the rental revenue, Shneiderman said, and ticket prices similarly lag behind production expenses. Ragged Wing raises the shortfall, but even with key institutional support, its several part-time employees remain underpaid and without benefits. With its five-year lease set to lapse, Shneiderman sees little more room to grow.\u003c/p>\n\u003cp>“The looming lease renewal prompted some soul-searching,” she said. “Is this sustainable?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flight Deck will close following a “\u003ca href=\"http://www.theflightdeck.org/the-art-of-leaving.html\">ceremonial exit\u003c/a>” program March 29, 2020 entitled \u003cem>The Art of Leaving\u003c/em>. Ragged Wing, like Ayodele Nzinga’s troupe Lower Bottom Playaz, will resume a nomadic existence; an Oakland beacon and resource to dozens of artists will go dark. Shneiderman wants another entity to take over the lease, but Flight Deck as it’s known is done.\u003c/p>\n\u003cp>“Ragged Wing started Flight Deck because there was nowhere to stage a play in downtown Oakland,” she said. “Unless someone takes over our lease, it could be that way again.”\u003c/p>\n\u003cp>In either case, Shneiderman now believes the nonprofit arts system is broken beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_13870008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg\" alt=\"Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga founded Lower Bottom Playaz, an original Flight Deck resident, 20 years ago to produce original works and canonical black theater. It’s known for staging all of \u003cem>Century Cycle\u003c/em>, August Wilson’s epic exploration of the African-American experience, and in September premiered one-woman plays by Nzinga, Cat Brooks and Kharyshi Wiginton. Nzinga is also an activist who helps run a new \u003ca href=\"https://www.ccedoakland.org/\">anti-displacement fund\u003c/a>, and one day recently she sat in Flight Deck’s gallery distributing checks. “It feels fantastic,” she said, smiling to note the ironic timing and setting.\u003c/p>\n\u003cp>Theater in Oakland faces challenges besides the lack of venues. San Francisco companies tend to charge more at the door, and city government exponentially outspends Oakland in art grants; in Oakland’s most recent budget process, arts funding \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">even dipped\u003c/a>. Berkeley has several venues with resident companies supported by a wealthier, better-established audience. “We’re courting a different demographic,” Nzinga said. “We have a pricing scale, and we pass a hat at the end of each show—the joke is you have to pay at the door and then pay to leave.”\u003c/p>\n\u003cp>Flight Deck’s monthly overhead, according to Shneiderman, is $20,000-$25,000. Rental rates, though subsidized by fundraising, make it difficult to fairly compensate performers while offering affordable tickets. TheatreFIRST, at Berkeley’s Live Oak Theater, this year replaced stipends with an hourly rate. Ragged Wing is instituting a similar policy in order to “prioritize people over space,” Shneiderman said. “Why commit all this money to rent and not pay our people right?”\u003c/p>\n\u003cp>For companies such as Ragged Wing and Lower Bottom Playaz, reducing overhead is necessary to offer a living wage. Gritty City Repertory Youth Theatre, a former resident company at Flight Deck, earlier this year moved its office and rehearsal space to the Flax Building, where Ubuntu Theater Project also operates. Nzinga similarly foresees a roving future—anchored in Oakland, performing in surrounding cities—for Lower Bottom Playaz.\u003c/p>\n\u003cp>“Maybe we need to be nimble enough again to perform in homeless shelters and halfway houses like when we started out, or outdoors in Frank Ogawa Plaza,” Nzinga said.\u003c/p>\n\u003cfigure id=\"attachment_13870009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg\" alt=\"Props and posters rest in Flight Deck's office mezzanine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Props and posters rest in Flight Deck’s office mezzanine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month Shneiderman spoke at a “social impact” business conference in Berkeley about “endemic problems in the nonprofit arts sector,” describing the struggles of Flight Deck and Ragged Wing as systemic problems of an industry beholden to philanthropic largesse.\u003c/p>\n\u003cp>Institutional funders want to support projects with marquee visibility instead of humdrum operating costs, and wages for staff suffer, she explained. Organizations compete against each other for grants, yielding programming tailored to the vision of a few private foundations. Nonprofits with too little or too much money alienate funders, discouraging growth. And few audience members realize this constant hustle effectively subsidizes the price of their tickets.\u003c/p>\n\u003cp>Part of the problem is the city’s cost-of-living outpacing public and private arts funding. Another is development: Cranes and new luxury housing in downtown Oakland make the neighborhood’s art spaces look like placeholders. Highbridge Capital Management, a hedge fund subsidiary of JPMorgan Chase, bought the Flight Deck building two years ago as part of a rush on commercial real-estate in the area. It’s the only single-story structure on the block.\u003c/p>\n\u003cfigure id=\"attachment_13870010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg\" alt=\"Posters for past productions hang framed in the Flight Deck hallway.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters for past productions hang framed in the Flight Deck hallway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even an abundance of grants and a longer-term lease on friendly terms wouldn’t address the underlying issue, Shneiderman believes. Relying on wealthy individual donors bends programming to a narrow demographic. “It begs the question of who’s being served,” she said. The arts nonprofit system entrenches instead of disperses social and economic standing, and donors receive tax advantages and burnished names without “rebalancing wealth or power in any significant way,” Shneiderman said, calling the model a form of “extractive capitalism.”\u003c/p>\n\u003cp>For Shneiderman, this critique is the prelude to a pitch for what she’s calling the “Oakland Cultural Space Cooperative,” a network of extant spaces for rehearsal and performance with a centralized booking portal. She’s preparing to begin a year-long design process—supported by local and state philanthropies—in collaboration with several other organizations. “We want it to also have a pathway to ownership,” she added.\u003c/p>\n\u003cp>Before then, Ragged Wing Ensemble will present \u003cem>The Art of Leaving\u003c/em>, its final program at Flight Deck, on March 29, 2020. Shneiderman describes it as a “multi-layered, participatory project” to gather thoughts on leaving from attendees, celebrate resiliency and culminate with a raucous march along Broadway. Like Nzinga with Lower Bottom Playaz, Shneiderman anticipates Ragged Wing returning to presenting compact, tourable productions in nontraditional venues such as homes and outdoor spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a career—and personal life—loaded with enough drama to fuel an opera, \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye West\u003c/a> is finally presenting one. Or at least that’s what he tweeted Sunday, announcing a performance of \u003cem>Nebuchadnezzar\u003c/em>, “A Kanye West Opera” at the Hollywood Bowl on Nov. 24.\u003c/p>\n\u003cp>Little is known about the opera’s content other than its title, referring to the real life Biblical character who ruled over the Babylonian empire from c. 605 BC – c. 562 BC. West’s tweet gave a few more clues. The invitation artwork, etched with a golden image of the Babylonian king, states: “Music with Sunday Service, Peter Collins & Infinities Song.” (For what it’s worth, the Hollywood Bowl confirmed the event to \u003cem>NPR\u003c/em>.)\u003c/p>\n\u003cp>https://twitter.com/kanyewest/status/1196204600090513408?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1196204600090513408&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fdeceptivecadence%2F2019%2F11%2F18%2F780479625%2Fkanye-west-announces-an-opera-which-isnt-as-crazy-as-it-sounds\u003c/p>\n\u003cp>Classical music buffs will note that Nebuchadnezzar has received the operatic treatment before, most notably in \u003ca href=\"https://www.npr.org/programs/attheopera/archives/010324.ato.html\">\u003cem>Nabucco\u003c/em>\u003c/a> (an Italian version of the king’s name), an emotionally charged early work by \u003ca href=\"https://www.npr.org/artists/16927552/giuseppe-verdi\">Giuseppe Verdi\u003c/a> from 1841. In Verdi’s portrayal, Nabucco is a complex man whose exile of Jews from their homeland, combined with political foibles, triggers a complete nervous breakdown.\u003c/p>\n\u003cp>A flawed leader with visions of grandeur who becomes mentally unstable is a plot line that West \u003cem>might\u003c/em> relate to. Last year on \u003ca href=\"https://www.youtube.com/watch?v=kJUc7Rz7QiU\">\u003cem>Jimmy Kimmel Live\u003c/em>\u003c/a>, West spoke openly about being bi-polar saying, “I don’t know anyone, you know, that f–ked up as much as I have that’s still as successful.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Regardless of the content of \u003cem>Nebuchadnezzar\u003c/em>, and before opera purists start wringing their hands, West can call his creation an opera if he chooses. The 400-year-old art form has proven itself terrifically adaptable and resilient. From cast-of-hundreds standards like Verdi’s \u003ca href=\"https://www.npr.org/2011/06/03/136888669/love-triangles-and-pyramids-verdis-aida\">\u003cem>Aida\u003c/em>\u003c/a> (which in some productions has included elephants) to single character, avant-garde monodramas such as \u003ca href=\"https://www.npr.org/artists/90295693/morton-feldman\">Morton Feldman\u003c/a>‘s \u003ca href=\"https://www.youtube.com/watch?v=0exs9F-888s\">\u003cem>Neither\u003c/em>\u003c/a>, opera comes in all shapes and sizes. As it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kanye+West+Announces+An+Opera+%28Which+Isn%27t+As+Crazy+As+It+Sounds%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "'Testmatch' at A.C.T. No Sticky Wicket",
