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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Charo\u003c/strong>: Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BB8K93NG8qc\" rel=\"noopener\" target=\"_blank\">Cuchi Cuchi\u003c/a>” herself, Charo, is still at it, and this weekend she plays her first show in the Bay Area in ten years. Now, I’m not crazy, hear me out—I saw Charo once and it was so ridiculous, and so fun, I have never been the same since. In San Francisco, she’s bound to have a loyal camp following in the audience, but don’t forget her guitar playing and hilarious, self-effacing jokes. She plays on Friday, Sept. 20, at the Herbst Theater in San Francisco. \u003ca href=\"https://www.koshercomedy.com/charo\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Free Museum Day\u003c/strong>: Officially, Sarah’s recommendation is to call in sick on Thursday, Sept. 19. That’s because a bunch of the museums around Yerba Buena Gardens, including SFMOMA, the Museum of the African Diaspora, YBCA and the Contemporary Jewish Museum are all opening their doors for free. It’s a celebration they’re calling Culture for Community, and most of the arts and culture institutions (over a dozen total) have extended hours and special programming happening—all of it completely free (though SFMOMA does recommend reserving your tickets in advance). \u003ca href=\"https://www.kqed.org/arts/13866548/free-entry-at-sfmoma-moad-other-yerba-buena-museums-this-thursday\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>’50 Faces’\u003c/strong>: This populist show is a collection from Italy of mosaic images of celebrities, and other figures: Carlos Santana, Frida Kahlo, David Bowie, Basquiat. Total Instagram bait, if we’re being honest. Sarah is unsettled by the Frida Kahlo portrait’s tiny doll hand earrings hanging off her mosaic ears, and I’m brave enough to admit that this is not high art. But if you’re like me, you have a side of you that loves this stuff. It opens Saturday, Sept. 21, at the Marin Museum of Contemporary Art in Novato, and runs through Nov. 10. \u003ca href=\"https://marinmoca.org/exhibitions/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following a $40 million dollar face lift, the \u003ca href=\"https://www.presidiotheatre.org\" target=\"_blank\" rel=\"noopener\">Presidio Theatre\u003c/a> in San Francisco is reopening this weekend after decades of neglect and disuse. \u003c/p>\n\u003cp>The venue was built in 1939 as the main social and entertainment hub for military personnel stationed at the Presidio army base, and it has a star-studded past.\u003c/p>\n\u003cp>Around 3,000 people showed up to see comedian and vaudevillian Jack Benny perform there in 1942, and millions more heard the \u003ca href=\"https://bayarearadio.org/audio/jack-benny\" target=\"_blank\" rel=\"noopener\">NBC radio broadcast\u003c/a> across the country and around the world.\u003c/p>\n\u003cfigure id=\"attachment_13866667\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg\" alt=\"Presidio Trust Program Producer Brad Rosenstein\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Brad-Rosenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Presidio Trust Program Producer Brad Rosenstein. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was one of the great performers of his time,” said Presidio Trust program producer Brad Rosenstein of the famed entertainer. “So that was a huge event to have happen here.”\u003c/p>\n\u003cp>Benny was just one of many big names who appeared at the venue. Marlene Dietrich, Lucille Ball, Loretta Young and Bob Hope also came through.\u003c/p>\n\u003cp>The celebrities visited the troops, signed autographs and sometimes put on shows.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“They weren’t trying to show off,” Rosenstein said. “They were doing it because they genuinely supported the war effort. They were here to visit the wounded soldiers. They weren’t trying to be stars.”\u003c/p>\n\u003cp>Back then, the theater wasn’t an ideal place to put on a live performance. It lacked dressing rooms. And the narrow, cramped stage didn’t have proper wings.\u003c/p>\n\u003cp>Rosenstein said stars like Benny and Hope got away with performing there because of the relatively low-key demands of radio production.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“These radio programs, because they didn’t have the requirements of a big stage production, could kind of squeeze into that space between the the apron and the screen,” Rosenstein said.\u003c/p>\n\u003cp>When the army moved out in 1994, the elegant, Spanish Colonial-style building fell into disuse.\u003c/p>\n\u003cfigure id=\"attachment_13866668\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg\" alt=\"Architect Mark Hornberger\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Mark-Hornberger.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Architect Mark Hornberger. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was dark. No lights. No power,” said San Francisco architect Mark Hornberger about visiting the run-down space for the first time a few years ago. “The ceiling had partially collapsed because the roof was leaking.”\u003c/p>\n\u003cp>Hornberger was part of the team that worked on the renovation project.\u003c/p>\n\u003cp>Originally conceived as a movie theater, the newly spruced-up building will now serve the broader community as a live events venue, as well as a space for screening films.\u003c/p>\n\u003cp>The eclectic programming for the coming months includes a dance performance by \u003ca href=\"https://www.presidiotheatre.org/show/kaisahan-unidad/\" target=\"_blank\" rel=\"noopener\">Ballet Folklórico de San Francisco and LIKHA-Pilipino Folk Ensemble\u003c/a>, the pop group \u003ca href=\"https://www.presidiotheatre.org/show/the-family-crest/\" target=\"_blank\" rel=\"noopener\">The Family Crest\u003c/a> in concert, a magic show from Bay Area illusionist \u003ca href=\"https://www.presidiotheatre.org/show/andrew-evans-an-evening-of-mystery-and-illusion/\" target=\"_blank\" rel=\"noopener\">Andrew Evans\u003c/a>, a rare public screening of \u003ca href=\"https://www.presidiotheatre.org/show/janes-declaration-of-independence/\" target=\"_blank\" rel=\"noopener\">the oldest-known movie shot in the Presidio\u003c/a> and an awards ceremony for this year’s \u003ca href=\"https://www.presidiotheatre.org/show/american-indian-motion-picture-awards-show/\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival.\u003c/a>\u003c/p>\n\u003cp>The venue now has a roomy stage, a fancy sound and lighting system, gleaming dressing rooms and a customizable rehearsal space. And many of the historical features, such as the foundations, the auditorium ceiling fixtures and the projection booth, are still intact.\u003c/p>\n\u003cp>The theater now seats 600 audience members instead of the original 900. Hornberger said he thinks people will love the greater comfort and coziness, including the performers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003ci>“\u003c/i>You really feel like you can see the eyes of every member of the audience, and they feel like they’re just within reach,” Hornberger said, gazing out at the rows of blue, fabric-upholstered seats from the stage. “It’s a very intimate space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Capes, transformations, amazing entrances—is there anything more queer than classic horror?\u003c/p>\n\u003cp>How about when horror is presented in comics form, a medium with few boundaries and a long history of cultural subversion? Editors William O. Tyler and Justin Hall (\u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>) have conjured a rogue’s gallery of queer cartoonists for a brand-new anthology called \u003cem>Theater of Terror: Revenge of the Queers\u003c/em>, celebrated in a launch party Sept. 25.\u003c/p>\n\u003cp>With a cover that recalls ’50s EC Comics like \u003cem>Tales From the Crypt\u003c/em>, the book weighs in at a hefty 272 pages full of gore and glamour. Art imitates life as San Francisco’s favorite midnight movie drag queen impresario Peaches Christ serves as the book’s ghoulish hostess, haunting a post-apocalyptic Castro Theatre where she forces uninvited guests to watch the stories unfold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg\" alt=\"Art from "Sanguine," by Emeric Kennard, from 'Theater of Terror: Revenge of the Queers.'\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13866695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003cem>Theater of Terror\u003c/em>, true-life LGBTQ horror, be it cultural oppression or just an especially gnarly date, are transformed into over 30 tales of demons, zombies, and monsters in the closet. Puppy play goes awry during the full moon, a transgender ghost haunts a senator’s estate, and a creepy advance is thwarted with assistance from a Lake Merritt mermaid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Established and emerging cartoonists alike lend their talents: Howard Cruse (\u003cem>Gay Comix\u003c/em>) Lee Marrs (\u003cem>Wimmens Comix\u003c/em>), Mariko Tamaki (\u003cem>This One Summer\u003c/em>), Jennifer Camper (\u003cem>Juicy Mother\u003c/em>), Ed Luce (\u003cem>Wuvable Oaf\u003c/em>), Sina Grace (\u003cem>Self-Obsessed\u003c/em>), and dozens more.\u003c/p>\n\u003cp>For the Hump Day leading into Folsom Street Fair weekend, (the real) Peaches Christ hosts a free evening of author readings from \u003cem>Theater of Terror\u003c/em>, with a performance by drag king goth boy band Nine Inch Males.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Janelle Hessig\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Capes, transformations, amazing entrances—is there anything more queer than classic horror?\u003c/p>\n\u003cp>How about when horror is presented in comics form, a medium with few boundaries and a long history of cultural subversion? Editors William O. Tyler and Justin Hall (\u003cem>No Straight Lines: Four Decades of Queer Comics\u003c/em>) have conjured a rogue’s gallery of queer cartoonists for a brand-new anthology called \u003cem>Theater of Terror: Revenge of the Queers\u003c/em>, celebrated in a launch party Sept. 25.\u003c/p>\n\u003cp>With a cover that recalls ’50s EC Comics like \u003cem>Tales From the Crypt\u003c/em>, the book weighs in at a hefty 272 pages full of gore and glamour. Art imitates life as San Francisco’s favorite midnight movie drag queen impresario Peaches Christ serves as the book’s ghoulish hostess, haunting a post-apocalyptic Castro Theatre where she forces uninvited guests to watch the stories unfold.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg\" alt=\"Art from "Sanguine," by Emeric Kennard, from 'Theater of Terror: Revenge of the Queers.'\" width=\"800\" height=\"450\" class=\"aligncenter size-medium wp-image-13866695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TheaterofTerror.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In \u003cem>Theater of Terror\u003c/em>, true-life LGBTQ horror, be it cultural oppression or just an especially gnarly date, are transformed into over 30 tales of demons, zombies, and monsters in the closet. Puppy play goes awry during the full moon, a transgender ghost haunts a senator’s estate, and a creepy advance is thwarted with assistance from a Lake Merritt mermaid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Established and emerging cartoonists alike lend their talents: Howard Cruse (\u003cem>Gay Comix\u003c/em>) Lee Marrs (\u003cem>Wimmens Comix\u003c/em>), Mariko Tamaki (\u003cem>This One Summer\u003c/em>), Jennifer Camper (\u003cem>Juicy Mother\u003c/em>), Ed Luce (\u003cem>Wuvable Oaf\u003c/em>), Sina Grace (\u003cem>Self-Obsessed\u003c/em>), and dozens more.\u003c/p>\n\u003cp>For the Hump Day leading into Folsom Street Fair weekend, (the real) Peaches Christ hosts a free evening of author readings from \u003cem>Theater of Terror\u003c/em>, with a performance by drag king goth boy band Nine Inch Males.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Janelle Hessig\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rightnowish: 'Iya Iya's House Of Burning Souls' Offers Healing Through Theater",
