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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sam Lefebvre discuss their critic’s picks for this weekend at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Opera in the Park\u003c/strong>: How can you go wrong with arias and other music from SF Opera’s upcoming season, in Golden Gate Park, for free? Opera snippets you might hear include Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Mozart’s \u003cem>Marriage of Figaro\u003c/em>, or even the new opera about Steve Jobs by local composer Mason Bates. We’re always in favor of so-called “high art” being as accessible as possible, and this is a great way for kids, students, or people curious about opera to experience it. That’s Sunday, Sept. 8, at Robin Williams Meadow in Golden Gate Park. \u003ca href=\"https://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Underground Living’ Book Release\u003c/strong>: V. Vale, a San Francisco publishing legend, has his first-ever book of photography coming out. Vale was the one behind the old fanzines \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, and since the late ’70s he’s really obsessively documented San Francisco punk and industrial scenes, as well as a wide variety of subcultural offshoots, under the banner of RE/Search Publications. Yet it’s only now that he’s beginning to share his photography from this journey, including photos from the first-ever Ramones show in the Bay Area. He celebrates the book’s release at City Lights in San Francisco on Sunday, Sept. 8. \u003ca href=\"https://www.kqed.org/arts/13865218/v-vale-tireless-counterculture-chronicler-releases-first-ever-photo-book-at-city-lights\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Body Electric’\u003c/strong>: Only in the Bay Area would an underground figure like V. Vale exist alongside the headquarters of Google, Apple, and Facebook. So I’m glad for ‘The Body Electric,’ a giant show at YBCA exploring the intersection of art, tech, and the human body. The exhibit incorporates video, sculpture, virtual reality, and photography, and it zeros in on themes of race, gender, and class. It comes here from the Walker Art Center in Minneapolis, and it’s a natural touring show for the Bay Area, where we’re always trying to get art and tech to talk to each other more smoothly. It opens Friday, Sept. 6, and runs through January of next year, at YBCA in San Francisco. \u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Black Choreographers Festival\u003c/strong>: The Malonga Casquelourd Center for the Arts is an essential performing arts hub for the East Bay, which hosts this dance festival this weekend. Saturday features new works by artists including Kendra Kimbrough Barnes, Gregory Dawson and Reginald Savage, and then on Sunday, the program spotlights youth dance groups from around the Bay. There’s satellite programming and several noteworthy performers and organizers involved here, so check out their website. It runs Sept. 7 and 8 at Malonga Casquelourd Center for the Arts. \u003ca href=\"https://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Giraffage and Astronautica\u003c/strong>: You might expect a place called the Jerry Garcia Amphitheater to be in the Haight-Ashbury, but no, it’s in the Excelsior neighborhood of San Francisco, which is where Jerry Garcia grew up. But the amphitheater isn’t used as much as it should be, especially for music, which makes this show there on Saturday with some electronic artists really welcome. It’s free, and the performers reflect the demographics of the neighborhood—this weekend, it’s Giraffage, the stage name of electronic producer Charlie Yin, whose music you just heard, and Astronautica, the stage name of Edrina Martinez. That’s the middle of McLaren Park, at at Jerry Garcia Amphitheater, on Saturday, Sept. 7. \u003ca href=\"http://events.noisepop.com/events/2019/9/7/due-south-free-sf-concert\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sam Lefebvre discuss their critic’s picks for this weekend at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Opera in the Park\u003c/strong>: How can you go wrong with arias and other music from SF Opera’s upcoming season, in Golden Gate Park, for free? Opera snippets you might hear include Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Mozart’s \u003cem>Marriage of Figaro\u003c/em>, or even the new opera about Steve Jobs by local composer Mason Bates. We’re always in favor of so-called “high art” being as accessible as possible, and this is a great way for kids, students, or