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"content": "\u003cp>Embodying A.C.T.’s 2019/2020 season theme “Rules of Play,” Kate Attwell’s lively \u003cem>Testmatch\u003c/em> gives Women’s International Cricket a moment in the spotlight and explores its imperialist underpinnings with a smart one-two. With a cast of six, and a centuries-long timeline, \u003cem>Testmatch\u003c/em> careens from point to point like a runaway strike. And while the ball doesn’t always land as expected, the result is a mostly rewarding event, buoyed by a committed squad of assembled players.\u003c/p>\n\u003cp>This world-premiere production, directed by A.C.T.’s Artistic Director Pam MacKinnon (who will also direct the baseball-centered \u003cem>Toni Stone\u003c/em> in March), opens in the “players lounge” of a Women’s World Cup Cricket match. The teams are England and India, facing off in what the Indian team terms a “massive” game, eager to put the Brits down on their home turf. But the vagaries of English weather have put a damper on their ambitions, and the players are forced to sit around, drink tea, and bicker about their stats as they wait for the rain to stop.\u003c/p>\n\u003cfigure id=\"attachment_13869692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13869692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Millie Brooks, Arwen Anderson, Lipica Shah, Meera Rohit Kumbhani, and Avanthika Srinivasan faceoff in the players lounge in Kate Attwell’s Testmatch at A.C.T.’s Strand Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their sharp-tongued banter ricochets around Nina Ball’s minimalist set with plenty of penetrating wit. In short order, they dissect romance, honor, and cricket strategy without missing a beat—or an opportunity to elicit laughter, both comfortable and not. As captains of their respective teams, Meera Rohit Kumbhani and Madeline Wise command special attention. Kumbhani is a master of the wordless side-eye that speaks volumes, while Wise uses her natural gift of height to physically dominate the room. Inevitably the tension boils over, and humorous snark gives way to a simmering stew of resentments, racist invective, and accusations. Within the tumultuous unraveling, McKinnon skillfully inserts moments of heavy silence that drive home the stakes better than any right hook.\u003c/p>\n\u003cfigure id=\"attachment_13869688\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_MadelineWise_credit_KevinBerne.jpg\" alt=\"\" width=\"665\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_MadelineWise_credit_KevinBerne.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_MadelineWise_credit_KevinBerne-160x241.jpg 160w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">Millie Brooks and Madeline Wise confer in the players lounge in Kate Attwell’s Testmatch at A.C.T.’s Strand Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But suddenly, without warning, we’re whisked away to a Victorian-era British East India Trading Company compound in Calcutta, where Arwen Anderson and Millie Brooks are transformed into fatuous members of the company, and Lipica Shah as their put-upon footsoldier/secretary, Abhi. Primarily concerned with clarifying the official rules of cricket for posterity, while outside their walls a famine rages, Anderson and Brooks play their callous colonialists with cartoonish bombast, while the put-upon Shah observes their antics wearily from behind a gigantic mustache.\u003c/p>\n\u003cfigure id=\"attachment_13869690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13869690 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lipica Shah, Arwen Anderson, and Millie Brooks record the rule of the game in Kate Atwell’s Testmatch at A.C.T.’s Strand Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audience gets a brief lesson in cricket terms and an even briefer download of the rapacity of the EITC, creating an awareness of British colonial misrule as well as the complicated relationships former colonies have with British influences, then and now. There’s a reason, Attwell suggests, that the only countries that have kept cricket alive are in that category (the fact that matches can take up to four days to play possibly being another). By playfully examining the evolution of the game to show how structural effects of colonial rule linger into the present, Attwell delves into a complex chapter in history without pedantry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the second act, Anderson and Brooks waddle through their buddy comedy with a shameless surfeit of self-awareness, and the other three members of the cast shine in their secondary roles: an opium-addled memsahib (Wise), an emissary from Bangalore (Kumbhani), and an astute bowler from the village (Avanthika Srinivasan). It’s humorous and giddily irreverent, but feels increasingly less inspired as the pace, as well as the pith, flags halfway through.\u003c/p>\n\u003cfigure id=\"attachment_13869689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arwen Anderson, and Millie Brooks as members of the British East Indian Trading Company in Kate Atwell’s Testmatch at A.C.T.’s Strand Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In effect, \u003cem>Testmatch \u003c/em>feels like kin to \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" rel=\"noopener\" target=\"_blank\">Megan Cohen’s \u003cem>Free For All\u003c/em>\u003c/a>, which recently debuted at Cutting Ball Theater. Both employ satire, bawd and cross-dressing to comment on elitism, capitalist overreach, and the patriarchy while pitting the undeserving powerful against the underserved poor. But there’s a tentativeness to A.C.T.’s production that doesn’t quite allow it to reach absurdist extremes. The ending doesn’t shock the system as feels intended, and the overall effect is decidedly less devastating and more benign than a truly scathing societal critique.\u003c/p>\n\u003cp>But \u003cem>Testmatch\u003c/em> does give its audience a chance to wrestle with the implications of empire amid questions of honor, teamwork, and what divides us. It also underscores a fresh commitment to ambitious new works under the A.C.T. banner. Wholly contemporary, unapologetically experimental, and emphatically feminist, \u003cem>Testmatch\u003c/em> is a way of testing San Francisco’s appetite for same. Hopefully this means we’ll get to revisit \u003cem>Testmatch\u003c/em> in a future iteration, and that A.C.T. will continue to give similarly audacious work an artistic home in the seasons to come.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Testmatch’ runs through Dec. 8, 2019, at the Strand Theater in San Francisco. \u003ca href=\"https://secure.act-sf.org/overview/testmatch\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Embodying A.C.T.’s 2019/2020 season theme “Rules of Play,” Kate Attwell’s lively \u003cem>Testmatch\u003c/em> gives Women’s International Cricket a moment in the spotlight and explores its imperialist underpinnings with a smart one-two. With a cast of six, and a centuries-long timeline, \u003cem>Testmatch\u003c/em> careens from point to point like a runaway strike. And while the ball doesn’t always land as expected, the result is a mostly rewarding event, buoyed by a committed squad of assembled players.\u003c/p>\n\u003cp>This world-premiere production, directed by A.C.T.’s Artistic Director Pam MacKinnon (who will also direct the baseball-centered \u003cem>Toni Stone\u003c/em> in March), opens in the “players lounge” of a Women’s World Cup Cricket match. The teams are England and India, facing off in what the Indian team terms a “massive” game, eager to put the Brits down on their home turf. But the vagaries of English weather have put a damper on their ambitions, and the players are forced to sit around, drink tea, and bicker about their stats as they wait for the rain to stop.\u003c/p>\n\u003cfigure id=\"attachment_13869692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13869692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_ArwenAnderson_LipicaShah_MeeraRohitKumbhani_AvanthikaSrinivasan_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Millie Brooks, Arwen Anderson, Lipica Shah, Meera Rohit Kumbhani, and Avanthika Srinivasan faceoff in the players lounge in Kate Attwell’s Testmatch at A.C.T.’s Strand Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their sharp-tongued banter ricochets around Nina Ball’s minimalist set with plenty of penetrating wit. In short order, they dissect romance, honor, and cricket strategy without missing a beat—or an opportunity to elicit laughter, both comfortable and not. As captains of their respective teams, Meera Rohit Kumbhani and Madeline Wise command special attention. Kumbhani is a master of the wordless side-eye that speaks volumes, while Wise uses her natural gift of height to physically dominate the room. Inevitably the tension boils over, and humorous snark gives way to a simmering stew of resentments, racist invective, and accusations. Within the tumultuous unraveling, McKinnon skillfully inserts moments of heavy silence that drive home the stakes better than any right hook.\u003c/p>\n\u003cfigure id=\"attachment_13869688\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_MadelineWise_credit_KevinBerne.jpg\" alt=\"\" width=\"665\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_MadelineWise_credit_KevinBerne.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_MillieBrooks_MadelineWise_credit_KevinBerne-160x241.jpg 160w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">Millie Brooks and Madeline Wise confer in the players lounge in Kate Attwell’s Testmatch at A.C.T.’s Strand Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But suddenly, without warning, we’re whisked away to a Victorian-era British East India Trading Company compound in Calcutta, where Arwen Anderson and Millie Brooks are transformed into fatuous members of the company, and Lipica Shah as their put-upon footsoldier/secretary, Abhi. Primarily concerned with clarifying the official rules of cricket for posterity, while outside their walls a famine rages, Anderson and Brooks play their callous colonialists with cartoonish bombast, while the put-upon Shah observes their antics wearily from behind a gigantic mustache.\u003c/p>\n\u003cfigure id=\"attachment_13869690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13869690 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_LipicaShah_ArwenAnderson_MillieBrooks_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lipica Shah, Arwen Anderson, and Millie Brooks record the rule of the game in Kate Atwell’s Testmatch at A.C.T.’s Strand Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The audience gets a brief lesson in cricket terms and an even briefer download of the rapacity of the EITC, creating an awareness of British colonial misrule as well as the complicated relationships former colonies have with British influences, then and now. There’s a reason, Attwell suggests, that the only countries that have kept cricket alive are in that category (the fact that matches can take up to four days to play possibly being another). By playfully examining the evolution of the game to show how structural effects of colonial rule linger into the present, Attwell delves into a complex chapter in history without pedantry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the second act, Anderson and Brooks waddle through their buddy comedy with a shameless surfeit of self-awareness, and the other three members of the cast shine in their secondary roles: an opium-addled memsahib (Wise), an emissary from Bangalore (Kumbhani), and an astute bowler from the village (Avanthika Srinivasan). It’s humorous and giddily irreverent, but feels increasingly less inspired as the pace, as well as the pith, flags halfway through.