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"content": "\u003cp>\u003ca href=\"https://www.facebook.com/events/oakland-california/iya-iyas-house-of-burning-souls/1395285927291627/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Iya Iya’s House of Burning Souls\u003c/em>\u003c/a>, a trio of one-woman plays, is all about women’s ability to not only heal themselves, but also heal the women in their lineage.\u003c/p>\n\u003cp>The show addresses body shaming in \u003cspan style=\"font-weight: 400\">Kharyshi Wiginton’s\u003c/span> \u003cem>Too Much Woman For This World;\u003c/em> discusses police brutality in Cat Brooks’ \u003cem>Tasha;\u003c/em> and the illuminates our connections to our ancestors in \u003cem>Glory\u003c/em> by Ayodele Nzinga.\u003c/p>\n\u003cp>“\u003cem>Iya Iya\u003c/em> is a Yoruba word for ‘grandmother’,” Nzinga told as we sat in the basement of the community space Omni Commons in North Oakland.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">When you think of the lineage of North-American Africans, if you believe that post-traumatic stress is encountered before birth and passed on, most grandmothers’ houses are full of burning souls,” she said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nzinga continued, “This work centers very much on North-American African women telling stories designed to heal. Because the world needs healing. It’s a lot of brokenness right now, and because if a woman heals herself, she heals every woman in her line before her and every woman in her line after her. That’s ipso facto healing a nation.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nzinga is the head of the production company behind the play, \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lower Bottoms Playaz\u003c/a>. Through this company, she’s been putting on performances in Oakland for over two decades. That’s an amazing feat when you consider the instability that comes with running a theater company in Oakland, where space is at a premium and art is often placed at the bottom of the totem pole of priorities.\u003c/p>\n\u003cp>I talked with Nzinga, as well as\u003cspan style=\"font-weight: 400\"> Wiginton and Brooks\u003c/span>, about the significance of the characters in their plays, as well as the hurdles they had to overcome in order to simply have a space to perform this show.\u003c/p>\n\u003cp>To hear our conversation, click the link above.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Iya Iya’s House of Burning Souls \u003c/em>runs through Sept. 22. \u003ca href=\"http://www.lowerbottomplayaz.com/?fbclid=IwAR3nc0xGb0K3QsMC401O1P6KeNkk_8FiNFpzDJviNXjG3jxFqCAPrgD6NVg\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "\"If a woman heals herself, she heals every woman in her line before her and every woman in her line after her,\" says playwright Ayodele Nzinga. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/events/oakland-california/iya-iyas-house-of-burning-souls/1395285927291627/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Iya Iya’s House of Burning Souls\u003c/em>\u003c/a>, a trio of one-woman plays, is all about women’s ability to not only heal themselves, but also heal the women in their lineage.\u003c/p>\n\u003cp>The show addresses body shaming in \u003cspan style=\"font-weight: 400\">Kharyshi Wiginton’s\u003c/span> \u003cem>Too Much Woman For This World;\u003c/em> discusses police brutality in Cat Brooks’ \u003cem>Tasha;\u003c/em> and the illuminates our connections to our ancestors in \u003cem>Glory\u003c/em> by Ayodele Nzinga.\u003c/p>\n\u003cp>“\u003cem>Iya Iya\u003c/em> is a Yoruba word for ‘grandmother’,” Nzinga told as we sat in the basement of the community space Omni Commons in North Oakland.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">When you think of the lineage of North-American Africans, if you believe that post-traumatic stress is encountered before birth and passed on, most grandmothers’ houses are full of burning souls,” she said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Nzinga continued, “This work centers very much on North-American African women telling stories designed to heal. Because the world needs healing. It’s a lot of brokenness right now, and because if a woman heals herself, she heals every woman in her line before her and every woman in her line after her. That’s ipso facto healing a nation.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nzinga is the head of the production company behind the play, \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lower Bottoms Playaz\u003c/a>. Through this company, she’s been putting on performances in Oakland for over two decades. That’s an amazing feat when you consider the instability that comes with running a theater company in Oakland, where space is at a premium and art is often placed at the bottom of the totem pole of priorities.\u003c/p>\n\u003cp>I talked with Nzinga, as well as\u003cspan style=\"font-weight: 400\"> Wiginton and Brooks\u003c/span>, about the significance of the characters in their plays, as well as the hurdles they had to overcome in order to simply have a space to perform this show.\u003c/p>\n\u003cp>To hear our conversation, click the link above.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Iya Iya’s House of Burning Souls \u003c/em>runs through Sept. 22. \u003ca href=\"http://www.lowerbottomplayaz.com/?fbclid=IwAR3nc0xGb0K3QsMC401O1P6KeNkk_8FiNFpzDJviNXjG3jxFqCAPrgD6NVg\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Great Man, A Complicated Man: Gandhi On Stage in Song and Dance",
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"content": "\u003cp>It’s an epic story; everything from Mahatma Gandhi’s early days in law school to his campaigns in South Africa, to the civil disobedience movement he led against British colonial rule in India that inspired people all over the world, including \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/gandhi-mohandas-k\" target=\"_blank\" rel=\"noopener\">Dr. Martin Luther King, Jr.\u003c/a>.\u003c/p>\n\u003cp>Naatak co-founder, artistic director and playwright Sujit Saraf says, with \u003ca style=\"font-style: italic\" href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">Gandhi: A Grand Musical\u003c/a>\u003ci>, the \u003c/i>theater company presents an accessible yet nuanced picture for Indians steeped in Gandhi love — and hate — from childhood on.\u003c/p>\n\u003cp>“Gandhi has total ‘brand permeation’ in India. We grew up with Gandhi as our father. Some of us continue to adore him. Then there is a strain of — it’s hot in India — where you mock everything Gandhi did because he’s extremely easy to mock.” That includes some of the very things that helped establish Gandhi’s moral and political stature in the first place, like the humble loincloth, or dhoti, he wore, the vow of celibacy he held to for much of his adult life, and his campaign to change sanitation practices.\u003c/p>\n\u003cp>“A man who led 300 million people and had something to say, over a long public career, on every subject on earth necessarily said many silly things. I could come up with a hundred silly things that Gandhi said and none of those put together would paint a picture of the man. So, in our play, he does say those things, but not in an attempt to make fun of him; in an attempt to better understand what Gandhi meant to India, to the world, and to history.”\u003c/p>\n\u003cfigure id=\"attachment_13866385\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg\" alt='\"Gandhi: The Musical\" by Naatak runs September 14 - October 6 at Cubberley Theatre in Palo Alto.' width=\"1568\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1200x802.jpeg 1200w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">“Gandhi: A Grand Musical” by Naatak runs September 14 – October 6 at Cubberley Theatre in Palo Alto. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.naatak.com\" target=\"_blank\" rel=\"noopener\">Naatak\u003c/a> has been delivering Indian theatre to Silicon Valley for a quarter century now, everything from Western classics cast with Indian-American locals to original work, like what opens tonight.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To write the play, Saraf dove deep into books about and recordings of the great man and come up with a sense of him as “stubborn, cruel, intelligent, and very very courageous.”\u003c/p>\n\u003cp>“The problem with most writings about Gandhi, including the big \u003ca href=\"https://www.youtube.com/watch?v=B7I6D3mSYTE\" target=\"_blank\" rel=\"noopener\">movie\u003c/a> [directed by Richard Attenborough], is that they are too conscious of his star power. They are too aware that he is a world figure. He is the father of the nation. So the movie, for instance, is full of slow motion footage of Gandhi putting on glasses, Gandhi slipping his feet into sandals. He utters witticisms and white people’s jaws drop.”\u003c/p>\n\u003cp>“We are Indians. I don’t need to see Gandhi through Western eyes. Not only that, I’m able to represent him in his own language.” Three languages, in fact: Ghandi’s native tongue, Gujarati, as well as Hindi and English.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=bhLexs13cZU]Saraf says there was a distinct difference in the way Gandhi communicated, depending on who his audience was.\u003c/p>\n\u003cp>“When he spoke in Hindi, he spoke very mundanely. When he spoke in English, he was aiming it at a western audience, and the point five percent of Indians who could speak English then. His speeches acquired a slightly more poetic air. He wasn’t an orator on the level of MLK. I don’t have Gandhi making beautiful speeches in the musical because it just doesn’t make sense. ”\u003c/p>\n\u003cp>That said, Naatak feels freer to take poetic license with original music (composed by Nachiketa Yakkundi and dance (choreography by Soumya Agastya, Shwetha Subraya and Nisha Natraj). “So many of Gandhi’s ideas and campaigns are presented in the play as lovely dance and music,” Saraf says. The musical also includes songs familiar from Gandhi’s life and the Indian independence movement.