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"content": "\u003cp>The willingness of audiences to suspend disbelief gives live theater the ability to explore unfamiliar and speculative terrain, even from a stage set prosaically with the trappings of a middle-class household. In Suzan Lori-Parks’ \u003cem>White Noise\u003c/em>, which runs through Nov. 10 at Berkeley Repertory Theatre, we’re thrown headfirst into the improbable scenario of four friends embarking on an experiment with modern-day slavery. It’s the kind of experimental philosophical puzzle that live theater feels especially suited to exploring.\u003c/p>\n\u003cp>Four characters—two male, two female; two black, two white—are busy confronting the ways in which their reality is falling short of their aspirations. Leo (Chris Herbie Holland) is a visual artist who’s finding it increasingly impossible to sleep, and therefore create. His girlfriend Dawn (Therese Barbato) is a lawyer who feels like she should be hired as a partner, but doesn’t want to stay with her dead-end firm. Their pals, fellow mixed-race couple Ralph (Nick Dillenburg) and Misha (Aimé Donna Kelly), are similarly frustrated as an adjunct professor passed over for tenure and a livestream personality, respectively. It all feels deliberately mundane.\u003c/p>\n\u003cfigure id=\"attachment_13867754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Herbie Holland (Leo) and Therese Barbato (Dawn) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mundanity is not a hallmark of Lori-Parks’ work, and almost without warning she has Leo propose the preposterous during a friendly round of bowling. What if he were to sell himself temporarily as a black slave to Ralph, his white friend who just happens to have a large trust fund at his disposal? It’s an audacious proposal that immediately elicits a panicked reaction from his friends. But Leo’s mind is made up; he’s even had a contract drawn up. For the biblically-significant number of 40 days, Leo will exile himself to the wilderness of servitude, and in return, he’ll gain the peace of mind that being under the “protection” of a “big dog” will bring him.\u003c/p>\n\u003cp>Consent isn’t really a central theme in the play, but a question this scenario inadvertently raised for me is: What if the characters had taken the time to include some sort of safeword in Leo’s slave contract? Master-slave relationships are a working reality in the kink community, which might have supplied a blueprint for Leo’s idea. Instead, Leo gets his contract drawn up by a lawyer who specializes in prenups. This leads to a series of escalating abuses of power on the part of Ralph that Leo has no way to check, and has not prepared himself mentally to face.\u003c/p>\n\u003cp>Practically before the ink is dry on the signed contract, Ralph begins adding “amendments” to it, further curtailing Leo’s words, actions, and ability to protest, and granting himself the unconditional permission to “discipline” his new property. Scratch the surface of any frustrated white man and you’ll find a supremacist waiting to emerge, Lori-Parks seems to suggest. Where this production falters is in its effort to make that idea feel revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13867753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867753\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Aimé Donna Kelly (Misha) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of Jaki Bradley, each character’s emotional disconnect is so profound that even the most charged lines are sapped of strength. When an aggrieved Ralph describes his university’s decision to deny him tenure, he announces that he’ll “kill them all” with the affectless delivery of a man asking for salt. When Leo tries to justify his radical proposal by referencing his “unarticulated self-loathing,” he sounds as if he’s quoting from a textbook on race relations rather than a genuine place of personal pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even when alone on stage, the actors’ character-defining monologues sound partly contrived, partly rote—and whether by accident or design, the play’s downward spiral into depravity feels strangely quotidian. The strongest statements tend to be made visually rather than uttered. An antique slave collar of rusted spikes and malevolent intent. A video projection (designed by Alexander V. Nichols) of the white noise that once helped Leo to sleep, and now prevents him from accessing his creativity—spreading across the walls and eventually encompassing the whole stage. A calendar of 40 days dominating the living area, slashes of a black marker indicating each day closer to freedom.\u003c/p>\n\u003cfigure id=\"attachment_13867751\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg\" alt=\"\" width=\"798\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-768x1155.jpg 768w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Chris Herbie Holland (Leo) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What never feels commonplace are the questions the play tackles. Who are we in relation to each other? How do the traumas of the past carry themselves into the future? What does true liberation look like, and what will it take to get us as a nation to that place? And what are we, who are we, liberating ourselves from? Each other? The system? Our own inflated expectations of what it means to be free?