\u003c/p>\n\u003cfigure id=\"attachment_13869689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Testmatch_ArwenAnderson_MillieBrooks_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arwen Anderson, and Millie Brooks as members of the British East Indian Trading Company in Kate Atwell’s Testmatch at A.C.T.’s Strand Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In effect, \u003cem>Testmatch \u003c/em>feels like kin to \u003ca href=\"https://www.kqed.org/arts/13867205/partying-like-its-2099-at-cutting-balls-free-for-all\" rel=\"noopener\" target=\"_blank\">Megan Cohen’s \u003cem>Free For All\u003c/em>\u003c/a>, which recently debuted at Cutting Ball Theater. Both employ satire, bawd and cross-dressing to comment on elitism, capitalist overreach, and the patriarchy while pitting the undeserving powerful against the underserved poor. But there’s a tentativeness to A.C.T.’s production that doesn’t quite allow it to reach absurdist extremes. The ending doesn’t shock the system as feels intended, and the overall effect is decidedly less devastating and more benign than a truly scathing societal critique.\u003c/p>\n\u003cp>But \u003cem>Testmatch\u003c/em> does give its audience a chance to wrestle with the implications of empire amid questions of honor, teamwork, and what divides us. It also underscores a fresh commitment to ambitious new works under the A.C.T. banner. Wholly contemporary, unapologetically experimental, and emphatically feminist, \u003cem>Testmatch\u003c/em> is a way of testing San Francisco’s appetite for same. Hopefully this means we’ll get to revisit \u003cem>Testmatch\u003c/em> in a future iteration, and that A.C.T. will continue to give similarly audacious work an artistic home in the seasons to come.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Testmatch’ runs through Dec. 8, 2019, at the Strand Theater in San Francisco. \u003ca href=\"https://secure.act-sf.org/overview/testmatch\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>TheatreWorks Silicon Valley on Tuesday revealed Tim Bond as the successor to founding artistic director Robert Kelley, who’s led the Tony Award-winning outfit for the past 50 seasons. [aside postID=arts_13856208,arts_13851676,arts_13206427]\u003c/p>\n\u003cp>Bond, who officially begins in March, previously served as drama professor and head of the professional actor training program at the University of Washington following artistic direction roles at Oregon Shakespeare Festival and Seattle Group Theatre. \u003c/p>\n\u003cp>Decorated and in-demand as a director, teacher and organizational leader, Bond is also known as a prominent interpreter of the late playwright August Wilson and a promoter of inclusion and diversity in the theater world. \u003c/p>\n\u003cp>“I am thrilled to have the opportunity to continue Robert Kelley’s great work, and to lead this spirited company into its next exciting phase,” Bond said in a statement. \u003c/p>\n\u003cp>Roy Johnson, board chair of the company, in a statement noted Bond’s commitment to new works and diversity and inclusion. “We are confident he will honor the profound legacy of Robert Kelley, ensuring TheatreWorks continues the work Kelley began 50 years ago of presenting art that serves our community and contributes to the national theatre narrative,” Johnson said. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kelley, who announced his retirement in 2017, founded TheatreWorks Silicon Valley in 1970 and oversaw its growth from a youth troupe to one of the region’s largest theater companies. He is believed to hold the record for the longest run as artistic director at a professional League of Resident Theatres member. Last year TheatreWorks Silicon Valley \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\">received\u003c/a> the 2019 Regional Theatre Tony Award on the recommendation of the American Theatre Critics Association. \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13206427/theatreworks-founder-robert-kelley-retires-after-50-years\">previously reported\u003c/a>, under Kelley’s leadership TheatreWorks has become a launchpad for national hits and young actors destined for Hollywood and Broadway. The company has some 40 staff members, more than 8,000 subscribers, an annual budget exceeding $8 million and a reputation for fostering new works by emerging artists. The nonprofit organization presents several productions each season at Mountain View and Palo Alto venues. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think the company could have made a better choice,” Kelley said of Bond in a statement. “A highly respected, nationally known director, Tim also has the personal qualities and values we have always treasured at TheatreWorks.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bond, who officially begins in March, previously served as drama professor and head of the professional actor training program at the University of Washington following artistic direction roles at Oregon Shakespeare Festival and Seattle Group Theatre. \u003c/p>\n\u003cp>Decorated and in-demand as a director, teacher and organizational leader, Bond is also known as a prominent interpreter of the late playwright August Wilson and a promoter of inclusion and diversity in the theater world. \u003c/p>\n\u003cp>“I am thrilled to have the opportunity to continue Robert Kelley’s great work, and to lead this spirited company into its next exciting phase,” Bond said in a statement. \u003c/p>\n\u003cp>Roy Johnson, board chair of the company, in a statement noted Bond’s commitment to new works and diversity and inclusion. “We are confident he will honor the profound legacy of Robert Kelley, ensuring TheatreWorks continues the work Kelley began 50 years ago of presenting art that serves our community and contributes to the national theatre narrative,” Johnson said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kelley, who announced his retirement in 2017, founded TheatreWorks Silicon Valley in 1970 and oversaw its growth from a youth troupe to one of the region’s largest theater companies. He is believed to hold the record for the longest run as artistic director at a professional League of Resident Theatres member. Last year TheatreWorks Silicon Valley \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\">received\u003c/a> the 2019 Regional Theatre Tony Award on the recommendation of the American Theatre Critics Association. \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13206427/theatreworks-founder-robert-kelley-retires-after-50-years\">previously reported\u003c/a>, under Kelley’s leadership TheatreWorks has become a launchpad for national hits and young actors destined for Hollywood and Broadway. The company has some 40 staff members, more than 8,000 subscribers, an annual budget exceeding $8 million and a reputation for fostering new works by emerging artists. The nonprofit organization presents several productions each season at Mountain View and Palo Alto venues. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think the company could have made a better choice,” Kelley said of Bond in a statement. “A highly respected, nationally known director, Tim also has the personal qualities and values we have always treasured at TheatreWorks.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "ReOrient Festival of Middle East-Themed Plays Turns 20",
"headTitle": "ReOrient Festival of Middle East-Themed Plays Turns 20 | KQED",
"content": "\u003cp>When speaking of the Middle East, it’s important to remember that it’s a region comprised of many countries spread over almost three million square miles. This variety is showcased admirably by Golden Thread Production’s signature festival of short plays, ReOrient.\u003c/p>\n\u003cp>First founded in 1996, Golden Thread’s mission to center works by Middle Eastern playwrights, or dealing with Middle Eastern themes, has been best expressed through ReOrient, now celebrating its 20-year anniversary. Selected from over 100 submissions, the seven plays that make up this year’s festival range widely, by both theme and region.\u003c/p>\n\u003cp>The festival includes works by ReOrient regulars such as Betty Shamieh and Yussef El Guindi, plus four newcomers including Turkish-Kurdish creative Mustafa Kaymak and Lameece Issaq, the Artistic Director of NYC’s Noor Theatre. Each playwright explores a unique circumstance and genre within their respective plays. From Iranian-American writer Niku Sharei’s science fiction-influenced \u003cem>In Spenglic\u003c/em> to 1999 MacArthur Fellow Naomi Wallace’s startling, poetic \u003cem>The Book of Mima\u003c/em>, set in war-torn Yemen, the thread that ties each together may be the Middle Eastern experience, but it’s a thread with many strands and textures.\u003c/p>\n\u003cfigure id=\"attachment_13868259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1-800x450.jpg\" alt=\"Sofia Ahmad in 'An Echo of Laughter' by Betty Shamieh, produced in the 2019 ReOrient Festival of Short Plays.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13868259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Ahmad in ‘An Echo of Laughter’ by Betty Shamieh, produced in the 2019 ReOrient Festival of Short Plays. \u003ccite>(Jesse Sutterley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the plays—directed by a team that includes Golden Thread’s founding Artistic Director Torange Yeghiazarian and KQED \u003ca href=\"https://www.kqed.org/arts/13839060/bay-brilliant-lisa-marie-rollins\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Brilliant artist\u003c/a> Lisa Marie Rollins—this year’s festival also marks the launch of a national coalition of MENA-centered theater-makers (Middle Eastern and North African), with a “convening” containing several events free and open to the public. \u003c/p>\n\u003cp>The ReOrient Festival runs Oct. 18-Nov. 10 at Potrero Stage in San Francisco. \u003ca href=\"https://goldenthread.org/productions/reorient-2019/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. ReOrient’s convening of MENA theater artists runs Nov. 9 and 10; \u003ca href=\"https://goldenthread.org/posts/reorient-2019--national-convening-of-mena-theatre-artists/\" 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 speaking of the Middle East, it’s important to remember that it’s a region comprised of many countries spread over almost three million square miles. This variety is showcased admirably by Golden Thread Production’s signature festival of short plays, ReOrient.\u003c/p>\n\u003cp>First founded in 1996, Golden Thread’s mission to center works by Middle Eastern playwrights, or dealing with Middle Eastern themes, has been best expressed through ReOrient, now celebrating its 20-year anniversary. Selected from over 100 submissions, the seven plays that make up this year’s festival range widely, by both theme and region.