\u003c/p>\n\u003ch2>Resistance as Spiritual Practice\u003c/h2>\n\u003cp>Gandhi’s deeply rooted spiritual practice was central to his political practice, his philosophy of non-violent resistance to oppression. Political campaigns for him were a means to a larger end. He felt he was an instrument of divine will.\u003c/p>\n\u003cp>“He arrived at what he thought were some simple truths,” says Saraf. “Everything he did was an attempt to test those truths and his laboratory kept getting larger and larger. He really was a very personal man living as a public figure, testing out deeply held beliefs and theories — on abstinence, on sanitation, on humility. They took a political form, but the political life was not what he was talking about, and in a strange way, he never made a secret of it. He often talked about how independence from the British meant nothing [to him].”\u003c/p>\n\u003cp>What did mean something to Gandhi? “A life of dignity, harmony between Hindus and Muslims, and self-sufficiency. To him, these were the important aims and goals of life, and independence from British rule was merely a means of achieving these.”\u003c/p>\n\u003cfigure id=\"attachment_13866387\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01284.jpg\" alt='Original music and dance feature prominently in \"Gandhi: The Musical\" put on by Silicon Valley-based Naatak.' width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1200x802.jpg 1200w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Original music and dance feature prominently in “Gandhi: A Grand Musical” put on by Silicon Valley-based Naatak. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Gandhi succeeded in shaming the British out of India, he was completely unsuccessful in establishing a country free of religious and class divisions, and of politicians who stoke the fires of those divisions to get into and stay in power. Naked materialism is in vogue now, as much in India as any place else on earth.\u003c/p>\n\u003cp>“He would not be pleased if he came back,” muses Saraf. “I think he would go on a fast unto death, and sadly, I don’t know if anybody would care.”\u003c/p>\n\u003cp>Heady stuff to tackle on stage — and timely, given that October 2nd marks the 150th anniversary of Gandhi’s birth.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gandhi: A Grand Musical\u003c/strong> runs Sept. 14-Oct. 6 at Cubberley Theatre in Palo Alto. For more information, click \u003ca href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s an epic story; everything from Mahatma Gandhi’s early days in law school to his campaigns in South Africa, to the civil disobedience movement he led against British colonial rule in India that inspired people all over the world, including \u003ca href=\"https://kinginstitute.stanford.edu/encyclopedia/gandhi-mohandas-k\" target=\"_blank\" rel=\"noopener\">Dr. Martin Luther King, Jr.\u003c/a>.\u003c/p>\n\u003cp>Naatak co-founder, artistic director and playwright Sujit Saraf says, with \u003ca style=\"font-style: italic\" href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">Gandhi: A Grand Musical\u003c/a>\u003ci>, the \u003c/i>theater company presents an accessible yet nuanced picture for Indians steeped in Gandhi love — and hate — from childhood on.\u003c/p>\n\u003cp>“Gandhi has total ‘brand permeation’ in India. We grew up with Gandhi as our father. Some of us continue to adore him. Then there is a strain of — it’s hot in India — where you mock everything Gandhi did because he’s extremely easy to mock.” That includes some of the very things that helped establish Gandhi’s moral and political stature in the first place, like the humble loincloth, or dhoti, he wore, the vow of celibacy he held to for much of his adult life, and his campaign to change sanitation practices.\u003c/p>\n\u003cp>“A man who led 300 million people and had something to say, over a long public career, on every subject on earth necessarily said many silly things. I could come up with a hundred silly things that Gandhi said and none of those put together would paint a picture of the man. So, in our play, he does say those things, but not in an attempt to make fun of him; in an attempt to better understand what Gandhi meant to India, to the world, and to history.”\u003c/p>\n\u003cfigure id=\"attachment_13866385\" class=\"wp-caption aligncenter\" style=\"max-width: 1568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg\" alt='\"Gandhi: The Musical\" by Naatak runs September 14 - October 6 at Cubberley Theatre in Palo Alto.' width=\"1568\" height=\"1048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728.jpeg 1568w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01728-1200x802.jpeg 1200w\" sizes=\"(max-width: 1568px) 100vw, 1568px\">\u003cfigcaption class=\"wp-caption-text\">“Gandhi: A Grand Musical” by Naatak runs September 14 – October 6 at Cubberley Theatre in Palo Alto. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.naatak.com\" target=\"_blank\" rel=\"noopener\">Naatak\u003c/a> has been delivering Indian theatre to Silicon Valley for a quarter century now, everything from Western classics cast with Indian-American locals to original work, like what opens tonight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To write the play, Saraf dove deep into books about and recordings of the great man and come up with a sense of him as “stubborn, cruel, intelligent, and very very courageous.”\u003c/p>\n\u003cp>“The problem with most writings about Gandhi, including the big \u003ca href=\"https://www.youtube.com/watch?v=B7I6D3mSYTE\" target=\"_blank\" rel=\"noopener\">movie\u003c/a> [directed by Richard Attenborough], is that they are too conscious of his star power. They are too aware that he is a world figure. He is the father of the nation. So the movie, for instance, is full of slow motion footage of Gandhi putting on glasses, Gandhi slipping his feet into sandals. He utters witticisms and white people’s jaws drop.”\u003c/p>\n\u003cp>“We are Indians. I don’t need to see Gandhi through Western eyes. Not only that, I’m able to represent him in his own language.” Three languages, in fact: Ghandi’s native tongue, Gujarati, as well as Hindi and English.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bhLexs13cZU'\n title='//www.youtube.com/embed/bhLexs13cZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Saraf says there was a distinct difference in the way Gandhi communicated, depending on who his audience was.\u003c/p>\n\u003cp>“When he spoke in Hindi, he spoke very mundanely. When he spoke in English, he was aiming it at a western audience, and the point five percent of Indians who could speak English then. His speeches acquired a slightly more poetic air. He wasn’t an orator on the level of MLK. I don’t have Gandhi making beautiful speeches in the musical because it just doesn’t make sense. ”\u003c/p>\n\u003cp>That said, Naatak feels freer to take poetic license with original music (composed by Nachiketa Yakkundi and dance (choreography by Soumya Agastya, Shwetha Subraya and Nisha Natraj). “So many of Gandhi’s ideas and campaigns are presented in the play as lovely dance and music,” Saraf says. The musical also includes songs familiar from Gandhi’s life and the Indian independence movement.\u003c/p>\n\u003ch2>Resistance as Spiritual Practice\u003c/h2>\n\u003cp>Gandhi’s deeply rooted spiritual practice was central to his political practice, his philosophy of non-violent resistance to oppression. Political campaigns for him were a means to a larger end. He felt he was an instrument of divine will.\u003c/p>\n\u003cp>“He arrived at what he thought were some simple truths,” says Saraf. “Everything he did was an attempt to test those truths and his laboratory kept getting larger and larger. He really was a very personal man living as a public figure, testing out deeply held beliefs and theories — on abstinence, on sanitation, on humility. They took a political form, but the political life was not what he was talking about, and in a strange way, he never made a secret of it. He often talked about how independence from the British meant nothing [to him].”\u003c/p>\n\u003cp>What did mean something to Gandhi? “A life of dignity, harmony between Hindus and Muslims, and self-sufficiency. To him, these were the important aims and goals of life, and independence from British rule was merely a means of achieving these.”\u003c/p>\n\u003cfigure id=\"attachment_13866387\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC01284.jpg\" alt='Original music and dance feature prominently in \"Gandhi: The Musical\" put on by Silicon Valley-based Naatak.' width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC01284-1200x802.jpg 1200w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Original music and dance feature prominently in “Gandhi: A Grand Musical” put on by Silicon Valley-based Naatak. \u003ccite>(Photo: Courtesy of Rajat Bhargava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Gandhi succeeded in shaming the British out of India, he was completely unsuccessful in establishing a country free of religious and class divisions, and of politicians who stoke the fires of those divisions to get into and stay in power. Naked materialism is in vogue now, as much in India as any place else on earth.\u003c/p>\n\u003cp>“He would not be pleased if he came back,” muses Saraf. “I think he would go on a fast unto death, and sadly, I don’t know if anybody would care.”\u003c/p>\n\u003cp>Heady stuff to tackle on stage — and timely, given that October 2nd marks the 150th anniversary of Gandhi’s birth.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gandhi: A Grand Musical\u003c/strong> runs Sept. 14-Oct. 6 at Cubberley Theatre in Palo Alto. For more information, click \u003ca href=\"https://www.naatak.com/portfolio/gandhi/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Listen to Our Event Picks for Sept. 13–19",