\u003c/p>\n\u003cp>In the end, we’re confronted by two major transgressions on the part of Ralph, neither of which are forgivable, and one of which is outright criminal. But because we never developed much in the way of empathy for him, nor for Leo, the impact of his crimes is blunted, diffused. Like the white noise referenced in the play’s title, Ralph’s actions feel as if they could just blend into the background. And perhaps that’s the play’s biggest shock—that such blatant evil can feel so ordinary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Noise’ plays through Nov. 10 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14544.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The willingness of audiences to suspend disbelief gives live theater the ability to explore unfamiliar and speculative terrain, even from a stage set prosaically with the trappings of a middle-class household. In Suzan Lori-Parks’ \u003cem>White Noise\u003c/em>, which runs through Nov. 10 at Berkeley Repertory Theatre, we’re thrown headfirst into the improbable scenario of four friends embarking on an experiment with modern-day slavery. It’s the kind of experimental philosophical puzzle that live theater feels especially suited to exploring.\u003c/p>\n\u003cp>Four characters—two male, two female; two black, two white—are busy confronting the ways in which their reality is falling short of their aspirations. Leo (Chris Herbie Holland) is a visual artist who’s finding it increasingly impossible to sleep, and therefore create. His girlfriend Dawn (Therese Barbato) is a lawyer who feels like she should be hired as a partner, but doesn’t want to stay with her dead-end firm. Their pals, fellow mixed-race couple Ralph (Nick Dillenburg) and Misha (Aimé Donna Kelly), are similarly frustrated as an adjunct professor passed over for tenure and a livestream personality, respectively. It all feels deliberately mundane.\u003c/p>\n\u003cfigure id=\"attachment_13867754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise2.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Herbie Holland (Leo) and Therese Barbato (Dawn) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But mundanity is not a hallmark of Lori-Parks’ work, and almost without warning she has Leo propose the preposterous during a friendly round of bowling. What if he were to sell himself temporarily as a black slave to Ralph, his white friend who just happens to have a large trust fund at his disposal? It’s an audacious proposal that immediately elicits a panicked reaction from his friends. But Leo’s mind is made up; he’s even had a contract drawn up. For the biblically-significant number of 40 days, Leo will exile himself to the wilderness of servitude, and in return, he’ll gain the peace of mind that being under the “protection” of a “big dog” will bring him.\u003c/p>\n\u003cp>Consent isn’t really a central theme in the play, but a question this scenario inadvertently raised for me is: What if the characters had taken the time to include some sort of safeword in Leo’s slave contract? Master-slave relationships are a working reality in the kink community, which might have supplied a blueprint for Leo’s idea. Instead, Leo gets his contract drawn up by a lawyer who specializes in prenups. This leads to a series of escalating abuses of power on the part of Ralph that Leo has no way to check, and has not prepared himself mentally to face.\u003c/p>\n\u003cp>Practically before the ink is dry on the signed contract, Ralph begins adding “amendments” to it, further curtailing Leo’s words, actions, and ability to protest, and granting himself the unconditional permission to “discipline” his new property. Scratch the surface of any frustrated white man and you’ll find a supremacist waiting to emerge, Lori-Parks seems to suggest. Where this production falters is in its effort to make that idea feel revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13867753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867753\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise4.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Aimé Donna Kelly (Misha) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of Jaki Bradley, each character’s emotional disconnect is so profound that even the most charged lines are sapped of strength. When an aggrieved Ralph describes his university’s decision to deny him tenure, he announces that he’ll “kill them all” with the affectless delivery of a man asking for salt. When Leo tries to justify his radical proposal by referencing his “unarticulated self-loathing,” he sounds as if he’s quoting from a textbook on race relations rather than a genuine place of personal pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even when alone on stage, the actors’ character-defining monologues sound partly contrived, partly rote—and whether by accident or design, the play’s downward spiral into depravity feels strangely quotidian. The strongest statements tend to be made visually rather than uttered. An antique slave collar of rusted spikes and malevolent intent. A video projection (designed by Alexander V. Nichols) of the white noise that once helped Leo to sleep, and now prevents him from accessing his creativity—spreading across the walls and eventually encompassing the whole stage. A calendar of 40 days dominating the living area, slashes of a black marker indicating each day closer to freedom.