\u003c/p>\n\u003cp>The festival includes works by ReOrient regulars such as Betty Shamieh and Yussef El Guindi, plus four newcomers including Turkish-Kurdish creative Mustafa Kaymak and Lameece Issaq, the Artistic Director of NYC’s Noor Theatre. Each playwright explores a unique circumstance and genre within their respective plays. From Iranian-American writer Niku Sharei’s science fiction-influenced \u003cem>In Spenglic\u003c/em> to 1999 MacArthur Fellow Naomi Wallace’s startling, poetic \u003cem>The Book of Mima\u003c/em>, set in war-torn Yemen, the thread that ties each together may be the Middle Eastern experience, but it’s a thread with many strands and textures.\u003c/p>\n\u003cfigure id=\"attachment_13868259\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1-800x450.jpg\" alt=\"Sofia Ahmad in 'An Echo of Laughter' by Betty Shamieh, produced in the 2019 ReOrient Festival of Short Plays.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13868259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/SofiaAhmad_ReOrient2019_1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Ahmad in ‘An Echo of Laughter’ by Betty Shamieh, produced in the 2019 ReOrient Festival of Short Plays. \u003ccite>(Jesse Sutterley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the plays—directed by a team that includes Golden Thread’s founding Artistic Director Torange Yeghiazarian and KQED \u003ca href=\"https://www.kqed.org/arts/13839060/bay-brilliant-lisa-marie-rollins\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Brilliant artist\u003c/a> Lisa Marie Rollins—this year’s festival also marks the launch of a national coalition of MENA-centered theater-makers (Middle Eastern and North African), with a “convening” containing several events free and open to the public. \u003c/p>\n\u003cp>The ReOrient Festival runs Oct. 18-Nov. 10 at Potrero Stage in San Francisco. \u003ca href=\"https://goldenthread.org/productions/reorient-2019/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. ReOrient’s convening of MENA theater artists runs Nov. 9 and 10; \u003ca href=\"https://goldenthread.org/posts/reorient-2019--national-convening-of-mena-theatre-artists/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Nastia Voynovskaya and Rae Alexandra, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Life Is Living Festival\u003c/strong>: The Life is Living festival is an annual party in the park with a purpose. Their tagline? “Keeping Oakland Oakland Since 2008.” You’ll get live performances from Elle Varner (a marvelous singer who’s been in Oakland before, and who counts \u003ca href=\"https://www.vibe.com/2012/09/michelle-obama-endorses-elle-varner\" rel=\"noopener\" target=\"_blank\">Michelle Obama among her fans\u003c/a>), Shyan’G, Drew Banga and more, plus dance classes, theater, skateboarding, and local vendors. But the important thing this year is the 50th anniversary of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">Black Panthers’ free breakfast program\u003c/a>; from 10 to noon, breakfast is served, including by some of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">very same people\u003c/a> who helped found the program in 1969. The festival runs from 10am–7pm on Saturday, Oct. 12, at Lil Bobby Hutton Park (a.k.a. DeFremery Park) in Oakland. \u003ca href=\"https://lil19.youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Last Black Man in San Francisco’\u003c/strong>: On Friday, Oct. 11, you have a chance to see \u003cem>The Last Black Man in San Francisco\u003c/em>, a movie that wowed audiences earlier this year with its poetic depiction of two black friends trying to carve out space for themselves in the rapidly gentrifying city. It’s playing at PROXY, a free outdoor “walk-in” theater in Hayes Valley, right off of Patricia’s Green. You’ll recognize \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" rel=\"noopener\" target=\"_blank\">Mike Marshall\u003c/a>‘s version of \u003ca href=\"https://www.youtube.com/watch?v=3d3QbwWnLbc\" rel=\"noopener\" target=\"_blank\">this popular song\u003c/a> in the film, and much of the movie’s action takes place in the Fillmore, so this is a rare treat to see it just a few blocks from its setting. That’s Oct. 11, at 6pm. \u003ca href=\"http://proxysf.net/events/2019-proxy-fall-film-fest-the-last-black-man-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Janelle Monáe and the Roots\u003c/strong>: Janelle Monáe came to the Mission District a few years back to \u003ca href=\"https://www.kqed.org/arts/10912273/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally\" rel=\"noopener\" target=\"_blank\">lead a march against police brutality\u003c/a>, and now, she’s coming back—and bringing the Roots with her—for another good cause. A full 100% of the proceeds from this week’s show go to Tipping Point, a nonprofit that fights poverty in the Bay Area by funding organizations doing on-the-ground work to address homelessness and disparities in employment, housing and education. If you haven’t seen Monáe live, she puts on a killer show that celebrates queer black identity through a sci-fi lens. She and the Roots play the Fox Theater in Oakland on Oct. 12. \u003ca href=\"http://thefoxoakland.com/events/janelle-monae\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Tommy Orange\u003c/strong>: Every year, the San Francisco Public Library picks one book for its \u003cem>One City One Book\u003c/em> program. This year, their pick is \u003cem>There There\u003c/em>, by local author Tommy Orange, which tells the story of generations of interconnected Native Americans living in Oakland. Sarah loved this book, and can’t wait for more people to read it so she can talk about it more. Orange speaks at the main branch of the San Francisco Public Library on Wednesday, Oct. 16, at 6pm. \u003ca href=\"https://sfpl.org/?pg=1035343001\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Morbid Desire\u003c/strong>: If you’re one of those people that starts celebrating Halloween the second October starts, the historic Camron-Stanford House in Oakland has an excellent exhibit to get you in the mood. \u003cem>Morbid Desire\u003c/em> has been running annually for the last four years, and is all about the strange, dark world of Victorian mourning customs. It’s a little bit different each year—this time around, the focus is on funeral rites—but it’s always educational, and always entertaining. For Rae, the best part is the fashion; particularly the \u003cem>memento mori\u003c/em> jewelry, much of which contains braided human hair and other things you probably wouldn’t want to touch. There are three tours of the exhibit every Sunday in October, and the Camron-Stanford staff are incredibly knowledgeable and enthusiastic, so it’s always a fun, if rather gothic, way to spend the afternoon. \u003ca href=\"https://cshouse.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Darius Jones\u003c/strong>: Here’s a chance to see a rising saxophone star from New York who’s been praised all over the country for his innovative, poetic use of the instrument. Don’t expect easy listening—Jones’ work can get dark, and tense, drawing from the history of African-American blues, spirituals and gospel. He headlines the Center for New Music, a jewel of the Bay Area’s experimental music scene; the nonprofit space provides a much-needed venue for avant-garde artists to experiment outside of the pressure to be commercially successful. The tickets are always affordable, and 100% of the door goes to the artist. It’s a place where getting weird is encouraged, and Darius Jones’ show is a benefit for the space. That’s at the Center for New Music on Oct. 12. \u003ca href=\"https://centerfornewmusic.com/calendar/darius-jones-c4nm-benefit/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stereolab\u003c/strong>: We can’t forget the return of Stereolab, the fiercely creative prog / new wave / lounge band. After a long hiatus, they play three reunion shows at the Fillmore in San Francisco next week, Oct. 17–19. \u003ca href=\"https://thefillmore.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode above with Gabe Meline, Sarah Hotchkiss, Nastia Voynovskaya and Rae Alexandra, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Life Is Living Festival\u003c/strong>: The Life is Living festival is an annual party in the park with a purpose. Their tagline? “Keeping Oakland Oakland Since 2008.” You’ll get live performances from Elle Varner (a marvelous singer who’s been in Oakland before, and who counts \u003ca href=\"https://www.vibe.com/2012/09/michelle-obama-endorses-elle-varner\" rel=\"noopener\" target=\"_blank\">Michelle Obama among her fans\u003c/a>), Shyan’G, Drew Banga and more, plus dance classes, theater, skateboarding, and local vendors. But the important thing this year is the 50th anniversary of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">Black Panthers’ free breakfast program\u003c/a>; from 10 to noon, breakfast is served, including by some of the \u003ca href=\"https://www.kqed.org/arts/13867337/the-black-panther-partys-free-breakfast-program-a-50-year-old-blueprint\" rel=\"noopener\" target=\"_blank\">very same people\u003c/a> who helped found the program in 1969. The festival runs from 10am–7pm on Saturday, Oct. 12, at Lil Bobby Hutton Park (a.k.a. DeFremery Park) in Oakland. \u003ca href=\"https://lil19.youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Last Black Man in San Francisco’\u003c/strong>: On Friday, Oct. 11, you have a chance to see \u003cem>The Last Black Man in San Francisco\u003c/em>, a movie that wowed audiences earlier this year with its poetic depiction of two black friends trying to carve out space for themselves in the rapidly gentrifying city. It’s playing at PROXY, a free outdoor “walk-in” theater in Hayes Valley, right off of Patricia’s Green. You’ll recognize \u003ca href=\"https://www.kqed.org/arts/13864913/after-last-black-man-and-us-singer-mike-marshall-gets-a-second-chance\" rel=\"noopener\" target=\"_blank\">Mike Marshall\u003c/a>‘s version of \u003ca href=\"https://www.youtube.com/watch?v=3d3QbwWnLbc\" rel=\"noopener\" target=\"_blank\">this popular song\u003c/a> in the film, and much of the movie’s action takes place in the Fillmore, so this is a rare treat to see it just a few blocks from its setting. That’s Oct. 11, at 6pm. \u003ca href=\"http://proxysf.net/events/2019-proxy-fall-film-fest-the-last-black-man-in-san-francisco/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Janelle Monáe and the Roots\u003c/strong>: Janelle Monáe came to the Mission District a few years back to \u003ca href=\"https://www.kqed.org/arts/10912273/janelle-monae-jidenna-to-perform-sunday-at-mission-district-rally\" rel=\"noopener\" target=\"_blank\">lead a march against police brutality\u003c/a>, and now, she’s coming back—and bringing the Roots with her—for another good cause. A full 100% of the proceeds from this week’s show go to Tipping Point, a nonprofit that fights poverty in the Bay Area by funding organizations doing on-the-ground work to address homelessness and disparities in employment, housing and education. If you haven’t seen Monáe live, she puts on a killer show that celebrates queer black identity through a sci-fi lens. She and the Roots play the Fox Theater