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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Lights On Festival:\u003c/strong> On Sept. 14 at Concord Pavilion, there’s a chance to check out a new generation of R&B talent. Lights On Festival is an all-day extravaganza curated by rising artist H.E.R., a Grammy-winning singer from Vallejo. She’ll be joined by Ari Lennox, whose \u003c/span>\u003cspan style=\"font-weight: 400\">personal storytelling and rich voice shine on her recent album, \u003cem>Shea Butter Baby\u003c/em>. Jhene Aiko and Daniel Caesar are also on the bill, along with local artists Rayana Jay and Marc E. Bassy. Big festivals can be a bit overwhelming, so Lights On offers an antidote with a tightly curated lineup geared towards a specific music taste. \u003ca href=\"http://lightsonfest.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Fringe Festival: \u003cspan style=\"font-weight: 400\">One of the Bay Area’s most beloved theater events is happening at Exit Theatre through Sept. 14. If you’ve only ever been to giant touring musicals, the Fringe Festival is a way to experience the quirkier, more underground side of the theater spectrum. There are 19 short, boundary-pushing plays on tap—with titles like\u003cem> Why My Unicorn Left Me\u003c/em> and \u003cem>You’re Good for Nothing, I’ll Milk the Cow Myself\u003c/em>. It’s a thrilling example of what theater can be. And often, what theater audiences can be, as you become part of the show, or at least part of the bustle between shows. \u003ca href=\"https://www.sftourismtips.com/san-francisco-fringe-festival.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Jay Som:\u003c/strong> Jay Som, a.k.a. Melina Duterte, is one of the most exciting indie rock acts to come out of the Bay Area in recent years. She’s from the Contra Costa County suburb of Brentwood, and her low-key, relatable lo-fi pop has earned her a following far beyond the East Bay. Just a couple years ago, she was opening for Mitski at Starline Social Club in Oakland. Now \u003c/span>\u003cspan style=\"font-weight: 400\">she’s on a national headlining tour that stops at the legendary Fillmore in San Francisco on Sept. 14, promoting her sophomore album, \u003ci>Anak Ko. \u003c/i>\u003ca href=\"https://thefillmore.com/event/jay-som-with-boy-scouts-affectionately/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>\u003cem>Expressions of Divinity\u003c/em>:\u003c/strong> At the Triton Museum in Santa Clara, there’s something you don’t see every day: an exhibition of art from the Sikh faith, over five centuries old. \u003cem>Expressions of Divinity\u003c/em> contains work from several collections around the Bay Area, focused on the founder of the Sikh faith, Guru Nanak. If you had any doubt of the vast Indian population in the South Bay, consider that on opening day, the museum counted 500 visitors. The show is up through Nov. 3, and there’s an artist reception on Sept. 13. \u003ca href=\"http://www.tritonmuseum.org/exhibitions_expressions2019.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>\u003cstrong>FURY\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong> Remember the movie \u003cem>Mad Max: Fury Road\u003c/em>? You know, about the band of rogue adventurers fleeing from an evil cult leader in an apocalyptic desert? Well, there’s a ballet inspired by it called \u003cem>FURY\u003c/em> coming to the Tortona Big Top in downtown Oakland on Sept. 13 and 14. Choreographer Danielle Rowe adapted the action-packed, darkly funny film into a thrilling dance performance with original music by the North Bay indie pop band Yassou and composer Kristina Dutton. \u003ca href=\"https://www.furyshow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Blackalicious:\u003c/strong> In 1999, if you were anywhere in the Bay Area, you heard Blackalicious’ \u003cem>Nia\u003c/em> playing out of cars, at bars or restaurants, and especially around a scene that coalesced at the Justice League, a smoky club on Divisadero. On \u003cem>Nia\u003c/em>, Chief Xcel’s production is a combination of dusty and futuristic, and MC Gift of Gab is in top form. Blackalicious is excellent live, and they celebrate the album’s 20th anniversary in a show on Sept. 19 at Slim’s in San Francisco. \u003ca href=\"https://www.slimspresents.com/e/blackalicious-61971332925/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Lights On Festival:\u003c/strong> On Sept. 14 at Concord Pavilion, there’s a chance to check out a new generation of R&B talent. Lights On Festival is an all-day extravaganza curated by rising artist H.E.R., a Grammy-winning singer from Vallejo. She’ll be joined by Ari Lennox, whose \u003c/span>\u003cspan style=\"font-weight: 400\">personal storytelling and rich voice shine on her recent album, \u003cem>Shea Butter Baby\u003c/em>. Jhene Aiko and Daniel Caesar are also on the bill, along with local artists Rayana Jay and Marc E. Bassy. Big festivals can be a bit overwhelming, so Lights On offers an antidote with a tightly curated lineup geared towards a specific music taste. \u003ca href=\"http://lightsonfest.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Fringe Festival: \u003cspan style=\"font-weight: 400\">One of the Bay Area’s most beloved theater events is happening at Exit Theatre through Sept. 14. If you’ve only ever been to giant touring musicals, the Fringe Festival is a way to experience the quirkier, more underground side of the theater spectrum. There are 19 short, boundary-pushing plays on tap—with titles like\u003cem> Why My Unicorn Left Me\u003c/em> and \u003cem>You’re Good for Nothing, I’ll Milk the Cow Myself\u003c/em>. It’s a thrilling example of what theater can be. And often, what theater audiences can be, as you become part of the show, or at least part of the bustle between shows. \u003ca href=\"https://www.sftourismtips.com/san-francisco-fringe-festival.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Jay Som:\u003c/strong> Jay Som, a.k.a. Melina Duterte, is one of the most exciting indie rock acts to come out of the Bay Area in recent years. She’s from the Contra Costa County suburb of Brentwood, and her low-key, relatable lo-fi pop has earned her a following far beyond the East Bay. Just a couple years ago, she was opening for Mitski at Starline Social Club in Oakland. Now \u003c/span>\u003cspan style=\"font-weight: 400\">she’s on a national headlining tour that stops at the legendary Fillmore in San Francisco on Sept. 14, promoting her sophomore album, \u003ci>Anak Ko. \u003c/i>\u003ca href=\"https://thefillmore.com/event/jay-som-with-boy-scouts-affectionately/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>\u003cem>Expressions of Divinity\u003c/em>:\u003c/strong> At the Triton Museum in Santa Clara, there’s something you don’t see every day: an exhibition of art from the Sikh faith, over five centuries old. \u003cem>Expressions of Divinity\u003c/em> contains work from several collections around the Bay Area, focused on the founder of the Sikh faith, Guru Nanak. If you had any doubt of the vast Indian population in the South Bay, consider that on opening day, the museum counted 500 visitors. The show is up through Nov. 3, and there’s an artist reception on Sept. 13. \u003ca href=\"http://www.tritonmuseum.org/exhibitions_expressions2019.php\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>\u003cstrong>FURY\u003c/strong>\u003c/em>\u003cstrong>:\u003c/strong> Remember the movie \u003cem>Mad Max: Fury Road\u003c/em>? You know, about the band of rogue adventurers fleeing from an evil cult leader in an apocalyptic desert? Well, there’s a ballet inspired by it called \u003cem>FURY\u003c/em> coming to the Tortona Big Top in downtown Oakland on Sept. 13 and 14. Choreographer Danielle Rowe adapted the action-packed, darkly funny film into a thrilling dance performance with original music by the North Bay indie pop band Yassou and composer Kristina Dutton. \u003ca href=\"https://www.furyshow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Blackalicious:\u003c/strong> In 1999, if you were anywhere in the Bay Area, you heard Blackalicious’ \u003cem>Nia\u003c/em> playing out of cars, at bars or restaurants, and especially around a scene that coalesced at the Justice League, a smoky club on Divisadero. On \u003cem>Nia\u003c/em>, Chief Xcel’s production is a combination of dusty and futuristic, and MC Gift of Gab is in top form. Blackalicious is excellent live, and they celebrate the album’s 20th anniversary in a show on Sept. 19 at Slim’s in San Francisco. \u003ca href=\"https://www.slimspresents.com/e/blackalicious-61971332925/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every customer service job comes with moments of relative inactivity; those blessed stretches of the work shift where there’s nobody to wait on, and where you can take a breather to commiserate with your fellow employees. \u003c/p>\n\u003cp>At movie theaters, those stretches last much longer, and the routine talk between rushes goes deeper. Add the fact that many theater staff are young. Also, that discussing why you like or don’t like a movie usually brings up personal experiences and emotional details. All of this gets magnified as the clock ticks into nighttime, when movies regularly get out after midnight.\u003c/p>\n\u003cp>This is the premise of \u003cem>The Flick\u003c/em>, the Pulitzer-winning play by Annie Baker currently making its West Coast premiere at Shotgun Players’ Ashby Stage in Berkeley. Full of dialogue and situations that will feel very familiar to anyone who’s worked a customer service job, it also (hopefully) inspires empathy toward the beleaguered minimum-wage worker in those who haven’t.\u003c/p>\n\u003cp>\u003cem>The Flick\u003c/em> starts slowly, because time at a movie theater moves slowly. As Sam (Chris Ginesi) and Avery (Justin Howard) sweep up between rows of seats after a show, the pauses between conversation are almost painfully long. Sam is showing new employee Avery the basic stuff like where to take the trash, and soon, more complicated stuff, like the elaborate system of skimming the box office cash register.\u003c/p>\n\u003cp>Also complicated is Sam’s attraction to projectionist Rose (Ari Rampy), who flirts instead with Avery, the new kid on the block. Meanwhile, Avery’s worried about Rose’s blatant overtures upsetting Sam, and about being blamed, as a nonwhite employee, should the cash-theft scheme be discovered. Hanging over all this is the theater industry’s imminent conversion to digital projection, and rumors that the small local theater will be sold to a corporate chain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by Jon Tracy, \u003cem>The Flick\u003c/em>‘s pace may throw some viewers off. But not only is it necessary for the revelations in the space between, it’s realistic to customer-service life. That’s true also for the set, designed by Randy Wong-Westbrooke: a perfect replica of a faded 1970s movie theater auditorium and projection booth. \u003c/p>\n\u003cp>But there’s a lot here that resonates beyond movie theaters. Love, ethics, mental health, goals, race, courage and vulnerability all play a role in \u003cem>The Flick\u003c/em>. They’re the type of things that stick around long after the credits roll and the lights come up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Back in 1996, during my first visit to San Francisco and mid-journey on the 21 Hayes, the driver noticed a group of teens occupying the front seats, leaving several seniors stranded on their feet. The driver slammed on the brakes.\u003c/p>\n\u003cp>“Hey!” she yelled, loud enough to render the entire bus silent. “If you’re sittin’ up front, your head better be bald or grey! Do you hear me?! Don’t make me come back there!”\u003c/p>\n\u003cp>The next day, a driver on the 22 abandoned us mid-ride for 10 minutes to go get a cup of coffee. The day after that, I was elbowed into submission on the 30 Stockton by elderly women carrying the biggest shopping bags I’d ever seen.