\u003c/p>\n\u003cfigure id=\"attachment_13867751\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg\" alt=\"\" width=\"798\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/WhiteNoise7-768x1155.jpg 768w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Nick Dillenburg (Ralph) and Chris Herbie Holland (Leo) in Berkeley Rep’s production of ‘White Noise.’ \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What never feels commonplace are the questions the play tackles. Who are we in relation to each other? How do the traumas of the past carry themselves into the future? What does true liberation look like, and what will it take to get us as a nation to that place? And what are we, who are we, liberating ourselves from? Each other? The system? Our own inflated expectations of what it means to be free?\u003c/p>\n\u003cp>In the end, we’re confronted by two major transgressions on the part of Ralph, neither of which are forgivable, and one of which is outright criminal. But because we never developed much in the way of empathy for him, nor for Leo, the impact of his crimes is blunted, diffused. Like the white noise referenced in the play’s title, Ralph’s actions feel as if they could just blend into the background. And perhaps that’s the play’s biggest shock—that such blatant evil can feel so ordinary.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Noise’ plays through Nov. 10 at Berkeley Repertory Theatre. \u003ca href=\"http://www.berkeleyrep.org/season/1920/14544.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dancing On Our Own: SF Playhouse’s 'Dance Nation' Leaves Audience in the Dark",
"headTitle": "Dancing On Our Own: SF Playhouse’s ‘Dance Nation’ Leaves Audience in the Dark | KQED",
"content": "\u003cp>Over the past few years, the theater world has seen the rise of fully human teenage protagonists, whose complexities and life experiences actively work against a popular narrative of female fragility.\u003c/p>\n\u003cp>Riding that wave is a whole subset of plays using athletic competition as a frame for the powerful fears and ambitions of their central characters. Ruby Ray Spiegel’s \u003cem>Dry Land\u003c/em> (\u003ca href=\"https://www.kqed.org/arts/13833611/ruby-rae-spiegels-dry-land-packs-a-punch-at-shotgun-players\" rel=\"noopener\" target=\"_blank\">produced last year\u003c/a> by Shotgun Players) belongs to this subset, as does Sarah DeLappe’s \u003cem>The Wolves \u003c/em>(currently playing at City Lights Theater Company) and the upcoming \u003cem>Test Match\u003c/em>, by Kate Atwell (to be performed at A.C.T.’s Strand Theater in November).\u003c/p>\n\u003cp>To this specific canon we can add Clare Barron’s 2018 \u003cem>Dance Nation\u003c/em>, currently receiving its Bay Area premiere at SF Playhouse.\u003c/p>\n\u003cfigure id=\"attachment_13867486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A feral moment in ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Liam Robertson, Mohana Rajagopal, Julia Brothers, Lauren Spencer, Indiia Wilmott. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set on the competitive dance circuit—which will seem familiar to anyone with a passing knowledge of the reality show \u003cem>Dance Moms\u003c/em>—\u003cem>Dance Nation\u003c/em> focuses on a troupe of tweens whose dream of making it to the nationals is just a few more wins away. Taking a page from other playwrights whose vision extends to non-traditional casting (Jaclyn Backhaus, Leah Nanako Winkler), Barron’s script was written for a cast of grown women of varying ages to play the 13-year-old squad members. This allowed her to write the kinds of monologues most teenagers would never dare to deliver of their own volition: a mature appraisal of one’s own “perfect ass,” a locker-room assertion that the true pleasure of masturbation lies in “mostly just thinking,” a passionate condemnation of male circumcision.\u003c/p>\n\u003cp>At certain moments, adult voices take over, as when Julia Brother’s teenage Maeve tells Krystle Piamonte’s Zuzu that she can fly, and then tells the audience, as adult Maeve, that she \u003cem>used\u003c/em> to be able to fly—but now she can’t even remember that she could. Onstage, it plays out as confusingly as it sounds. Whether by accident or design, it’s hard to keep track of who’s narrating each moment, or even why that moment needs narrating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And here we come to the problematic crux of SF Playhouse’s production.\u003c/p>\n\u003cfigure id=\"attachment_13867485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867485\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance rehearsal victory in ‘Dance Nation.’ (L–R) Indiia Wilmott, Julia Brothers, Krystle Piamonte, Bryan Munar, Ash Malloy, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Becca Wolff’s ponderous direction, much of the humor of the script disappears. What might read on the page like transgressive satire becomes an earnest depiction of a \u003cem>notion\u003c/em> of teenagers that neither jibes with my own lived experience, nor of the play’s reputation as a dark comedy. These characters take themselves so seriously that you can’t even poke fun at their terminal seriousness. While there are flashes of levity, such as when they make a “magic potion” out of a cup of coffee and pass it around, the amusement as well as the teenage perspective is quickly subsumed by an adult voice ruminating on suicidal ideation.\u003c/p>\n\u003cp>A fantastically feral sequence of a dance rehearsal gone wild gets cut short by an occasionally hilarious, occasionally frightening monologue boldly voiced by Lauren Spencer that unfortunately fails to connect with the action before or after she delivers it. The dictatorial cliché that is Dance Teacher Pat (Liam Robertson) is just that—a cipher—who berates his charges, smacks them inappropriately on their perfect asses, and is generally a stand-in for the petty tyrants who dominate so much of a teenager’s life, real and imagined.\u003c/p>\n\u003cfigure id=\"attachment_13867483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A powerhouse assemblage for ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Julia Brothers, Indiia Wilmott, Lauren Spencer, Krystle Piamonte, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast, a powerhouse assemblage of some of the Bay Area’s best talents, are further hampered by Angrette McCloskey’s set, an unwieldy structure of beams and struts placed on a revolving platform, which steals focus from the actors almost every time it’s pushed solemnly into place by the stage crew. It’s an especially egregious interruption between scenes that last just a few lines before the plodding revolution of the set pieces begins again. Any energy that might have built up from scene to scene is squandered and lost with every turn. \u003c/p>\n\u003cp>In fairness, I did attend a Sunday matinee performance. Without a critical mass of audience, it can be difficult to generate the requisite energy onstage to propel both performers and audience forward. There appeared to be a couple of moments where audience participation was being encouraged, but without being directly invited to participate, it was hard to tell.\u003c/p>\n\u003cp>Would those moments have played out differently on a Saturday night? Perhaps. But among the several walkouts was a young teenager who’d been sitting in front of me. I could see from her face as she left that she hadn’t seen her teenage self reflected in any of the characters onstage. And as an adult, I didn’t either.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance Nation’ runs through Nov. 9 at SF Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2019-2020-season/dance-nation/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "The latest in a trend of plays centered on young women in extreme physical competition, 'Dance Nation' comes up short.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, the theater world has seen the rise of fully human teenage protagonists, whose complexities and life experiences actively work against a popular narrative of female fragility.\u003c/p>\n\u003cp>Riding that wave is a whole subset of plays using athletic competition as a frame for the powerful fears and ambitions of their central characters. Ruby Ray Spiegel’s \u003cem>Dry Land\u003c/em> (\u003ca href=\"https://www.kqed.org/arts/13833611/ruby-rae-spiegels-dry-land-packs-a-punch-at-shotgun-players\" rel=\"noopener\" target=\"_blank\">produced last year\u003c/a> by Shotgun Players) belongs to this subset, as does Sarah DeLappe’s \u003cem>The Wolves \u003c/em>(currently playing at City Lights Theater Company) and the upcoming \u003cem>Test Match\u003c/em>, by Kate Atwell (to be performed at A.C.T.’s Strand Theater in November).\u003c/p>\n\u003cp>To this specific canon we can add Clare Barron’s 2018 \u003cem>Dance Nation\u003c/em>, currently receiving its Bay Area premiere at SF Playhouse.\u003c/p>\n\u003cfigure id=\"attachment_13867486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867486\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_AshMalloy_LiamRoberston_MohanaRajagopal_JuliaBrothers_LaurenSpencer_IndiiaWilmott_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A feral moment in ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Liam Robertson, Mohana Rajagopal, Julia Brothers, Lauren Spencer, Indiia Wilmott. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Set on the competitive dance circuit—which will seem familiar to anyone with a passing knowledge of the reality show \u003cem>Dance Moms\u003c/em>—\u003cem>Dance Nation\u003c/em> focuses on a troupe of tweens whose dream of making it to the nationals is just a few more wins away. Taking a page from other playwrights whose vision extends to non-traditional casting (Jaclyn Backhaus, Leah Nanako Winkler), Barron’s script was written for a cast of grown women of varying ages to play the 13-year-old squad members. This allowed her to write the kinds of monologues most teenagers would never dare to deliver of their own volition: a mature appraisal of one’s own “perfect ass,” a locker-room assertion that the true pleasure of masturbation lies in “mostly just thinking,” a passionate condemnation of male circumcision.