in Oakland on Oct. 12. \u003ca href=\"http://thefoxoakland.com/events/janelle-monae\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tommy Orange\u003c/strong>: Every year, the San Francisco Public Library picks one book for its \u003cem>One City One Book\u003c/em> program. This year, their pick is \u003cem>There There\u003c/em>, by local author Tommy Orange, which tells the story of generations of interconnected Native Americans living in Oakland. Sarah loved this book, and can’t wait for more people to read it so she can talk about it more. Orange speaks at the main branch of the San Francisco Public Library on Wednesday, Oct. 16, at 6pm. \u003ca href=\"https://sfpl.org/?pg=1035343001\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Morbid Desire\u003c/strong>: If you’re one of those people that starts celebrating Halloween the second October starts, the historic Camron-Stanford House in Oakland has an excellent exhibit to get you in the mood. \u003cem>Morbid Desire\u003c/em> has been running annually for the last four years, and is all about the strange, dark world of Victorian mourning customs. It’s a little bit different each year—this time around, the focus is on funeral rites—but it’s always educational, and always entertaining. For Rae, the best part is the fashion; particularly the \u003cem>memento mori\u003c/em> jewelry, much of which contains braided human hair and other things you probably wouldn’t want to touch. There are three tours of the exhibit every Sunday in October, and the Camron-Stanford staff are incredibly knowledgeable and enthusiastic, so it’s always a fun, if rather gothic, way to spend the afternoon. \u003ca href=\"https://cshouse.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Darius Jones\u003c/strong>: Here’s a chance to see a rising saxophone star from New York who’s been praised all over the country for his innovative, poetic use of the instrument. Don’t expect easy listening—Jones’ work can get dark, and tense, drawing from the history of African-American blues, spirituals and gospel. He headlines the Center for New Music, a jewel of the Bay Area’s experimental music scene; the nonprofit space provides a much-needed venue for avant-garde artists to experiment outside of the pressure to be commercially successful. The tickets are always affordable, and 100% of the door goes to the artist. It’s a place where getting weird is encouraged, and Darius Jones’ show is a benefit for the space. That’s at the Center for New Music on Oct. 12. \u003ca href=\"https://centerfornewmusic.com/calendar/darius-jones-c4nm-benefit/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Stereolab\u003c/strong>: We can’t forget the return of Stereolab, the fiercely creative prog / new wave / lounge band. After a long hiatus, they play three reunion shows at the Fillmore in San Francisco next week, Oct. 17–19. \u003ca href=\"https://thefillmore.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Rep’s 'White Noise' Won’t Put You to Sleep, But it Might Not Wake You Up, Either",
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"content": "\u003cp>The willingness of audiences to suspend disbelief gives live theater the ability to explore unfamiliar and speculative terrain, even from a stage set prosaically with the trappings of a middle-class household. In Suzan Lori-Parks’ \u003cem>White Noise\u003c/em>, which runs through Nov. 10 at Berkeley Repertory Theatre, we’re thrown headfirst into the improbable scenario of four friends embarking on an experiment with modern-day slavery. It’s the kind of experimental philosophical puzzle that live theater feels especially suited to exploring.\u003c/p>\n\u003cp>Four characters—two male, two female; two black, two white—are busy confronting the ways in which their reality is falling short of their aspirations. Leo (Chris Herbie Holland) is a visual artist who’s finding it increasingly impossible to sleep, and therefore create. His girlfriend Dawn (Therese Barbato) is a lawyer who feels like she should be hired as a partner, but doesn’t want to stay with her dead-end firm. Their pals, fellow mixed-race couple Ralph (Nick Dillenburg) and Misha (Aimé Donna Kelly), are similarly frustrated as an adjunct professor passed over for tenure and a livestream personality, respectively. It all feels deliberately mundane.\u003c/p>\n\u003cfigure id=\"attachment_13867754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Herbie Holland (Leo) and Therese Barbato (Dawn) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mundanity is not a hallmark of Lori-Parks’ work, and almost without warning she has Leo propose the preposterous during a friendly round of bowling. What if he were to sell himself temporarily as a black slave to Ralph, his white friend who just happens to have a large trust fund at his disposal? It’s an audacious proposal that immediately elicits a panicked reaction from his friends. But Leo’s mind is made up; he’s even had a contract drawn up. For the biblically-significant number of 40 days, Leo will exile himself to the wilderness of servitude, and in return, he’ll gain the peace of mind that being under the “protection” of a “big dog” will bring him.\u003c/p>\n\u003cp>Consent isn’t really a central theme in the play, but a question this scenario inadvertently raised for me is: What if the characters had taken the time to include some sort of safeword in Leo’s slave contract? Master-slave relationships are a working reality in the kink community, which might have supplied a blueprint for Leo’s idea. Instead, Leo gets his contract drawn up by a lawyer who specializes in prenups. This leads to a series of escalating abuses of power on the part of Ralph that Leo has no way to check, and has not prepared himself mentally to face.\u003c/p>\n\u003cp>Practically before the ink is dry on the signed contract, Ralph begins adding “amendments” to it, further curtailing Leo’s words, actions, and ability to protest, and granting himself the unconditional permission to “discipline” his new property. Scratch the surface of any frustrated white man and you’ll find a supremacist waiting to emerge, Lori-Parks seems to suggest. Where this production falters is in its effort to make that idea feel revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13867753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867753\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Aimé Donna Kelly (Misha) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of Jaki Bradley, each character’s emotional disconnect is so profound that even the most charged lines are sapped of strength. When an aggrieved Ralph describes his university’s decision to deny him tenure, he announces that he’ll “kill them all” with the affectless delivery of a man asking for salt. When Leo tries to justify his radical proposal by referencing his “unarticulated self-loathing,” he sounds as if he’s quoting from a textbook on race relations rather than a genuine place of personal pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even when alone on stage, the actors’ character-defining monologues sound partly contrived, partly rote—and whether by accident or design, the play’s downward spiral into depravity feels strangely quotidian. The strongest statements tend to be made visually rather than uttered. An antique slave collar of rusted spikes and malevolent intent. A video projection (designed by Alexander V. Nichols) of the white noise that once helped Leo to sleep, and now prevents him from accessing his creativity—spreading across the walls and eventually encompassing the whole stage. A calendar of 40 days dominating the living area, slashes of a black marker indicating each day closer to freedom.\u003c/p>\n\u003cfigure id=\"attachment_13867751\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg\" alt=\"\" width=\"798\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-768x1155.jpg 768w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Chris Herbie Holland (Leo) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What never feels commonplace are the questions the play tackles. Who are we in relation to each other? How do the traumas of the past carry themselves into the future? What does true liberation look like, and what will it take to get us as a nation to that place? And what are we, who are we, liberating ourselves from? Each other? The system? Our own inflated expectations of what it means to be free?\u003c/p>\n\u003cp>In the end, we’re confronted by two major transgressions on the part of Ralph, neither of which are forgivable, and one of which is outright criminal. But because we never developed much in the way of empathy for him, nor for Leo, the impact of his crimes is blunted, diffused. Like the white noise referenced in the play’s title, Ralph’s actions feel as if they could just blend into the background. And perhaps that’s the play’s biggest shock—that such blatant evil can feel so ordinary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Noise’ plays through Nov. 10 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14544.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Suzan Lori-Parks' script tackles big questions, but the play overall feels contrived and sapped of strength.",
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"title": "Berkeley Rep’s 'White Noise' Won’t Put You to Sleep, But it Might Not Wake You Up, Either | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The willingness of audiences to suspend disbelief gives live theater the ability to explore unfamiliar and speculative terrain, even from a stage set prosaically with the trappings of a middle-class household. In Suzan Lori-Parks’ \u003cem>White Noise\u003c/em>, which runs through Nov. 10 at Berkeley Repertory Theatre, we’re thrown headfirst into the improbable scenario of four friends embarking on an experiment with modern-day slavery. It’s the kind of experimental philosophical puzzle that live theater feels especially suited to exploring.\u003c/p>\n\u003cp>Four characters—two male, two female; two black, two white—are busy confronting the ways in which their reality is falling short of their aspirations. Leo (Chris Herbie Holland) is a visual artist who’s finding it increasingly impossible to sleep, and therefore create. His girlfriend Dawn (Therese Barbato) is a lawyer who feels like she should be hired as a partner, but doesn’t want to stay with her dead-end firm. Their pals, fellow mixed-race couple Ralph (Nick Dillenburg) and Misha (Aimé Donna Kelly), are similarly frustrated as an adjunct professor passed over for tenure and a livestream personality, respectively. It all feels deliberately mundane.