\u003c/p>\n\u003cp>It was immediately clear to me—having taken buses and trains across Europe, Australia and the United States, and never seen anything quite like this—that the beautiful daily chaos on Muni was something very specific to San Francisco. In the decades since, I’ve learned that, while effectively getting us from A to B, Muni is really just a microcosm of city living.\u003c/p>\n\u003cp>This is why Muni buses show up in graffiti and murals all over San Francisco; it’s why local underground artists have filmed \u003ca href=\"https://www.youtube.com/watch?v=k24jHzJiyvM\" target=\"_blank\" rel=\"noopener\">music videos\u003c/a> on Muni for years; and it’s why \u003ca href=\"https://www.munidiaries.com/\" target=\"_blank\" rel=\"noopener\">MuniDiaries.com\u003c/a>—a website that documents “the good, bad, gross, and great parts of our lives in transit”—is now in its 11th year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oJwEUWNF51k\u003c/p>\n\u003cp>What started as an outlet for a “ragtag group of Muni riders” quickly turned into a citywide project, with thousands of people (including drivers) sending in their own stories. The blog proved so popular, it quickly turned into both a \u003ca href=\"https://www.munidiaries.com/podcast/\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> and a twice-annual \u003ca href=\"https://www.munidiaries.com/see-muni-diaries-live/\" target=\"_blank\" rel=\"noopener\">live event\u003c/a> that gives members of the public (like “Driver Doug” above) opportunities to tell their stories to an audience directly, \u003ca href=\"https://themoth.org/events\" target=\"_blank\" rel=\"noopener\">Moth\u003c/a>-style.\u003c/p>\n\u003cp>On Thursday, Oct. 3, \u003cem>Muni Diaries\u003c/em> combines its love of podcasting and public events, as part of \u003ca href=\"https://www.betabrand.com/\" target=\"_blank\" rel=\"noopener\">Betabrand\u003c/a>‘s \u003ca href=\"https://www.google.com/search?q=betabrand+podcast+theater&oq=Betabrand+Podcast+Theater&aqs=chrome.0.0j69i60.312j0j9&sourceid=chrome&ie=UTF-8&ibp=htl;events&rciv=evn&sa=X&ved=2ahUKEwi69cmI88LkAhUhNX0KHfM1BZ8Q5bwDMAF6BAgKEAE#fpstate=tldetail&htidocid=VcT05JKNO9akCWuWJpA8-A%3D%3D&htivrt=events\" target=\"_blank\" rel=\"noopener\">“Podcast Theatre”\u003c/a> series. Long-serving diarist Eugenia Chen will guide proceedings as a brand new \u003cem>Muni Diaries\u003c/em> podcast is recorded before an 18-and-over audience.\u003c/p>\n\u003cp>Like the website itself, you can expect this to be an entertaining, enriching and ultimately bonding experience. As the \u003ca href=\"https://www.facebook.com/munidiaries/\" target=\"_blank\" rel=\"noopener\">\u003cem>Muni Diaries\u003c/em> Facebook page\u003c/a> notes: “Everyone has a Muni story to tell. Love it or hate it, Muni is our city’s collective living room, where people spread out (literally) and get comfy (even when they shouldn’t, see also: nail clippers), and you never know who you’ll meet.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 1996, during my first visit to San Francisco and mid-journey on the 21 Hayes, the driver noticed a group of teens occupying the front seats, leaving several seniors stranded on their feet. The driver slammed on the brakes.\u003c/p>\n\u003cp>“Hey!” she yelled, loud enough to render the entire bus silent. “If you’re sittin’ up front, your head better be bald or grey! Do you hear me?! Don’t make me come back there!”\u003c/p>\n\u003cp>The next day, a driver on the 22 abandoned us mid-ride for 10 minutes to go get a cup of coffee. The day after that, I was elbowed into submission on the 30 Stockton by elderly women carrying the biggest shopping bags I’d ever seen.\u003c/p>\n\u003cp>It was immediately clear to me—having taken buses and trains across Europe, Australia and the United States, and never seen anything quite like this—that the beautiful daily chaos on Muni was something very specific to San Francisco. In the decades since, I’ve learned that, while effectively getting us from A to B, Muni is really just a microcosm of city living.\u003c/p>\n\u003cp>This is why Muni buses show up in graffiti and murals all over San Francisco; it’s why local underground artists have filmed \u003ca href=\"https://www.youtube.com/watch?v=k24jHzJiyvM\" target=\"_blank\" rel=\"noopener\">music videos\u003c/a> on Muni for years; and it’s why \u003ca href=\"https://www.munidiaries.com/\" target=\"_blank\" rel=\"noopener\">MuniDiaries.com\u003c/a>—a website that documents “the good, bad, gross, and great parts of our lives in transit”—is now in its 11th year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oJwEUWNF51k'\n title='//www.youtube.com/embed/oJwEUWNF51k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What started as an outlet for a “ragtag group of Muni riders” quickly turned into a citywide project, with thousands of people (including drivers) sending in their own stories. The blog proved so popular, it quickly turned into both a \u003ca href=\"https://www.munidiaries.com/podcast/\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> and a twice-annual \u003ca href=\"https://www.munidiaries.com/see-muni-diaries-live/\" target=\"_blank\" rel=\"noopener\">live event\u003c/a> that gives members of the public (like “Driver Doug” above) opportunities to tell their stories to an audience directly, \u003ca href=\"https://themoth.org/events\" target=\"_blank\" rel=\"noopener\">Moth\u003c/a>-style.\u003c/p>\n\u003cp>On Thursday, Oct. 3, \u003cem>Muni Diaries\u003c/em> combines its love of podcasting and public events, as part of \u003ca href=\"https://www.betabrand.com/\" target=\"_blank\" rel=\"noopener\">Betabrand\u003c/a>‘s \u003ca href=\"https://www.google.com/search?q=betabrand+podcast+theater&oq=Betabrand+Podcast+Theater&aqs=chrome.0.0j69i60.312j0j9&sourceid=chrome&ie=UTF-8&ibp=htl;events&rciv=evn&sa=X&ved=2ahUKEwi69cmI88LkAhUhNX0KHfM1BZ8Q5bwDMAF6BAgKEAE#fpstate=tldetail&htidocid=VcT05JKNO9akCWuWJpA8-A%3D%3D&htivrt=events\" target=\"_blank\" rel=\"noopener\">“Podcast Theatre”\u003c/a> series. Long-serving diarist Eugenia Chen will guide proceedings as a brand new \u003cem>Muni Diaries\u003c/em> podcast is recorded before an 18-and-over audience.\u003c/p>\n\u003cp>Like the website itself, you can expect this to be an entertaining, enriching and ultimately bonding experience. As the \u003ca href=\"https://www.facebook.com/munidiaries/\" target=\"_blank\" rel=\"noopener\">\u003cem>Muni Diaries\u003c/em> Facebook page\u003c/a> notes: “Everyone has a Muni story to tell. Love it or hate it, Muni is our city’s collective living room, where people spread out (literally) and get comfy (even when they shouldn’t, see also: nail clippers), and you never know who you’ll meet.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sam Lefebvre discuss their critic’s picks for this weekend at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Opera in the Park\u003c/strong>: How can you go wrong with arias and other music from SF Opera’s upcoming season, in Golden Gate Park, for free? Opera snippets you might hear include Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Mozart’s \u003cem>Marriage of Figaro\u003c/em>, or even the new opera about Steve Jobs by local composer Mason Bates. We’re always in favor of so-called “high art” being as accessible as possible, and this is a great way for kids, students, or people curious about opera to experience it. That’s Sunday, Sept. 8, at Robin Williams Meadow in Golden Gate Park. \u003ca href=\"https://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Underground Living’ Book Release\u003c/strong>: V. Vale, a San Francisco publishing legend, has his first-ever book of photography coming out. Vale was the one behind the old fanzines \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, and since the late ’70s he’s really obsessively documented San Francisco punk and industrial scenes, as well as a wide variety of subcultural offshoots, under the banner of RE/Search Publications. Yet it’s only now that he’s beginning to share his photography from this journey, including photos from the first-ever Ramones show in the Bay Area. He celebrates the book’s release at City Lights in San Francisco on Sunday, Sept. 8. \u003ca href=\"https://www.kqed.org/arts/13865218/v-vale-tireless-counterculture-chronicler-releases-first-ever-photo-book-at-city-lights\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Body Electric’\u003c/strong>: Only in the Bay Area would an underground figure like V. Vale exist alongside the headquarters of Google, Apple, and Facebook. So I’m glad for ‘The Body Electric,’ a giant show at YBCA exploring the intersection of art, tech, and the human body. The exhibit incorporates video, sculpture, virtual reality, and photography, and it zeros in on themes of race, gender, and class. It comes here from the Walker Art Center in Minneapolis, and it’s a natural touring show for the Bay Area, where we’re always trying to get art and tech to talk to each other more smoothly. It opens Friday, Sept. 6, and runs through January of next year, at YBCA in San Francisco. \u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Black Choreographers Festival\u003c/strong>: The Malonga Casquelourd Center for the Arts is an essential performing arts hub for the East Bay, which hosts this dance festival this weekend. Saturday features new works by artists including Kendra Kimbrough Barnes, Gregory Dawson and Reginald Savage, and then on Sunday, the program spotlights youth dance groups from around the Bay. There’s satellite programming and several noteworthy performers and organizers involved here, so check out their website. It runs Sept. 7 and 8 at Malonga Casquelourd Center for the Arts. \u003ca href=\"https://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Giraffage and Astronautica\u003c/strong>: You might expect a place called the Jerry Garcia Amphitheater to be in the Haight-Ashbury, but no, it’s in the Excelsior neighborhood of San Francisco, which is where Jerry Garcia grew up. But the amphitheater isn’t used as much as it should be, especially for music, which makes this show there on Saturday with some electronic artists really welcome. It’s free, and the performers reflect the demographics of the neighborhood—this weekend, it’s Giraffage, the stage name of electronic producer Charlie Yin, whose music you just heard, and Astronautica, the stage name of Edrina Martinez. That’s the middle of McLaren Park, at at Jerry Garcia Amphitheater, on Saturday, Sept. 7. \u003ca href=\"http://events.noisepop.com/events/2019/9/7/due-south-free-sf-concert\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sam Lefebvre discuss their critic’s picks for this weekend at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Opera in the Park\u003c/strong>: How can you go wrong with arias and other music from SF Opera’s upcoming season, in Golden Gate Park, for free? Opera snippets you might hear include Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Mozart’s \u003cem>Marriage of Figaro\u003c/em>, or even the new opera about Steve Jobs by local composer Mason Bates. We’re