people curious about opera to experience it. That’s Sunday, Sept. 8, at Robin Williams Meadow in Golden Gate Park. \u003ca href=\"https://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Underground Living’ Book Release\u003c/strong>: V. Vale, a San Francisco publishing legend, has his first-ever book of photography coming out. Vale was the one behind the old fanzines \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, and since the late ’70s he’s really obsessively documented San Francisco punk and industrial scenes, as well as a wide variety of subcultural offshoots, under the banner of RE/Search Publications. Yet it’s only now that he’s beginning to share his photography from this journey, including photos from the first-ever Ramones show in the Bay Area. He celebrates the book’s release at City Lights in San Francisco on Sunday, Sept. 8. \u003ca href=\"https://www.kqed.org/arts/13865218/v-vale-tireless-counterculture-chronicler-releases-first-ever-photo-book-at-city-lights\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Body Electric’\u003c/strong>: Only in the Bay Area would an underground figure like V. Vale exist alongside the headquarters of Google, Apple, and Facebook. So I’m glad for ‘The Body Electric,’ a giant show at YBCA exploring the intersection of art, tech, and the human body. The exhibit incorporates video, sculpture, virtual reality, and photography, and it zeros in on themes of race, gender, and class. It comes here from the Walker Art Center in Minneapolis, and it’s a natural touring show for the Bay Area, where we’re always trying to get art and tech to talk to each other more smoothly. It opens Friday, Sept. 6, and runs through January of next year, at YBCA in San Francisco. \u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Black Choreographers Festival\u003c/strong>: The Malonga Casquelourd Center for the Arts is an essential performing arts hub for the East Bay, which hosts this dance festival this weekend. Saturday features new works by artists including Kendra Kimbrough Barnes, Gregory Dawson and Reginald Savage, and then on Sunday, the program spotlights youth dance groups from around the Bay. There’s satellite programming and several noteworthy performers and organizers involved here, so check out their website. It runs Sept. 7 and 8 at Malonga Casquelourd Center for the Arts. \u003ca href=\"https://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Giraffage and Astronautica\u003c/strong>: You might expect a place called the Jerry Garcia Amphitheater to be in the Haight-Ashbury, but no, it’s in the Excelsior neighborhood of San Francisco, which is where Jerry Garcia grew up. But the amphitheater isn’t used as much as it should be, especially for music, which makes this show there on Saturday with some electronic artists really welcome. It’s free, and the performers reflect the demographics of the neighborhood—this weekend, it’s Giraffage, the stage name of electronic producer Charlie Yin, whose music you just heard, and Astronautica, the stage name of Edrina Martinez. That’s the middle of McLaren Park, at at Jerry Garcia Amphitheater, on Saturday, Sept. 7. \u003ca href=\"http://events.noisepop.com/events/2019/9/7/due-south-free-sf-concert\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay",
"headTitle": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay | KQED",
"content": "\u003cp>After a summer full of outdoor festivals, touring shows in parks, and family-style recreating, autumn signals a shift—if not in temperature, than in the theatrical climate. For many Bay Area theaters, fall is when new seasons begin, and even for theater companies whose seasons follow the calendar year, rarely is their autumnal offering anything but a grand centerpiece.\u003c/p>\n\u003cp>For even the occasional theatergoer, it’s hard to choose wrong—the real challenge is in narrowing down the field. Here are nine picks from the heavy-hitting months ahead. (And as always, check \u003ca href=\"https://www.kqed.org/thedolist\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for weekly recommendations in music, art and more from KQED Arts editors.)\u003c/p>\n\u003cfigure id=\"attachment_13864734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong and Stacy Ross in Megan Cohen’s ‘Free for All’ at Cutting Ball Theater. \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Free For All’\u003c/h2>\n\u003cp>\u003ci>Cutting Ball Theater, San Francisco\u003cbr>\nSept. 