\u003c/p>\n\u003cfigure id=\"attachment_13867754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Herbie Holland (Leo) and Therese Barbato (Dawn) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mundanity is not a hallmark of Lori-Parks’ work, and almost without warning she has Leo propose the preposterous during a friendly round of bowling. What if he were to sell himself temporarily as a black slave to Ralph, his white friend who just happens to have a large trust fund at his disposal? It’s an audacious proposal that immediately elicits a panicked reaction from his friends. But Leo’s mind is made up; he’s even had a contract drawn up. For the biblically-significant number of 40 days, Leo will exile himself to the wilderness of servitude, and in return, he’ll gain the peace of mind that being under the “protection” of a “big dog” will bring him.\u003c/p>\n\u003cp>Consent isn’t really a central theme in the play, but a question this scenario inadvertently raised for me is: What if the characters had taken the time to include some sort of safeword in Leo’s slave contract? Master-slave relationships are a working reality in the kink community, which might have supplied a blueprint for Leo’s idea. Instead, Leo gets his contract drawn up by a lawyer who specializes in prenups. This leads to a series of escalating abuses of power on the part of Ralph that Leo has no way to check, and has not prepared himself mentally to face.\u003c/p>\n\u003cp>Practically before the ink is dry on the signed contract, Ralph begins adding “amendments” to it, further curtailing Leo’s words, actions, and ability to protest, and granting himself the unconditional permission to “discipline” his new property. Scratch the surface of any frustrated white man and you’ll find a supremacist waiting to emerge, Lori-Parks seems to suggest. Where this production falters is in its effort to make that idea feel revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13867753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867753\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Aimé Donna Kelly (Misha) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of Jaki Bradley, each character’s emotional disconnect is so profound that even the most charged lines are sapped of strength. When an aggrieved Ralph describes his university’s decision to deny him tenure, he announces that he’ll “kill them all” with the affectless delivery of a man asking for salt. When Leo tries to justify his radical proposal by referencing his “unarticulated self-loathing,” he sounds as if he’s quoting from a textbook on race relations rather than a genuine place of personal pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even when alone on stage, the actors’ character-defining monologues sound partly contrived, partly rote—and whether by accident or design, the play’s downward spiral into depravity feels strangely quotidian. The strongest statements tend to be made visually rather than uttered. An antique slave collar of rusted spikes and malevolent intent. A video projection (designed by Alexander V. Nichols) of the white noise that once helped Leo to sleep, and now prevents him from accessing his creativity—spreading across the walls and eventually encompassing the whole stage. A calendar of 40 days dominating the living area, slashes of a black marker indicating each day closer to freedom.\u003c/p>\n\u003cfigure id=\"attachment_13867751\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg\" alt=\"\" width=\"798\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-768x1155.jpg 768w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Chris Herbie Holland (Leo) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What never feels commonplace are the questions the play tackles. Who are we in relation to each other? How do the traumas of the past carry themselves into the future? What does true liberation look like, and what will it take to get us as a nation to that place? And what are we, who are we, liberating ourselves from? Each other? The system? Our own inflated expectations of what it means to be free?\u003c/p>\n\u003cp>In the end, we’re confronted by two major transgressions on the part of Ralph, neither of which are forgivable, and one of which is outright criminal. But because we never developed much in the way of empathy for him, nor for Leo, the impact of his crimes is blunted, diffused. Like the white noise referenced in the play’s title, Ralph’s actions feel as if they could just blend into the background. And perhaps that’s the play’s biggest shock—that such blatant evil can feel so ordinary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Noise’ plays through Nov. 10 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14544.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dancing On Our Own: SF Playhouse’s 'Dance Nation' Leaves Audience in the Dark",
"headTitle": "Dancing On Our Own: SF Playhouse’s ‘Dance Nation’ Leaves Audience in the Dark | KQED",
"content": "\u003cp>Over the past few years, the theater world has seen the rise of fully human teenage protagonists, whose complexities and life experiences actively work against a popular narrative of female fragility.\u003c/p>\n\u003cp>Riding that wave is a whole subset of plays using athletic competition as a frame for the powerful fears and ambitions of their central characters. Ruby Ray Spiegel’s \u003cem>Dry Land\u003c/em> (\u003ca href=\"https://www.kqed.org/arts/13833611/ruby-rae-spiegels-dry-land-packs-a-punch-at-shotgun-players\" rel=\"noopener\" target=\"_blank\">produced last year\u003c/a> by Shotgun Players) belongs to this subset, as does Sarah DeLappe’s \u003cem>The Wolves \u003c/em>(currently playing at City Lights Theater Company) and the upcoming \u003cem>Test Match\u003c/em>, by Kate Atwell (to be performed at A.C.T.’s Strand Theater in November).\u003c/p>\n\u003cp>To this specific canon we can add Clare Barron’s 2018 \u003cem>Dance Nation\u003c/em>, currently receiving its Bay Area premiere at SF Playhouse.\u003c/p>\n\u003cfigure id=\"attachment_13867486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A feral moment in ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Liam Robertson, Mohana Rajagopal, Julia Brothers, Lauren Spencer, Indiia Wilmott. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set on the competitive dance circuit—which will seem familiar to anyone with a passing knowledge of the reality show \u003cem>Dance Moms\u003c/em>—\u003cem>Dance Nation\u003c/em> focuses on a troupe of tweens whose dream of making it to the nationals is just a few more wins away. Taking a page from other playwrights whose vision extends to non-traditional casting (Jaclyn Backhaus, Leah Nanako Winkler), Barron’s script was written for a cast of grown women of varying ages to play the 13-year-old squad members. This allowed her to write the kinds of monologues most teenagers would never dare to deliver of their own volition: a mature appraisal of one’s own “perfect ass,” a locker-room assertion that the true pleasure of masturbation lies in “mostly just thinking,” a passionate condemnation of male circumcision.\u003c/p>\n\u003cp>At certain moments, adult voices take over, as when Julia Brother’s teenage Maeve tells Krystle Piamonte’s Zuzu that she can fly, and then tells the audience, as adult Maeve, that she \u003cem>used\u003c/em> to be able to fly—but now she can’t even remember that she could. Onstage, it plays out as confusingly as it sounds. Whether by accident or design, it’s hard to keep track of who’s narrating each moment, or even why that moment needs narrating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And here we come to the problematic crux of SF Playhouse’s production.\u003c/p>\n\u003cfigure id=\"attachment_13867485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867485\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance rehearsal victory in ‘Dance Nation.’ (L–R) Indiia Wilmott, Julia Brothers, Krystle Piamonte, Bryan Munar, Ash Malloy, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Becca Wolff’s ponderous direction, much of the humor of the script disappears. What might read on the page like transgressive satire becomes an earnest depiction of a \u003cem>notion\u003c/em> of teenagers that neither jibes with my own lived experience, nor of the play’s reputation as a dark comedy. These characters take themselves so seriously that you can’t even poke fun at their terminal seriousness. While there are flashes of levity, such as when they make a “magic potion” out of a cup of coffee and pass it around, the amusement as well as the teenage perspective is quickly subsumed by an adult voice ruminating on suicidal ideation.\u003c/p>\n\u003cp>A fantastically feral sequence of a dance rehearsal gone wild gets cut short by an occasionally hilarious, occasionally frightening monologue boldly voiced by Lauren Spencer that unfortunately fails to connect with the action before or after she delivers it. The dictatorial cliché that is Dance Teacher Pat (Liam Robertson) is just that—a cipher—who berates his charges, smacks them inappropriately on their perfect asses, and is generally a stand-in for the petty tyrants who dominate so much of a teenager’s life, real and imagined.\u003c/p>\n\u003cfigure id=\"attachment_13867483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A powerhouse assemblage for ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Julia Brothers, Indiia Wilmott, Lauren Spencer, Krystle Piamonte, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast, a powerhouse assemblage of some of the Bay Area’s best talents, are further hampered by Angrette McCloskey’s set, an unwieldy structure of beams and struts placed on a revolving platform, which steals focus from the actors almost every time it’s pushed solemnly into place by the stage crew. It’s an especially egregious interruption between scenes that last just a few lines before the plodding revolution of the set pieces begins again. Any energy that might have built up from scene to scene is squandered and lost with every turn. \u003c/p>\n\u003cp>In fairness, I did attend a Sunday matinee performance. Without a critical mass of audience, it can be difficult to generate the requisite energy onstage to propel both performers and audience forward. There appeared to be a couple of moments where audience participation was being encouraged, but without being directly invited to participate, it was hard to tell.\u003c/p>\n\u003cp>Would those moments have played out differently on a Saturday night? Perhaps. But among the several walkouts was a young teenager who’d been sitting in front of me. I could see from her face as she left that she hadn’t seen her teenage self reflected in any of the characters onstage. And as an adult, I didn’t either.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance Nation’ runs through Nov. 9 at SF Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2019-2020-season/dance-nation/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "The latest in a trend of plays centered on young women in extreme physical competition, 'Dance Nation' comes up short.",
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"description": "The latest in a trend of plays centered on young women in extreme physical competition, 'Dance Nation' comes up short.",