always in favor of so-called “high art” being as accessible as possible, and this is a great way for kids, students, or people curious about opera to experience it. That’s Sunday, Sept. 8, at Robin Williams Meadow in Golden Gate Park. \u003ca href=\"https://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Underground Living’ Book Release\u003c/strong>: V. Vale, a San Francisco publishing legend, has his first-ever book of photography coming out. Vale was the one behind the old fanzines \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, and since the late ’70s he’s really obsessively documented San Francisco punk and industrial scenes, as well as a wide variety of subcultural offshoots, under the banner of RE/Search Publications. Yet it’s only now that he’s beginning to share his photography from this journey, including photos from the first-ever Ramones show in the Bay Area. He celebrates the book’s release at City Lights in San Francisco on Sunday, Sept. 8. \u003ca href=\"https://www.kqed.org/arts/13865218/v-vale-tireless-counterculture-chronicler-releases-first-ever-photo-book-at-city-lights\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Body Electric’\u003c/strong>: Only in the Bay Area would an underground figure like V. Vale exist alongside the headquarters of Google, Apple, and Facebook. So I’m glad for ‘The Body Electric,’ a giant show at YBCA exploring the intersection of art, tech, and the human body. The exhibit incorporates video, sculpture, virtual reality, and photography, and it zeros in on themes of race, gender, and class. It comes here from the Walker Art Center in Minneapolis, and it’s a natural touring show for the Bay Area, where we’re always trying to get art and tech to talk to each other more smoothly. It opens Friday, Sept. 6, and runs through January of next year, at YBCA in San Francisco. \u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener\">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>Black Choreographers Festival\u003c/strong>: The Malonga Casquelourd Center for the Arts is an essential performing arts hub for the East Bay, which hosts this dance festival this weekend. Saturday features new works by artists including Kendra Kimbrough Barnes, Gregory Dawson and Reginald Savage, and then on Sunday, the program spotlights youth dance groups from around the Bay. There’s satellite programming and several noteworthy performers and organizers involved here, so check out their website. It runs Sept. 7 and 8 at Malonga Casquelourd Center for the Arts. \u003ca href=\"https://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Giraffage and Astronautica\u003c/strong>: You might expect a place called the Jerry Garcia Amphitheater to be in the Haight-Ashbury, but no, it’s in the Excelsior neighborhood of San Francisco, which is where Jerry Garcia grew up. But the amphitheater isn’t used as much as it should be, especially for music, which makes this show there on Saturday with some electronic artists really welcome. It’s free, and the performers reflect the demographics of the neighborhood—this weekend, it’s Giraffage, the stage name of electronic producer Charlie Yin, whose music you just heard, and Astronautica, the stage name of Edrina Martinez. That’s the middle of McLaren Park, at at Jerry Garcia Amphitheater, on Saturday, Sept. 7. \u003ca href=\"http://events.noisepop.com/events/2019/9/7/due-south-free-sf-concert\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay",
"headTitle": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay | KQED",
"content": "\u003cp>After a summer full of outdoor festivals, touring shows in parks, and family-style recreating, autumn signals a shift—if not in temperature, than in the theatrical climate. For many Bay Area theaters, fall is when new seasons begin, and even for theater companies whose seasons follow the calendar year, rarely is their autumnal offering anything but a grand centerpiece.\u003c/p>\n\u003cp>For even the occasional theatergoer, it’s hard to choose wrong—the real challenge is in narrowing down the field. Here are nine picks from the heavy-hitting months ahead. (And as always, check \u003ca href=\"https://www.kqed.org/thedolist\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for weekly recommendations in music, art and more from KQED Arts editors.)\u003c/p>\n\u003cfigure id=\"attachment_13864734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong and Stacy Ross in Megan Cohen’s ‘Free for All’ at Cutting Ball Theater. \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Free For All’\u003c/h2>\n\u003cp>\u003ci>Cutting Ball Theater, San Francisco\u003cbr>\nSept. 19-Oct. 20, 2019\u003cbr>\n\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This highly anticipated world premiere from local playwright and librettist Megan Cohen—the first playwright selected for Cutting Ball Theater’s new playwright commissions program—opens their 21st season with a champagne cork pop. Billed as a “new \u003cem>Miss Julie\u003c/em> for a new world,” this non-naturalistic, San Francisco-centric riff on Strindberg’s problematic interrogation of power dynamics promises comedy, theatricality, and a foray into a future of elegant waste and survivalism. Can San Francisco be saved before half of it washes out to sea? Does anyone even care to try? Directed by Ariel Craft.\u003c/p>\n\u003cfigure id=\"attachment_13864731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Rondon-Davis, Christell Lewis, and Everett Moore star in ‘Inked Baby’ at Crowded Fire Theater. \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Inked Baby’\u003c/h2>\n\u003cp>\u003ci>Crowded Fire Theater, San Francisco\u003cbr>\nSept. 12-Oct. 5, 2019\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/inked-baby/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Crowded Fire Theater continues its tradition of bringing dynamic American playwrights to their Potrero Hill stage with this early Christina Anderson work. A playwright with a history of Crowded Fire productions (they produced her \u003cem>Drip\u003c/em> in 2009, and \u003cem>Good Goods\u003c/em> in 2012), and erstwhile Bay Area artistic roots, Anderson has garnered international acclaim for her multi-layered works centering the black American experience. With \u003cem>Inked Baby\u003c/em>, she begins by wrestling with the dynamics of an in-family surrogate pregnancy and winds up in a speculative realm where a mysterious malady ravages the city, and potentially their future. Directed by Lisa Marie Rollins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13864735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caryl Churchill. \u003ccite>(American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caryl Churchill-palooza\u003c/h2>\n\u003cp>\u003cstrong>‘Top Girls’\u003c/strong>\u003cbr>\n\u003ci>A.C.T., San Francisco\u003cbr>\nSept. 19-Oct. 13, 2019\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1920_season/top_girls.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Vinegar Tom\u003c/strong>\u003cbr>\n\u003ci>Shotgun Players, Berkeley\u003cbr>\nDec. 6, 2019-Jan. 5, 2020\u003cbr>\n\u003ca href=\"http://bit.ly/2FPuyCJ\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Hot on the heels of new Caryl Churchill one-acts produced by Berkeley’s Anton’s Well, A.C.T. opens its new season with her best-known work, the \u003cspan class=\"st\">inimitable\u003c/span> \u003cem>Top Girls—\u003c/em>partly set at the most interesting dinner party of all time. Then, closing their season in December, Shotgun Players presents a rollicking rendition of Churchill’s \u003cem>Vinegar Tom\u003c/em>, a Brechtian musical foray set in a 17th century of witchfinders and oppressive patriarchy. It’s a wonderful opportunity for Bay Area theatergoers to reacquaint themselves with multiple decades’ worth of Churchill’s feminist ideals and strong-willed protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13864729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terror Vault returns to the Old Mint. \u003ccite>(Jose A. Guzman Colon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Terror Vault’\u003c/h2>\n\u003cp>\u003ci>The Old Mint, San Francisco\u003cbr>\nOct. 10-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://www.intothedarksf.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Most haunted houses don’t qualify as theater picks, but then again, most haunted houses aren’t 45-minute immersive experiences, scripted and staged by the great Peaches Christ (in collaboration with Non Plus Ultra and legendary haunted house designer David Flower). Last year’s \u003cem>Terror Vault\u003c/em> was a taut tightrope of creepshow, camp, and bloodbath, with a surprisingly cohesive narrative throughline and plenty of (optional) audience participation, and this year’s version looks to be all that and more. This edition introduces \u003cem>Apolcalypse,\u003c/em> a zombie-themed escape-room experience for folks who just can’t get scared enough. Discover the haunted histories of San Francisco’s Old Mint—or become one of them yourself.\u003c/p>\n\u003cfigure id=\"attachment_13864728\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864728\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg\" alt=\"\" width=\"600\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-768x1066.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-865x1200.jpg 865w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dan Wolf. \u003ccite>(TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Haunted Playwrights\u003c/h2>\n\u003cp>\u003cstrong>‘From the Ground Up’\u003c/strong>\u003cbr>\n\u003ci>TheatreFIRST, San Francisco\u003cbr>\nOct. 27-Nov. 10, 2019\u003cbr>\n\u003ca href=\"https://theatrefirst.com/2019-20-season/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill Festival\u003c/strong>\u003cbr>\n\u003ci>Various venues\u003cbr>\nAug. 24-Sept. 29, 2019\u003cbr>\n\u003ca href=\"http://www.eugeneoneill.org/20th-annual-eugene-oneill-festival/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Speaking of hauntings, is there anything so haunted as the unresolved past? TheatreFIRST’s anthology of commissioned short plays explores the personal as peril—and how society is shaped by the supernatural—in \u003cem>From the Ground Up: An Anthology of Ghost Stories Made New\u003c/em>, penned by a who’s-who of some of the Bay Area’s most inventive voices, including Eugenie Chan, Dan Wolf, and Cleavon Smith. Meanwhile, the 20th Annual Eugene O’Neill Festival calls back to a pair of American Theater’s “haunted poets”—Eugene O’Neill and Tennessee Williams. It includes a special weekend of O’Neill’s seafaring short plays at Hyde Street Pier, and a production of his epic \u003cem>Long Day’s Journey Into Night \u003c/em>at his historic Tao House in Danville.