\u003c/p>\n\u003cp>At certain moments, adult voices take over, as when Julia Brother’s teenage Maeve tells Krystle Piamonte’s Zuzu that she can fly, and then tells the audience, as adult Maeve, that she \u003cem>used\u003c/em> to be able to fly—but now she can’t even remember that she could. Onstage, it plays out as confusingly as it sounds. Whether by accident or design, it’s hard to keep track of who’s narrating each moment, or even why that moment needs narrating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And here we come to the problematic crux of SF Playhouse’s production.\u003c/p>\n\u003cfigure id=\"attachment_13867485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867485\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation_IndiiaWilmott_JuliaBrothers_KrystalePiamonte_BryanMunar_AshMalloy_MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance rehearsal victory in ‘Dance Nation.’ (L–R) Indiia Wilmott, Julia Brothers, Krystle Piamonte, Bryan Munar, Ash Malloy, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Becca Wolff’s ponderous direction, much of the humor of the script disappears. What might read on the page like transgressive satire becomes an earnest depiction of a \u003cem>notion\u003c/em> of teenagers that neither jibes with my own lived experience, nor of the play’s reputation as a dark comedy. These characters take themselves so seriously that you can’t even poke fun at their terminal seriousness. While there are flashes of levity, such as when they make a “magic potion” out of a cup of coffee and pass it around, the amusement as well as the teenage perspective is quickly subsumed by an adult voice ruminating on suicidal ideation.\u003c/p>\n\u003cp>A fantastically feral sequence of a dance rehearsal gone wild gets cut short by an occasionally hilarious, occasionally frightening monologue boldly voiced by Lauren Spencer that unfortunately fails to connect with the action before or after she delivers it. The dictatorial cliché that is Dance Teacher Pat (Liam Robertson) is just that—a cipher—who berates his charges, smacks them inappropriately on their perfect asses, and is generally a stand-in for the petty tyrants who dominate so much of a teenager’s life, real and imagined.\u003c/p>\n\u003cfigure id=\"attachment_13867483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/DanceNation__AshMalloy_JuliaBrothers_IndiiaWilmott_LaurenSpencer_KrystalePiamonte__MohanaRajagopal_credit_JessicaPalopoli.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A powerhouse assemblage for ‘Dance Nation’ at SF Playhouse. (L–R) Ash Malloy, Julia Brothers, Indiia Wilmott, Lauren Spencer, Krystle Piamonte, Mohana Rajagopal. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast, a powerhouse assemblage of some of the Bay Area’s best talents, are further hampered by Angrette McCloskey’s set, an unwieldy structure of beams and struts placed on a revolving platform, which steals focus from the actors almost every time it’s pushed solemnly into place by the stage crew. It’s an especially egregious interruption between scenes that last just a few lines before the plodding revolution of the set pieces begins again. Any energy that might have built up from scene to scene is squandered and lost with every turn. \u003c/p>\n\u003cp>In fairness, I did attend a Sunday matinee performance. Without a critical mass of audience, it can be difficult to generate the requisite energy onstage to propel both performers and audience forward. There appeared to be a couple of moments where audience participation was being encouraged, but without being directly invited to participate, it was hard to tell.\u003c/p>\n\u003cp>Would those moments have played out differently on a Saturday night? Perhaps. But among the several walkouts was a young teenager who’d been sitting in front of me. I could see from her face as she left that she hadn’t seen her teenage self reflected in any of the characters onstage. And as an adult, I didn’t either.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dance Nation’ runs through Nov. 9 at SF Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2019-2020-season/dance-nation/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Partying Like it’s 2099 at Cutting Ball's 'Free For All'",
"headTitle": "Partying Like it’s 2099 at Cutting Ball’s ‘Free For All’ | KQED",
"content": "\u003cp>\u003cem>Everything we see we want to possess. –Sting \u003c/em>\u003c/p>\n\u003cp>Sometimes attending a play is like attending a party. The energy crackles, the assembled audience is alert and engaged, and everyone onstage looks like they’re just having so much damn fun. On such nights, it feels like if you just stick around long enough, maybe they’ll haul you up there to be a part of the in crowd, or at least top off your glass.\u003c/p>\n\u003cp>In Cutting Ball Theater’s \u003cem>Free for All: A New Miss Julie for a New World\u003c/em>, written by Megan Cohen and directed by Ariel Craft, we see August Strindberg’s \u003cem>Miss Julie \u003c/em>deconstructed to a bare frame, then filled extravagantly back up with madcap futurism, and all of our modern-day concerns explored to their most strangely logical extremes.