"title": "Dancing On Our Own: SF Playhouse’s 'Dance Nation' Leaves Audience in the Dark | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, the theater world has seen the rise of fully human teenage protagonists, whose complexities and life experiences actively work against a popular narrative of female fragility.\u003c/p>\n\u003cp>Riding that wave is a whole subset of plays using athletic competition as a frame for the powerful fears and ambitions of their central characters. Ruby Ray Spiegel’s \u003cem>Dry Land\u003c/em> (\u003ca href=\"https://www.kqed.org/arts/13833611/ruby-rae-spiegels-dry-land-packs-a-punch-at-shotgun-players\" rel=\"noopener\" target=\"_blank\">produced last year\u003c/a> by Shotgun Players) belongs to this subset, as does Sarah DeLappe’s \u003cem>The Wolves \u003c/em>(currently playing at City Lights Theater Company) and the upcoming \u003cem>Test Match\u003c/em>, by Kate Atwell (to be performed at A.C.T.’s Strand Theater in November).\u003c/p>\n\u003cp>To this specific canon we can add Clare Barron’s 2018 \u003cem>Dance Nation\u003c/em>, currently receiving its Bay Area premiere at SF Playhouse.\u003c/p>\n\u003cfigure id=\"attachment_13867486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A feral moment in ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Liam Robertson, Mohana Rajagopal, Julia Brothers, Lauren Spencer, Indiia Wilmott. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set on the competitive dance circuit—which will seem familiar to anyone with a passing knowledge of the reality show \u003cem>Dance Moms\u003c/em>—\u003cem>Dance Nation\u003c/em> focuses on a troupe of tweens whose dream of making it to the nationals is just a few more wins away. Taking a page from other playwrights whose vision extends to non-traditional casting (Jaclyn Backhaus, Leah Nanako Winkler), Barron’s script was written for a cast of grown women of varying ages to play the 13-year-old squad members. This allowed her to write the kinds of monologues most teenagers would never dare to deliver of their own volition: a mature appraisal of one’s own “perfect ass,” a locker-room assertion that the true pleasure of masturbation lies in “mostly just thinking,” a passionate condemnation of male circumcision.\u003c/p>\n\u003cp>At certain moments, adult voices take over, as when Julia Brother’s teenage Maeve tells Krystle Piamonte’s Zuzu that she can fly, and then tells the audience, as adult Maeve, that she \u003cem>used\u003c/em> to be able to fly—but now she can’t even remember that she could. Onstage, it plays out as confusingly as it sounds. Whether by accident or design, it’s hard to keep track of who’s narrating each moment, or even why that moment needs narrating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And here we come to the problematic crux of SF Playhouse’s production.\u003c/p>\n\u003cfigure id=\"attachment_13867485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867485\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance rehearsal victory in ‘Dance Nation.’ (L–R) Indiia Wilmott, Julia Brothers, Krystle Piamonte, Bryan Munar, Ash Malloy, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Becca Wolff’s ponderous direction, much of the humor of the script disappears. What might read on the page like transgressive satire becomes an earnest depiction of a \u003cem>notion\u003c/em> of teenagers that neither jibes with my own lived experience, nor of the play’s reputation as a dark comedy. These characters take themselves so seriously that you can’t even poke fun at their terminal seriousness. While there are flashes of levity, such as when they make a “magic potion” out of a cup of coffee and pass it around, the amusement as well as the teenage perspective is quickly subsumed by an adult voice ruminating on suicidal ideation.\u003c/p>\n\u003cp>A fantastically feral sequence of a dance rehearsal gone wild gets cut short by an occasionally hilarious, occasionally frightening monologue boldly voiced by Lauren Spencer that unfortunately fails to connect with the action before or after she delivers it. The dictatorial cliché that is Dance Teacher Pat (Liam Robertson) is just that—a cipher—who berates his charges, smacks them inappropriately on their perfect asses, and is generally a stand-in for the petty tyrants who dominate so much of a teenager’s life, real and imagined.\u003c/p>\n\u003cfigure id=\"attachment_13867483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A powerhouse assemblage for ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Julia Brothers, Indiia Wilmott, Lauren Spencer, Krystle Piamonte, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast, a powerhouse assemblage of some of the Bay Area’s best talents, are further hampered by Angrette McCloskey’s set, an unwieldy structure of beams and struts placed on a revolving platform, which steals focus from the actors almost every time it’s pushed solemnly into place by the stage crew. It’s an especially egregious interruption between scenes that last just a few lines before the plodding revolution of the set pieces begins again. Any energy that might have built up from scene to scene is squandered and lost with every turn. \u003c/p>\n\u003cp>In fairness, I did attend a Sunday matinee performance. Without a critical mass of audience, it can be difficult to generate the requisite energy onstage to propel both performers and audience forward. There appeared to be a couple of moments where audience participation was being encouraged, but without being directly invited to participate, it was hard to tell.\u003c/p>\n\u003cp>Would those moments have played out differently on a Saturday night? Perhaps. But among the several walkouts was a young teenager who’d been sitting in front of me. I could see from her face as she left that she hadn’t seen her teenage self reflected in any of the characters onstage. And as an adult, I didn’t either.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance Nation’ runs through Nov. 9 at SF Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2019-2020-season/dance-nation/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Partying Like it’s 2099 at Cutting Ball's 'Free For All'",
"headTitle": "Partying Like it’s 2099 at Cutting Ball’s ‘Free For All’ | KQED",
"content": "\u003cp>\u003cem>Everything we see we want to possess. –Sting \u003c/em>\u003c/p>\n\u003cp>Sometimes attending a play is like attending a party. The energy crackles, the assembled audience is alert and engaged, and everyone onstage looks like they’re just having so much damn fun. On such nights, it feels like if you just stick around long enough, maybe they’ll haul you up there to be a part of the in crowd, or at least top off your glass.\u003c/p>\n\u003cp>In Cutting Ball Theater’s \u003cem>Free for All: A New Miss Julie for a New World\u003c/em>, written by Megan Cohen and directed by Ariel Craft, we see August Strindberg’s \u003cem>Miss Julie \u003c/em>deconstructed to a bare frame, then filled extravagantly back up with madcap futurism, and all of our modern-day concerns explored to their most strangely logical extremes.\u003c/p>\n\u003cp>Worried about climate change? Just wait until the snows melting off of Nob Hill drown the lower-lying neighborhoods. Concerned about the ingrained misogyny and power dynamics that led to the #MeToo movement? Your introduction to power-bros Brockingfield and Jacobson won’t alleviate those concerns (though they \u003cem>will\u003c/em> make you laugh). Have feelings about the destructive nature of unchecked capitalism? Have another tiny donut and a cigar. Or a deviled egg and a cigarette. In the world of \u003cem>Free for All\u003c/em>, even the vices are indicative of class position.\u003c/p>\n\u003cfigure id=\"attachment_13867209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (left) and Phil Wong (right) as power-bros Brockingfield and Jacobson in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actors Stacy Ross and Phil Wong—as Julie and Brockingfield, and John and Jacobson, respectively—elevate their roles to hilarious heights. Ross is especially mesmerizing as she chafes visibly against the smoothly aristocratic shell that is her birthright. In the opening scene, she skis down the “slope” of Nob Hill, exalting and cursing with equal vigor. Later, when she flirts with John in the kitchen, she almost coos; when she slaps him, she laughs with impudent delight. When she gets a hot flash, the whole theatre feels as if it’s increased in temperature with her. When she’s disgusted within her own skin, you get the feeling that she might just peel it right off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between the two actors flows a current of chummy, professional camaraderie, which only occasionally intrudes on the scene, especially in moments where we understand by John’s words and actions that he’s being chauvinistic, but Wong doesn’t quite make it feel genuine. His Jacobson fares better in that particular regard, but always with a nod and a wink.\u003c/p>\n\u003cp>A pair of puppeteers (Charlie Gray and Miyaka P. Cochrane) spend much of their time onstage blending into the background, reacting silently to the puerile antics of the named characters, using confetti to represent snow, flood, flame. They also manipulate the action of two different pigeon puppets—a pampered but captive pigeon in a cage and a rough-and-tumble scrapper from the streets. (Yes, it’s a metaphor.)\u003c/p>\n\u003cfigure id=\"attachment_13867208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong (right, front) as John, Stacy Ross as Julie (back middle), with puppeteers Miyaka P. Cochrane (back left), and Charlie Gray (back right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set, designed by Jacqueline Wren Scott, is spartan but fully mobile, playfully morphing from the ski slopes of Nob Hill to its last remaining kitchens with a flick of a bedsheet. The sound design by James Ard is deliberately cloying, heavy on the Vivaldi, and the lighting by Cassie Barnes leans into surrealistic flourish. The last time I saw Strindberg performed at Cutting Ball Theater, in an epic marathon in 2012, the experience was significantly more monochromatic. This is not that Strindberg.\u003c/p>\n\u003cp>As a treasured Cohen theme dating back at least as far as her stellar 2011 short play \u003cem>A Three Little Dumplings Adventure\u003c/em>, hunger drives much of the action. From Julie’s ravenous inhalation of her servant’s supper, to Jacobson’s petulant quest for more champagne and donuts, or John’s memory of eating his feelings by stuffing himself with dumpstered danish, consumption is the underlying thread. Or at least a desire to \u003cem>possess\u003c/em>: John dares to imagine that he can be Julie’s equal (or master), Brockingfield pontificates that he knows how to turn a profit even on the end of the world, and the party devolves into a final desperate orgy.