19-Oct. 20, 2019\u003cbr>\n\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This highly anticipated world premiere from local playwright and librettist Megan Cohen—the first playwright selected for Cutting Ball Theater’s new playwright commissions program—opens their 21st season with a champagne cork pop. Billed as a “new \u003cem>Miss Julie\u003c/em> for a new world,” this non-naturalistic, San Francisco-centric riff on Strindberg’s problematic interrogation of power dynamics promises comedy, theatricality, and a foray into a future of elegant waste and survivalism. Can San Francisco be saved before half of it washes out to sea? Does anyone even care to try? Directed by Ariel Craft.\u003c/p>\n\u003cfigure id=\"attachment_13864731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Rondon-Davis, Christell Lewis, and Everett Moore star in ‘Inked Baby’ at Crowded Fire Theater. \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Inked Baby’\u003c/h2>\n\u003cp>\u003ci>Crowded Fire Theater, San Francisco\u003cbr>\nSept. 12-Oct. 5, 2019\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/inked-baby/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Crowded Fire Theater continues its tradition of bringing dynamic American playwrights to their Potrero Hill stage with this early Christina Anderson work. A playwright with a history of Crowded Fire productions (they produced her \u003cem>Drip\u003c/em> in 2009, and \u003cem>Good Goods\u003c/em> in 2012), and erstwhile Bay Area artistic roots, Anderson has garnered international acclaim for her multi-layered works centering the black American experience. With \u003cem>Inked Baby\u003c/em>, she begins by wrestling with the dynamics of an in-family surrogate pregnancy and winds up in a speculative realm where a mysterious malady ravages the city, and potentially their future. Directed by Lisa Marie Rollins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13864735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caryl Churchill. \u003ccite>(American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caryl Churchill-palooza\u003c/h2>\n\u003cp>\u003cstrong>‘Top Girls’\u003c/strong>\u003cbr>\n\u003ci>A.C.T., San Francisco\u003cbr>\nSept. 19-Oct. 13, 2019\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1920_season/top_girls.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Vinegar Tom\u003c/strong>\u003cbr>\n\u003ci>Shotgun Players, Berkeley\u003cbr>\nDec. 6, 2019-Jan. 5, 2020\u003cbr>\n\u003ca href=\"http://bit.ly/2FPuyCJ\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Hot on the heels of new Caryl Churchill one-acts produced by Berkeley’s Anton’s Well, A.C.T. opens its new season with her best-known work, the \u003cspan class=\"st\">inimitable\u003c/span> \u003cem>Top Girls—\u003c/em>partly set at the most interesting dinner party of all time. Then, closing their season in December, Shotgun Players presents a rollicking rendition of Churchill’s \u003cem>Vinegar Tom\u003c/em>, a Brechtian musical foray set in a 17th century of witchfinders and oppressive patriarchy. It’s a wonderful opportunity for Bay Area theatergoers to reacquaint themselves with multiple decades’ worth of Churchill’s feminist ideals and strong-willed protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13864729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terror Vault returns to the Old Mint. \u003ccite>(Jose A. Guzman Colon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Terror Vault’\u003c/h2>\n\u003cp>\u003ci>The Old Mint, San Francisco\u003cbr>\nOct. 10-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://www.intothedarksf.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Most haunted houses don’t qualify as theater picks, but then again, most haunted houses aren’t 45-minute immersive experiences, scripted and staged by the great Peaches Christ (in collaboration with Non Plus Ultra and legendary haunted house designer David Flower). Last year’s \u003cem>Terror Vault\u003c/em> was a taut tightrope of creepshow, camp, and bloodbath, with a surprisingly cohesive narrative throughline and plenty of (optional) audience participation, and this year’s version looks to be all that and more. This edition introduces \u003cem>Apolcalypse,\u003c/em> a zombie-themed escape-room experience for folks who just can’t get scared enough. Discover the haunted histories of San Francisco’s Old Mint—or become one of them yourself.\u003c/p>\n\u003cfigure id=\"attachment_13864728\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864728\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg\" alt=\"\" width=\"600\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-768x1066.