\u003c/p>\n\u003cp>Worried about climate change? Just wait until the snows melting off of Nob Hill drown the lower-lying neighborhoods. Concerned about the ingrained misogyny and power dynamics that led to the #MeToo movement? Your introduction to power-bros Brockingfield and Jacobson won’t alleviate those concerns (though they \u003cem>will\u003c/em> make you laugh). Have feelings about the destructive nature of unchecked capitalism? Have another tiny donut and a cigar. Or a deviled egg and a cigarette. In the world of \u003cem>Free for All\u003c/em>, even the vices are indicative of class position.\u003c/p>\n\u003cfigure id=\"attachment_13867209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (left) and Phil Wong (right) as power-bros Brockingfield and Jacobson in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actors Stacy Ross and Phil Wong—as Julie and Brockingfield, and John and Jacobson, respectively—elevate their roles to hilarious heights. Ross is especially mesmerizing as she chafes visibly against the smoothly aristocratic shell that is her birthright. In the opening scene, she skis down the “slope” of Nob Hill, exalting and cursing with equal vigor. Later, when she flirts with John in the kitchen, she almost coos; when she slaps him, she laughs with impudent delight. When she gets a hot flash, the whole theatre feels as if it’s increased in temperature with her. When she’s disgusted within her own skin, you get the feeling that she might just peel it right off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between the two actors flows a current of chummy, professional camaraderie, which only occasionally intrudes on the scene, especially in moments where we understand by John’s words and actions that he’s being chauvinistic, but Wong doesn’t quite make it feel genuine. His Jacobson fares better in that particular regard, but always with a nod and a wink.\u003c/p>\n\u003cp>A pair of puppeteers (Charlie Gray and Miyaka P. Cochrane) spend much of their time onstage blending into the background, reacting silently to the puerile antics of the named characters, using confetti to represent snow, flood, flame. They also manipulate the action of two different pigeon puppets—a pampered but captive pigeon in a cage and a rough-and-tumble scrapper from the streets. (Yes, it’s a metaphor.)\u003c/p>\n\u003cfigure id=\"attachment_13867208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong (right, front) as John, Stacy Ross as Julie (back middle), with puppeteers Miyaka P. Cochrane (back left), and Charlie Gray (back right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set, designed by Jacqueline Wren Scott, is spartan but fully mobile, playfully morphing from the ski slopes of Nob Hill to its last remaining kitchens with a flick of a bedsheet. The sound design by James Ard is deliberately cloying, heavy on the Vivaldi, and the lighting by Cassie Barnes leans into surrealistic flourish. The last time I saw Strindberg performed at Cutting Ball Theater, in an epic marathon in 2012, the experience was significantly more monochromatic. This is not that Strindberg.\u003c/p>\n\u003cp>As a treasured Cohen theme dating back at least as far as her stellar 2011 short play \u003cem>A Three Little Dumplings Adventure\u003c/em>, hunger drives much of the action. From Julie’s ravenous inhalation of her servant’s supper, to Jacobson’s petulant quest for more champagne and donuts, or John’s memory of eating his feelings by stuffing himself with dumpstered danish, consumption is the underlying thread. Or at least a desire to \u003cem>possess\u003c/em>: John dares to imagine that he can be Julie’s equal (or master), Brockingfield pontificates that he knows how to turn a profit even on the end of the world, and the party devolves into a final desperate orgy.\u003c/p>\n\u003cfigure id=\"attachment_13867207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (middle) as Julie, accompanied by her “henchmen,” Charlie Gray (left) and Miyaka P. Cochrane (right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Cutting Ball Theater’s new initiatives under the artistic direction of Ariel Craft is one of playwright commissioning—with Cohen the first recipient. If their wildly imaginative comedic romp through a doomed San Francisco is anything to go by, this initiative will be one to watch for seasons to come.\u003c/p>\n\u003cp>As for what this play portends for our not too-distant future, the outlook is significantly less hopeful. Unless, of course, you have the money to buy a good chunk of stock in hydropower, or a soon-to-be beachfront property up by Grace Cathedral. If you dig beneath the playful trappings of frolic, you’ll find a pretty damning indictment of capitalist myopia, classism, and corporate greed. But like any good party, everyone is invited to come and decide for themselves what to get out of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Free for All: A New Miss Julie for a New World’ runs through Oct. 20 at Cutting Ball Theater in San Francisco. \u003ca href=\"https://cuttingball.com/productions/free-for-all\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Everything we see we want to possess. –Sting \u003c/em>\u003c/p>\n\u003cp>Sometimes attending a play is like attending a party. The energy crackles, the assembled audience is alert and engaged, and everyone onstage looks like they’re just having so much damn fun. On such nights, it feels like if you just stick around long enough, maybe they’ll haul you up there to be a part of the in crowd, or at least top off your glass.