\u003c/p>\n\u003cfigure id=\"attachment_13864736\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg\" alt=\"\" width=\"600\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cristina García. \u003ccite>(Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Lady Matador’s Hotel’\u003c/h2>\n\u003cp>\u003ci>Central Works, Berkeley\u003cbr>\nOct. 12-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://centralworks.org/the-lady-matadors-hotel/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>So successful was \u003cem>King of Cuba,\u003c/em> last year’s Central Works collaboration with novelist Cristina García, that they’re back this year with another, \u003cem>The Lady Matador’s Hotel\u003c/em>. Adapted from her 2010 book of the same name, \u003cem>The Lady Matador’s Hotel\u003c/em> follows the adventures of an unlikely coterie of travelers, stranded in an unnamed Central American country in a state of political unrest. Featuring a high-caliber cast and directed by Central Works’ co-artistic director, Gary Graves, this production closes out their 29th season with their 65th world premiere.\u003c/p>\n\u003cfigure id=\"attachment_13864733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bubba Weller, Nadia Brown, Nicholas Podany in the New York production of ‘Harry Potter and the Cursed Child.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harry Potter and the Cursed Child’\u003c/h2>\n\u003cp>\u003ci>The Curran, San Francisco\u003cbr>\nOct. 23, 2019-May 2020\u003cbr>\n\u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Calling all wizards! The extravaganza that is \u003cem>Harry Potter and the Cursed Child \u003c/em>is coming to San Francisco in October for its West Coast premiere under the refurbished Curran Theater roof. \u003cem>Harry Potter and the Cursed Child\u003c/em> features a grown-up Harry and his children, in particular his son Albus, who is heading to Hogwarts. Having been written with the many Harry Potter superfans in mind, the play is a two-part marathon, with tickets available for both consecutive and non-consecutive showings. Either way, be prepared to board the Hogwarts Express from Platform 9 ¾.\u003c/p>\n\u003cfigure id=\"attachment_13864730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nassim.’ \u003ccite>(David Monteith-Hodge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nassim’\u003c/h2>\n\u003cp>\u003ci>Magic Theatre, San Francisco\u003cbr>\nNov. 12-16, 2019\u003cbr>\n\u003ca href=\"https://magictheatre.secure.force.com/ticket#details_a0S5A00000VLiXtUAL\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>In his infamous \u003cem>White Rabbit, Red Rabbit\u003c/em>, Nassim Soleimanpour challenged actors around the globe to perform his play without rehearsal, direction, or even time to read the script before the show. His eponymous \u003cem>Nassim \u003c/em>asks a similar leap of performer faith. The twist, however, is that Soleimanpour himself controls how and when the actor receives the text they are to speak via a projection screen. They’ll also receive an onstage crash course in Farsi, while exploring the human nuances of language and our universal struggles to communicate. Winner of the 2017 Fringe First award in Edinburgh, Scotland.\u003c/p>\n\u003cfigure id=\"attachment_13864737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Skyline at Beach Blanket Babylon \u003ccite>(Rick Markovich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Beach Blanket Babylon’\u003c/h2>\n\u003cp>\u003ci>Club Fugazi, San Francisco\u003cbr>\nThrough Dec. 31, 2019\u003cbr>\n\u003ca href=\"http://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Sure, it’s a little over the top. Ok, a \u003cem>lot\u003c/em>. But \u003cem>Beach Blanket Babylon\u003c/em> is as much a San Francisco institution as any of our mainstages, and predates many of them at a venerable 45 years old; it’s the world’s longest-running musical revue. But despite its enduring charm, unflappable energy, and strong sales, the show must apparently not go on, closing for good on Dec. 31. So whether you’re a long-time fan, or one who’s been meaning to go but just haven’t quite made it out, this is your last opportunity to make some \u003cem>Beach Blanket Babylon \u003c/em>memories to carry with you into a future bereft of its broad-stroke satire and iconic hats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "World premieres! Famous playwrights! Avant-garde stagings! Harry Potter! This fall, get out and see some theater. ",
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"title": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay | KQED",
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"headline": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a summer full of outdoor festivals, touring shows in parks, and family-style recreating, autumn signals a shift—if not in temperature, than in the theatrical climate. For many Bay Area theaters, fall is when new seasons begin, and even for theater companies whose seasons follow the calendar year, rarely is their autumnal offering anything but a grand centerpiece.\u003c/p>\n\u003cp>For even the occasional theatergoer, it’s hard to choose wrong—the real challenge is in narrowing down the field. Here are nine picks from the heavy-hitting months ahead. (And as always, check \u003ca href=\"https://www.kqed.org/thedolist\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for weekly recommendations in music, art and more from KQED Arts editors.)\u003c/p>\n\u003cfigure id=\"attachment_13864734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong and Stacy Ross in Megan Cohen’s ‘Free for All’ at Cutting Ball Theater. \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Free For All’\u003c/h2>\n\u003cp>\u003ci>Cutting Ball Theater, San Francisco\u003cbr>\nSept. 19-Oct. 20, 2019\u003cbr>\n\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This highly anticipated world premiere from local playwright and librettist Megan Cohen—the first playwright selected for Cutting Ball Theater’s new playwright commissions program—opens their 21st season with a champagne cork pop. Billed as a “new \u003cem>Miss Julie\u003c/em> for a new world,” this non-naturalistic, San Francisco-centric riff on Strindberg’s problematic interrogation of power dynamics promises comedy, theatricality, and a foray into a future of elegant waste and survivalism. Can San Francisco be saved before half of it washes out to sea? Does anyone even care to try? Directed by Ariel Craft.\u003c/p>\n\u003cfigure id=\"attachment_13864731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Rondon-Davis, Christell Lewis, and Everett Moore star in ‘Inked Baby’ at Crowded Fire Theater. \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Inked Baby’\u003c/h2>\n\u003cp>\u003ci>Crowded Fire Theater, San Francisco\u003cbr>\nSept. 12-Oct. 5, 2019\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/inked-baby/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Crowded Fire Theater continues its tradition of bringing dynamic American playwrights to their Potrero Hill stage with this early Christina Anderson work. A playwright with a history of Crowded Fire productions (they produced her \u003cem>Drip\u003c/em> in 2009, and \u003cem>Good Goods\u003c/em> in 2012), and erstwhile Bay Area artistic roots, Anderson has garnered international acclaim for her multi-layered works centering the black American experience. With \u003cem>Inked Baby\u003c/em>, she begins by wrestling with the dynamics of an in-family surrogate pregnancy and winds up in a speculative realm where a mysterious malady ravages the city, and potentially their future. Directed by Lisa Marie Rollins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13864735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caryl Churchill. \u003ccite>(American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caryl Churchill-palooza\u003c/h2>\n\u003cp>\u003cstrong>‘Top Girls’\u003c/strong>\u003cbr>\n\u003ci>A.C.T., San Francisco\u003cbr>\nSept. 19-Oct. 13, 2019\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1920_season/top_girls.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Vinegar Tom\u003c/strong>\u003cbr>\n\u003ci>Shotgun Players, Berkeley\u003cbr>\nDec. 6, 2019-Jan. 5, 2020\u003cbr>\n\u003ca href=\"http://bit.ly/2FPuyCJ\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Hot on the heels of new Caryl Churchill one-acts produced by Berkeley’s Anton’s Well, A.C.T. opens its new season with her best-known work, the \u003cspan class=\"st\">inimitable\u003c/span> \u003cem>Top Girls—\u003c/em>partly set at the most interesting dinner party of all time. Then, closing their season in December, Shotgun Players presents a rollicking rendition of Churchill’s \u003cem>Vinegar Tom\u003c/em>, a Brechtian musical foray set in a 17th century of witchfinders and oppressive patriarchy. It’s a wonderful opportunity for Bay Area theatergoers to reacquaint themselves with multiple decades’ worth of Churchill’s feminist ideals and strong-willed protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13864729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terror Vault returns to the Old Mint. \u003ccite>(Jose A. Guzman Colon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Terror Vault’\u003c/h2>\n\u003cp>\u003ci>The Old Mint, San Francisco\u003cbr>\nOct. 10-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://www.intothedarksf.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Most haunted houses don’t qualify as theater picks, but then again, most haunted houses aren’t 45-minute immersive experiences, scripted and staged by the great Peaches Christ (in collaboration with Non Plus Ultra and legendary haunted house designer David Flower). Last year’s \u003cem>Terror Vault\u003c/em> was a taut tightrope of creepshow, camp, and bloodbath, with a surprisingly cohesive narrative throughline and plenty of (optional) audience participation, and this year’s version looks to be all that and more. This edition introduces \u003cem>Apolcalypse,\u003c/em> a zombie-themed escape-room experience for folks who just can’t get scared enough. Discover the haunted histories of San Francisco’s Old Mint—or become one of them yourself.\u003c/p>\n\u003cfigure id=\"attachment_13864728\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864728\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg\" alt=\"\" width=\"600\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-768x1066.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-865x1200.jpg 865w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dan Wolf. \u003ccite>(TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Haunted Playwrights\u003c/h2>\n\u003cp>\u003cstrong>‘From the Ground Up’\u003c/strong>\u003cbr>\n\u003ci>TheatreFIRST, San Francisco\u003cbr>\nOct. 27-Nov. 10, 2019\u003cbr>\n\u003ca href=\"https://theatrefirst.com/2019-20-season/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill Festival\u003c/strong>\u003cbr>\n\u003ci>Various venues\u003cbr>\nAug. 24-Sept. 29, 2019\u003cbr>\n\u003ca href=\"http://www.eugeneoneill.org/20th-annual-eugene-oneill-festival/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Speaking of hauntings, is there anything so haunted as the unresolved past? TheatreFIRST’s anthology of commissioned short plays explores the personal as peril—and how society is shaped by the supernatural—in \u003cem>From the Ground Up: An Anthology of Ghost Stories Made New\u003c/em>, penned by a who’s-who of some of the Bay Area’s most inventive voices, including Eugenie Chan, Dan Wolf, and Cleavon Smith. Meanwhile, the 20th Annual Eugene O’Neill Festival calls back to a pair of American Theater’s “haunted poets”—Eugene O’Neill and Tennessee Williams. It includes a special weekend of O’Neill’s seafaring short plays at Hyde Street Pier, and a production of his epic \u003cem>Long Day’s Journey Into Night \u003c/em>at his historic Tao House in Danville.