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-865x1200.jpg 865w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dan Wolf. \u003ccite>(TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Haunted Playwrights\u003c/h2>\n\u003cp>\u003cstrong>‘From the Ground Up’\u003c/strong>\u003cbr>\n\u003ci>TheatreFIRST, San Francisco\u003cbr>\nOct. 27-Nov. 10, 2019\u003cbr>\n\u003ca href=\"https://theatrefirst.com/2019-20-season/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill Festival\u003c/strong>\u003cbr>\n\u003ci>Various venues\u003cbr>\nAug. 24-Sept. 29, 2019\u003cbr>\n\u003ca href=\"http://www.eugeneoneill.org/20th-annual-eugene-oneill-festival/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Speaking of hauntings, is there anything so haunted as the unresolved past? TheatreFIRST’s anthology of commissioned short plays explores the personal as peril—and how society is shaped by the supernatural—in \u003cem>From the Ground Up: An Anthology of Ghost Stories Made New\u003c/em>, penned by a who’s-who of some of the Bay Area’s most inventive voices, including Eugenie Chan, Dan Wolf, and Cleavon Smith. Meanwhile, the 20th Annual Eugene O’Neill Festival calls back to a pair of American Theater’s “haunted poets”—Eugene O’Neill and Tennessee Williams. It includes a special weekend of O’Neill’s seafaring short plays at Hyde Street Pier, and a production of his epic \u003cem>Long Day’s Journey Into Night \u003c/em>at his historic Tao House in Danville.\u003c/p>\n\u003cfigure id=\"attachment_13864736\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg\" alt=\"\" width=\"600\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cristina García. \u003ccite>(Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Lady Matador’s Hotel’\u003c/h2>\n\u003cp>\u003ci>Central Works, Berkeley\u003cbr>\nOct. 12-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://centralworks.org/the-lady-matadors-hotel/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>So successful was \u003cem>King of Cuba,\u003c/em> last year’s Central Works collaboration with novelist Cristina García, that they’re back this year with another, \u003cem>The Lady Matador’s Hotel\u003c/em>. Adapted from her 2010 book of the same name, \u003cem>The Lady Matador’s Hotel\u003c/em> follows the adventures of an unlikely coterie of travelers, stranded in an unnamed Central American country in a state of political unrest. Featuring a high-caliber cast and directed by Central Works’ co-artistic director, Gary Graves, this production closes out their 29th season with their 65th world premiere.\u003c/p>\n\u003cfigure id=\"attachment_13864733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bubba Weller, Nadia Brown, Nicholas Podany in the New York production of ‘Harry Potter and the Cursed Child.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harry Potter and the Cursed Child’\u003c/h2>\n\u003cp>\u003ci>The Curran, San Francisco\u003cbr>\nOct. 23, 2019-May 2020\u003cbr>\n\u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Calling all wizards! The extravaganza that is \u003cem>Harry Potter and the Cursed Child \u003c/em>is coming to San Francisco in October for its West Coast premiere under the refurbished Curran Theater roof. \u003cem>Harry Potter and the Cursed Child\u003c/em> features a grown-up Harry and his children, in particular his son Albus, who is heading to Hogwarts. Having been written with the many Harry Potter superfans in mind, the play is a two-part marathon, with tickets available for both consecutive and non-consecutive showings. Either way, be prepared to board the Hogwarts Express from Platform 9 ¾.\u003c/p>\n\u003cfigure id=\"attachment_13864730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nassim.’ \u003ccite>(David Monteith-Hodge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nassim’\u003c/h2>\n\u003cp>\u003ci>Magic Theatre, San Francisco\u003cbr>\nNov. 12-16, 2019\u003cbr>\n\u003ca href=\"https://magictheatre.secure.force.com/ticket#details_a0S5A00000VLiXtUAL\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>In his infamous \u003cem>White Rabbit, Red Rabbit\u003c/em>, Nassim Soleimanpour challenged actors around the globe to perform his play without rehearsal, direction, or even time to read the script before the show. His eponymous \u003cem>Nassim \u003c/em>asks a similar leap of performer faith. The twist, however, is that Soleimanpour himself controls how and when the actor receives the text they are to speak via a projection screen. They’ll also receive an onstage crash course in Farsi, while exploring the human nuances of language and our universal struggles to communicate. Winner of the 2017 Fringe First award in Edinburgh, Scotland.