\u003c/p>\n\u003cp>In Cutting Ball Theater’s \u003cem>Free for All: A New Miss Julie for a New World\u003c/em>, written by Megan Cohen and directed by Ariel Craft, we see August Strindberg’s \u003cem>Miss Julie \u003c/em>deconstructed to a bare frame, then filled extravagantly back up with madcap futurism, and all of our modern-day concerns explored to their most strangely logical extremes.\u003c/p>\n\u003cp>Worried about climate change? Just wait until the snows melting off of Nob Hill drown the lower-lying neighborhoods. Concerned about the ingrained misogyny and power dynamics that led to the #MeToo movement? Your introduction to power-bros Brockingfield and Jacobson won’t alleviate those concerns (though they \u003cem>will\u003c/em> make you laugh). Have feelings about the destructive nature of unchecked capitalism? Have another tiny donut and a cigar. Or a deviled egg and a cigarette. In the world of \u003cem>Free for All\u003c/em>, even the vices are indicative of class position.\u003c/p>\n\u003cfigure id=\"attachment_13867209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_StacyRoss_PhilWong_credit_BenKrantz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (left) and Phil Wong (right) as power-bros Brockingfield and Jacobson in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actors Stacy Ross and Phil Wong—as Julie and Brockingfield, and John and Jacobson, respectively—elevate their roles to hilarious heights. Ross is especially mesmerizing as she chafes visibly against the smoothly aristocratic shell that is her birthright. In the opening scene, she skis down the “slope” of Nob Hill, exalting and cursing with equal vigor. Later, when she flirts with John in the kitchen, she almost coos; when she slaps him, she laughs with impudent delight. When she gets a hot flash, the whole theatre feels as if it’s increased in temperature with her. When she’s disgusted within her own skin, you get the feeling that she might just peel it right off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between the two actors flows a current of chummy, professional camaraderie, which only occasionally intrudes on the scene, especially in moments where we understand by John’s words and actions that he’s being chauvinistic, but Wong doesn’t quite make it feel genuine. His Jacobson fares better in that particular regard, but always with a nod and a wink.\u003c/p>\n\u003cp>A pair of puppeteers (Charlie Gray and Miyaka P. Cochrane) spend much of their time onstage blending into the background, reacting silently to the puerile antics of the named characters, using confetti to represent snow, flood, flame. They also manipulate the action of two different pigeon puppets—a pampered but captive pigeon in a cage and a rough-and-tumble scrapper from the streets. (Yes, it’s a metaphor.)\u003c/p>\n\u003cfigure id=\"attachment_13867208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867208\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_MiyakaPCochrane_StacyRoss_CharlieGray_PhilWong_credit_BenKrantz.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong (right, front) as John, Stacy Ross as Julie (back middle), with puppeteers Miyaka P. Cochrane (back left), and Charlie Gray (back right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set, designed by Jacqueline Wren Scott, is spartan but fully mobile, playfully morphing from the ski slopes of Nob Hill to its last remaining kitchens with a flick of a bedsheet. The sound design by James Ard is deliberately cloying, heavy on the Vivaldi, and the lighting by Cassie Barnes leans into surrealistic flourish. The last time I saw Strindberg performed at Cutting Ball Theater, in an epic marathon in 2012, the experience was significantly more monochromatic. This is not that Strindberg.\u003c/p>\n\u003cp>As a treasured Cohen theme dating back at least as far as her stellar 2011 short play \u003cem>A Three Little Dumplings Adventure\u003c/em>, hunger drives much of the action. From Julie’s ravenous inhalation of her servant’s supper, to Jacobson’s petulant quest for more champagne and donuts, or John’s memory of eating his feelings by stuffing himself with dumpstered danish, consumption is the underlying thread. Or at least a desire to \u003cem>possess\u003c/em>: John dares to imagine that he can be Julie’s equal (or master), Brockingfield pontificates that he knows how to turn a profit even on the end of the world, and the party devolves into a final desperate orgy.\u003c/p>\n\u003cfigure id=\"attachment_13867207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867207\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FreeForAll_CharlieGray_StacyRoss_MiyakaPCochrane_credit_BenKrantz_2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacy Ross (middle) as Julie, accompanied by her “henchmen,” Charlie Gray (left) and Miyaka P. Cochrane (right) in ‘Free For All: A New “Miss Julie” for a New World.’ \u003ccite>(Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Cutting Ball Theater’s new initiatives under the artistic direction of Ariel Craft is one of playwright commissioning—with Cohen the first recipient. If their wildly imaginative comedic romp through a doomed San Francisco is anything to go by, this initiative will be one to watch for seasons to come.