\u003c/p>\n\u003cfigure id=\"attachment_13864736\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg\" alt=\"\" width=\"600\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cristina García. \u003ccite>(Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Lady Matador’s Hotel’\u003c/h2>\n\u003cp>\u003ci>Central Works, Berkeley\u003cbr>\nOct. 12-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://centralworks.org/the-lady-matadors-hotel/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>So successful was \u003cem>King of Cuba,\u003c/em> last year’s Central Works collaboration with novelist Cristina García, that they’re back this year with another, \u003cem>The Lady Matador’s Hotel\u003c/em>. Adapted from her 2010 book of the same name, \u003cem>The Lady Matador’s Hotel\u003c/em> follows the adventures of an unlikely coterie of travelers, stranded in an unnamed Central American country in a state of political unrest. Featuring a high-caliber cast and directed by Central Works’ co-artistic director, Gary Graves, this production closes out their 29th season with their 65th world premiere.\u003c/p>\n\u003cfigure id=\"attachment_13864733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bubba Weller, Nadia Brown, Nicholas Podany in the New York production of ‘Harry Potter and the Cursed Child.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harry Potter and the Cursed Child’\u003c/h2>\n\u003cp>\u003ci>The Curran, San Francisco\u003cbr>\nOct. 23, 2019-May 2020\u003cbr>\n\u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Calling all wizards! The extravaganza that is \u003cem>Harry Potter and the Cursed Child \u003c/em>is coming to San Francisco in October for its West Coast premiere under the refurbished Curran Theater roof. \u003cem>Harry Potter and the Cursed Child\u003c/em> features a grown-up Harry and his children, in particular his son Albus, who is heading to Hogwarts. Having been written with the many Harry Potter superfans in mind, the play is a two-part marathon, with tickets available for both consecutive and non-consecutive showings. Either way, be prepared to board the Hogwarts Express from Platform 9 ¾.\u003c/p>\n\u003cfigure id=\"attachment_13864730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nassim.’ \u003ccite>(David Monteith-Hodge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nassim’\u003c/h2>\n\u003cp>\u003ci>Magic Theatre, San Francisco\u003cbr>\nNov. 12-16, 2019\u003cbr>\n\u003ca href=\"https://magictheatre.secure.force.com/ticket#details_a0S5A00000VLiXtUAL\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>In his infamous \u003cem>White Rabbit, Red Rabbit\u003c/em>, Nassim Soleimanpour challenged actors around the globe to perform his play without rehearsal, direction, or even time to read the script before the show. His eponymous \u003cem>Nassim \u003c/em>asks a similar leap of performer faith. The twist, however, is that Soleimanpour himself controls how and when the actor receives the text they are to speak via a projection screen. They’ll also receive an onstage crash course in Farsi, while exploring the human nuances of language and our universal struggles to communicate. Winner of the 2017 Fringe First award in Edinburgh, Scotland.\u003c/p>\n\u003cfigure id=\"attachment_13864737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Skyline at Beach Blanket Babylon \u003ccite>(Rick Markovich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Beach Blanket Babylon’\u003c/h2>\n\u003cp>\u003ci>Club Fugazi, San Francisco\u003cbr>\nThrough Dec. 31, 2019\u003cbr>\n\u003ca href=\"http://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Sure, it’s a little over the top. Ok, a \u003cem>lot\u003c/em>. But \u003cem>Beach Blanket Babylon\u003c/em> is as much a San Francisco institution as any of our mainstages, and predates many of them at a venerable 45 years old; it’s the world’s longest-running musical revue. But despite its enduring charm, unflappable energy, and strong sales, the show must apparently not go on, closing for good on Dec. 31. So whether you’re a long-time fan, or one who’s been meaning to go but just haven’t quite made it out, this is your last opportunity to make some \u003cem>Beach Blanket Babylon \u003c/em>memories to carry with you into a future bereft of its broad-stroke satire and iconic hats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Lionel Richie\u003c/strong>: You might remember seven or so years ago when Lionel Richie went country, and even performed on the CMA Awards—don’t worry, this ain’t that. Lately, he’s been playing hit after hit: “Hello,” “Running With the Night,” “Stuck on You,” “Dancing on the Ceiling”… hours of ’80s classics. He performs Saturday, Aug. 24, at the recently refurbished Frost Amphitheater at Stanford. \u003ca href=\"https://live.stanford.edu/calendar/august-2019/lionel-richie\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tankcrimes Takeover\u003c/strong>: Tankcrimes has held it down in the Bay Area punk and metal scene for almost 20 years as an underground label that champions bands of the dark, heavy and face-melting variety. They’re taking over Eli’s Mile High Club in Oakland on Friday, Aug. 23, with a showcase of some of the doom metal, death metal, punk and hardcore bands on their roster, including Necrot, as well as Kicker, Cliterati and Deathgrave. \u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Flick’\u003c/strong>: We’ve seen movies about record store employees—\u003cem>High Fidelity\u003c/em>, \u003cem>Empire Records\u003c/em>—but there’s never been a great script about movie theater employees… until now. \u003cem>The Flick\u003c/em> is a Pulitzer Prize-winning play about three employees working at a suburban movie theater, and how their lives intersect. But it’s about more than the movie trivia they try to stump each other with—it’s about those interactions we all have during formative years in our lives, that shape us in even the most basic environments. It opens Thursday, Aug,. 22, at the Ashby Stage in Berkeley, and runs through Sept. 22. \u003ca href=\"https://shotgunplayers.org\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Shame // Reflections’\u003c/strong>: At Oros Gallery in the back of Pentacle Coffee in SF, this photo show features photography by Hannah Said and Sammy Jonny, two Muslim artists. They juxtapose photos of Muslim women in hijabs from their community with photos of Trump supporters at his inauguration to ask questions about power, privilege and intimidation. There’s an opening reception on Friday, Aug. 23, with an artist talk on Sept. 20. \u003ca href=\"https://www.instagram.com/orosgallery/?hl=en\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Meredith Monk\u003c/strong>: There is nobody quite like Meredith Monk, a singer and composer who’s always intriguing. And at Grace Cathedral, with its high ceilings and famous seven-second echo, her music should sound even more amazing. On her current tour, she’s stopping by the L.A. Philharmonic and Lincoln Center in New York—and while those shows are not free, this one is. That’s on Friday night, Aug, 23, at Grace Cathedral in San Francisco. \u003ca href=\"https://gracecathedral.org/events/meredith-monk-vocal-ensemble-unearthed/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Lionel Richie\u003c/strong>: You might remember seven or so years ago when Lionel Richie went country, and even performed on the CMA Awards—don’t worry, this ain’t that. Lately, he’s been playing hit after hit: “Hello,” “Running With the Night,” “Stuck on You,” “Dancing on the Ceiling”… hours of ’80s classics. He performs Saturday, Aug. 24, at the recently refurbished Frost Amphitheater at Stanford. \u003ca href=\"https://live.stanford.edu/calendar/august-2019/lionel-richie\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tankcrimes Takeover\u003c/strong>: Tankcrimes has held it down in the Bay Area punk and metal scene for almost 20 years as an underground label that champions bands of the dark, heavy and face-melting variety. They’re taking over Eli’s Mile High Club in Oakland on Friday, Aug. 23, with a showcase of some of the doom metal, death metal, punk and hardcore bands on their roster, including Necrot, as well as Kicker, Cliterati and Deathgrave. \u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Flick’\u003c/strong>: We’ve seen movies about record store employees—\u003cem>High Fidelity\u003c/em>, \u003cem>Empire Records\u003c/em>—but there’s never been a great script about movie theater employees… until now. \u003cem>The Flick\u003c/em> is a Pulitzer Prize-winning play about three employees working at a suburban movie theater, and how their lives intersect. But it’s about more than the movie trivia they try to stump each other with—it’s about those interactions we all have during formative years in our lives, that shape us in even the most basic environments. It opens Thursday, Aug,. 22, at the Ashby Stage in Berkeley, and runs through Sept. 22. \u003ca href=\"https://shotgunplayers.org\" 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>‘Shame // Reflections’\u003c/strong>: At Oros Gallery in the back of Pentacle Coffee in SF, this photo show features photography by Hannah Said and Sammy Jonny, two Muslim artists. They juxtapose photos of Muslim women in hijabs from their community with photos of Trump supporters at his inauguration to ask questions about power, privilege and intimidation. There’s an opening reception on Friday, Aug. 23, with an artist talk on Sept. 20. \u003ca href=\"https://www.instagram.com/orosgallery/?hl=en\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Meredith Monk\u003c/strong>: There is nobody quite like Meredith Monk, a singer and composer who’s always intriguing. And at Grace Cathedral, with its high ceilings and famous seven-second echo, her music should sound even more amazing. On her current tour, she’s stopping by the L.A. Philharmonic and Lincoln Center in New York—and while those shows are not free, this one is. That’s on Friday night, Aug, 23, at Grace Cathedral in San Francisco. \u003ca href=\"https://gracecathedral.org/events/meredith-monk-vocal-ensemble-unearthed/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Broadway Producers Announce Settlement, Ending Five-Year Legal Battle",
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"content": "\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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