\u003c/p>\n\u003cfigure id=\"attachment_13867207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (middle) as Julie, accompanied by her “henchmen,” 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>One of Cutting Ball Theater’s new initiatives under the artistic direction of Ariel Craft is one of playwright commissioning—with Cohen the first recipient. If their wildly imaginative comedic romp through a doomed San Francisco is anything to go by, this initiative will be one to watch for seasons to come.\u003c/p>\n\u003cp>As for what this play portends for our not too-distant future, the outlook is significantly less hopeful. Unless, of course, you have the money to buy a good chunk of stock in hydropower, or a soon-to-be beachfront property up by Grace Cathedral. If you dig beneath the playful trappings of frolic, you’ll find a pretty damning indictment of capitalist myopia, classism, and corporate greed. But like any good party, everyone is invited to come and decide for themselves what to get out of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Free for All: A New Miss Julie for a New World’ runs through Oct. 20 at Cutting Ball Theater in San Francisco. \u003ca href=\"https://cuttingball.com/productions/free-for-all\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Megan Cohen's latest brilliantly extrapolates all our modern-day concerns to their strangely logical extremes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Everything we see we want to possess. –Sting \u003c/em>\u003c/p>\n\u003cp>Sometimes attending a play is like attending a party. The energy crackles, the assembled audience is alert and engaged, and everyone onstage looks like they’re just having so much damn fun. On such nights, it feels like if you just stick around long enough, maybe they’ll haul you up there to be a part of the in crowd, or at least top off your glass.\u003c/p>\n\u003cp>In Cutting Ball Theater’s \u003cem>Free for All: A New Miss Julie for a New World\u003c/em>, written by Megan Cohen and directed by Ariel Craft, we see August Strindberg’s \u003cem>Miss Julie \u003c/em>deconstructed to a bare frame, then filled extravagantly back up with madcap futurism, and all of our modern-day concerns explored to their most strangely logical extremes.\u003c/p>\n\u003cp>Worried about climate change? Just wait until the snows melting off of Nob Hill drown the lower-lying neighborhoods. Concerned about the ingrained misogyny and power dynamics that led to the #MeToo movement? Your introduction to power-bros Brockingfield and Jacobson won’t alleviate those concerns (though they \u003cem>will\u003c/em> make you laugh). Have feelings about the destructive nature of unchecked capitalism? Have another tiny donut and a cigar. Or a deviled egg and a cigarette. In the world of \u003cem>Free for All\u003c/em>, even the vices are indicative of class position.\u003c/p>\n\u003cfigure id=\"attachment_13867209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (left) and Phil Wong (right) as power-bros Brockingfield and Jacobson in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actors Stacy Ross and Phil Wong—as Julie and Brockingfield, and John and Jacobson, respectively—elevate their roles to hilarious heights. Ross is especially mesmerizing as she chafes visibly against the smoothly aristocratic shell that is her birthright. In the opening scene, she skis down the “slope” of Nob Hill, exalting and cursing with equal vigor. Later, when she flirts with John in the kitchen, she almost coos; when she slaps him, she laughs with impudent delight. When she gets a hot flash, the whole theatre feels as if it’s increased in temperature with her. When she’s disgusted within her own skin, you get the feeling that she might just peel it right off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between the two actors flows a current of chummy, professional camaraderie, which only occasionally intrudes on the scene, especially in moments where we understand by John’s words and actions that he’s being chauvinistic, but Wong doesn’t quite make it feel genuine. His Jacobson fares better in that particular regard, but always with a nod and a wink.\u003c/p>\n\u003cp>A pair of puppeteers (Charlie Gray and Miyaka P. Cochrane) spend much of their time onstage blending into the background, reacting silently to the puerile antics of the named characters, using confetti to represent snow, flood, flame. They also manipulate the action of two different pigeon puppets—a pampered but captive pigeon in a cage and a rough-and-tumble scrapper from the streets. (Yes, it’s a metaphor.)\u003c/p>\n\u003cfigure id=\"attachment_13867208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong (right, front) as John, Stacy Ross as Julie (back middle), with puppeteers Miyaka P. Cochrane (back left), and Charlie Gray (back right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set, designed by Jacqueline Wren Scott, is spartan but fully mobile, playfully morphing from the ski slopes of Nob Hill to its last remaining kitchens with a flick of a bedsheet. The sound design by James Ard is deliberately cloying, heavy on the Vivaldi, and the lighting by Cassie Barnes leans into surrealistic flourish. The last time I saw Strindberg performed at Cutting Ball Theater, in an epic marathon in 2012, the experience was significantly more monochromatic. This is not that Strindberg.\u003c/p>\n\u003cp>As a treasured Cohen theme dating back at least as far as her stellar 2011 short play \u003cem>A Three Little Dumplings Adventure\u003c/em>, hunger drives much of the action. From Julie’s ravenous inhalation of her servant’s supper, to Jacobson’s petulant quest for more champagne and donuts, or John’s memory of eating his feelings by stuffing himself with dumpstered danish, consumption is the underlying thread. Or at least a desire to \u003cem>possess\u003c/em>: John dares to imagine that he can be Julie’s equal (or master), Brockingfield pontificates that he knows how to turn a profit even on the end of the world, and the party devolves into a final desperate orgy.\u003c/p>\n\u003cfigure id=\"attachment_13867207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (middle) as Julie, accompanied by her “henchmen,” 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>One of Cutting Ball Theater’s new initiatives under the artistic direction of Ariel Craft is one of playwright commissioning—with Cohen the first recipient. If their wildly imaginative comedic romp through a doomed San Francisco is anything to go by, this initiative will be one to watch for seasons to come.\u003c/p>\n\u003cp>As for what this play portends for our not too-distant future, the outlook is significantly less hopeful. Unless, of course, you have the money to buy a good chunk of stock in hydropower, or a soon-to-be beachfront property up by Grace Cathedral. If you dig beneath the playful trappings of frolic, you’ll find a pretty damning indictment of capitalist myopia, classism, and corporate greed. But like any good party, everyone is invited to come and decide for themselves what to get out of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Free for All: A New Miss Julie for a New World’ runs through Oct. 20 at Cutting Ball Theater in San Francisco. \u003ca href=\"https://cuttingball.com/productions/free-for-all\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not Ur Baby was founded by Antioch native \u003ca href=\"https://www.instagram.com/vavimami/\" target=\"_blank\" rel=\"noopener\">Vanessa “Vavi” Vigil\u003c/a> in 2015 to address the lack of spaces for women of color in the Bay. “I was getting into the art scene in the Bay Area, and had to deal with a lot of male ego from venues and curators, and I was over it,” says Vavi.\u003c/p>\n\u003cp>So Vigil, a photographer and curator, decided to take matters into her own hands. “I wanted to throw a show with my friends, and have a place where women who are artists can work with other women who are artists,” says Vavi. “In 2015, I didn’t know of any space like that. Now, there are so many spaces that I’ve become aware of and more that have come up in the four span.”\u003c/p>\n\u003cp>On Sept. 28, \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">Not Ur Baby 3\u003c/a> returns to Oakland with performances, exhibitions of visual art and a slew of vendors at 7th West. This year’s event also features talented artists like Oakland’s \u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri,\u003c/a> \u003ca href=\"https://soundcloud.com/namasteshawty\" target=\"_blank\" rel=\"noopener\">Namaste Shawty\u003c/a>, \u003ca href=\"https://soundcloud.com/therealwavybaby\" target=\"_blank\" rel=\"noopener\">Wavy Baby\u003c/a> and more.\u003c/p>\n\u003cp>A portion of the proceeds will go to VisibiliT, which is a “fundraising platform that financially supports trans womxn fighting for asylum cases in the Bay Area.” Proceeds will also support the nonprofit \u003ca href=\"https://www.reginasdoor.com/\" target=\"_blank\" rel=\"noopener\">Regina’s Door\u003c/a>, a boutique in downtown Oakland that sells women’s clothing and doubles as a healing space for women. Details \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headline": "'Not Ur Baby' Returns in Oakland",
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"venueName": "7th West",
"venueAddress": "1255 Seventh St., Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not Ur Baby was founded by Antioch native \u003ca href=\"https://www.instagram.com/vavimami/\" target=\"_blank\" rel=\"noopener\">Vanessa “Vavi” Vigil\u003c/a> in 2015 to address the lack of spaces for women of color in the Bay. “I was getting into the art scene in the Bay Area, and had to deal with a lot of male ego from venues and curators, and I was over it,” says Vavi.\u003c/p>\n\u003cp>So Vigil, a photographer and curator, decided to take matters into her own hands. “I wanted to throw a show with my friends, and have a place where women who are artists can work with other women who are artists,” says Vavi. “In 2015, I didn’t know of any space like that. Now, there are so many spaces that I’ve become aware of and more that have come up in the four span.”\u003c/p>\n\u003cp>On Sept. 28, \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">Not Ur Baby 3\u003c/a> returns to Oakland with performances, exhibitions of visual art and a slew of vendors at 7th West. This year’s event also features talented artists like Oakland’s \u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri,\u003c/a> \u003ca href=\"https://soundcloud.com/namasteshawty\" target=\"_blank\" rel=\"noopener\">Namaste Shawty\u003c/a>, \u003ca href=\"https://soundcloud.com/therealwavybaby\" target=\"_blank\" rel=\"noopener\">Wavy Baby\u003c/a> and more.\u003c/p>\n\u003cp>A portion of the proceeds will go to VisibiliT, which is a “fundraising platform that financially supports trans womxn fighting for asylum cases in the Bay Area.” Proceeds will also support the nonprofit \u003ca href=\"https://www.reginasdoor.com/\" target=\"_blank\" rel=\"noopener\">Regina’s Door\u003c/a>, a boutique in downtown Oakland that sells women’s clothing and doubles as a healing space for women. Details \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"soldout": {
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