\u003c/p>\n\u003cp>As for what this play portends for our not too-distant future, the outlook is significantly less hopeful. Unless, of course, you have the money to buy a good chunk of stock in hydropower, or a soon-to-be beachfront property up by Grace Cathedral. If you dig beneath the playful trappings of frolic, you’ll find a pretty damning indictment of capitalist myopia, classism, and corporate greed. But like any good party, everyone is invited to come and decide for themselves what to get out of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Free for All: A New Miss Julie for a New World’ runs through Oct. 20 at Cutting Ball Theater in San Francisco. \u003ca href=\"https://cuttingball.com/productions/free-for-all\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not Ur Baby was founded by Antioch native \u003ca href=\"https://www.instagram.com/vavimami/\" target=\"_blank\" rel=\"noopener\">Vanessa “Vavi” Vigil\u003c/a> in 2015 to address the lack of spaces for women of color in the Bay. “I was getting into the art scene in the Bay Area, and had to deal with a lot of male ego from venues and curators, and I was over it,” says Vavi.\u003c/p>\n\u003cp>So Vigil, a photographer and curator, decided to take matters into her own hands. “I wanted to throw a show with my friends, and have a place where women who are artists can work with other women who are artists,” says Vavi. “In 2015, I didn’t know of any space like that. Now, there are so many spaces that I’ve become aware of and more that have come up in the four span.”\u003c/p>\n\u003cp>On Sept. 28, \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">Not Ur Baby 3\u003c/a> returns to Oakland with performances, exhibitions of visual art and a slew of vendors at 7th West. This year’s event also features talented artists like Oakland’s \u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri,\u003c/a> \u003ca href=\"https://soundcloud.com/namasteshawty\" target=\"_blank\" rel=\"noopener\">Namaste Shawty\u003c/a>, \u003ca href=\"https://soundcloud.com/therealwavybaby\" target=\"_blank\" rel=\"noopener\">Wavy Baby\u003c/a> and more.\u003c/p>\n\u003cp>A portion of the proceeds will go to VisibiliT, which is a “fundraising platform that financially supports trans womxn fighting for asylum cases in the Bay Area.” Proceeds will also support the nonprofit \u003ca href=\"https://www.reginasdoor.com/\" target=\"_blank\" rel=\"noopener\">Regina’s Door\u003c/a>, a boutique in downtown Oakland that sells women’s clothing and doubles as a healing space for women. Details \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not Ur Baby was founded by Antioch native \u003ca href=\"https://www.instagram.com/vavimami/\" target=\"_blank\" rel=\"noopener\">Vanessa “Vavi” Vigil\u003c/a> in 2015 to address the lack of spaces for women of color in the Bay. “I was getting into the art scene in the Bay Area, and had to deal with a lot of male ego from venues and curators, and I was over it,” says Vavi.\u003c/p>\n\u003cp>So Vigil, a photographer and curator, decided to take matters into her own hands. “I wanted to throw a show with my friends, and have a place where women who are artists can work with other women who are artists,” says Vavi. “In 2015, I didn’t know of any space like that. Now, there are so many spaces that I’ve become aware of and more that have come up in the four span.”\u003c/p>\n\u003cp>On Sept. 28, \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">Not Ur Baby 3\u003c/a> returns to Oakland with performances, exhibitions of visual art and a slew of vendors at 7th West. This year’s event also features talented artists like Oakland’s \u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri,\u003c/a> \u003ca href=\"https://soundcloud.com/namasteshawty\" target=\"_blank\" rel=\"noopener\">Namaste Shawty\u003c/a>, \u003ca href=\"https://soundcloud.com/therealwavybaby\" target=\"_blank\" rel=\"noopener\">Wavy Baby\u003c/a> and more.\u003c/p>\n\u003cp>A portion of the proceeds will go to VisibiliT, which is a “fundraising platform that financially supports trans womxn fighting for asylum cases in the Bay Area.” Proceeds will also support the nonprofit \u003ca href=\"https://www.reginasdoor.com/\" target=\"_blank\" rel=\"noopener\">Regina’s Door\u003c/a>, a boutique in downtown Oakland that sells women’s clothing and doubles as a healing space for women. Details \u003ca href=\"http://www.vavivisuals.com/events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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>\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>\u003c/p>\u003c/div>",
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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",
"headTitle": "A Great Man, A Complicated Man: Gandhi On Stage in Song and Dance | KQED",
"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",
"headTitle": "The Do List: Listen to Our Event Picks for Sept. 13–19 | KQED",
"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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>\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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