\u003c/p>\n\u003cfigure id=\"attachment_13864737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Skyline at Beach Blanket Babylon \u003ccite>(Rick Markovich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Beach Blanket Babylon’\u003c/h2>\n\u003cp>\u003ci>Club Fugazi, San Francisco\u003cbr>\nThrough Dec. 31, 2019\u003cbr>\n\u003ca href=\"http://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Sure, it’s a little over the top. Ok, a \u003cem>lot\u003c/em>. But \u003cem>Beach Blanket Babylon\u003c/em> is as much a San Francisco institution as any of our mainstages, and predates many of them at a venerable 45 years old; it’s the world’s longest-running musical revue. But despite its enduring charm, unflappable energy, and strong sales, the show must apparently not go on, closing for good on Dec. 31. So whether you’re a long-time fan, or one who’s been meaning to go but just haven’t quite made it out, this is your last opportunity to make some \u003cem>Beach Blanket Babylon \u003c/em>memories to carry with you into a future bereft of its broad-stroke satire and iconic hats.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "World premieres! Famous playwrights! Avant-garde stagings! Harry Potter! This fall, get out and see some theater. ",
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"title": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay | KQED",
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"headline": "Fall Theater Guide 2019: Top Plays and Performances in SF and the East Bay",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a summer full of outdoor festivals, touring shows in parks, and family-style recreating, autumn signals a shift—if not in temperature, than in the theatrical climate. For many Bay Area theaters, fall is when new seasons begin, and even for theater companies whose seasons follow the calendar year, rarely is their autumnal offering anything but a grand centerpiece.\u003c/p>\n\u003cp>For even the occasional theatergoer, it’s hard to choose wrong—the real challenge is in narrowing down the field. Here are nine picks from the heavy-hitting months ahead. (And as always, check \u003ca href=\"https://www.kqed.org/thedolist\" target=\"_blank\" rel=\"noopener\">The Do List\u003c/a> for weekly recommendations in music, art and more from KQED Arts editors.)\u003c/p>\n\u003cfigure id=\"attachment_13864734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg\" alt=\"\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CuttingBall_FREE4ALL_credit_EstelaHernandez.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phil Wong and Stacy Ross in Megan Cohen’s ‘Free for All’ at Cutting Ball Theater. \u003ccite>(Estela Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Free For All’\u003c/h2>\n\u003cp>\u003ci>Cutting Ball Theater, San Francisco\u003cbr>\nSept. 19-Oct. 20, 2019\u003cbr>\n\u003ca href=\"https://cuttingball.com/productions/free-for-all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>This highly anticipated world premiere from local playwright and librettist Megan Cohen—the first playwright selected for Cutting Ball Theater’s new playwright commissions program—opens their 21st season with a champagne cork pop. Billed as a “new \u003cem>Miss Julie\u003c/em> for a new world,” this non-naturalistic, San Francisco-centric riff on Strindberg’s problematic interrogation of power dynamics promises comedy, theatricality, and a foray into a future of elegant waste and survivalism. Can San Francisco be saved before half of it washes out to sea? Does anyone even care to try? Directed by Ariel Craft.\u003c/p>\n\u003cfigure id=\"attachment_13864731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/inkedbaby_-Leigh-Rondon-Davis_Christell-Lewis_David-Everett-Moore_credit_CheshireIssacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leigh Rondon-Davis, Christell Lewis, and Everett Moore star in ‘Inked Baby’ at Crowded Fire Theater. \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Inked Baby’\u003c/h2>\n\u003cp>\u003ci>Crowded Fire Theater, San Francisco\u003cbr>\nSept. 12-Oct. 5, 2019\u003cbr>\n\u003ca href=\"http://www.crowdedfire.org/inked-baby/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Crowded Fire Theater continues its tradition of bringing dynamic American playwrights to their Potrero Hill stage with this early Christina Anderson work. A playwright with a history of Crowded Fire productions (they produced her \u003cem>Drip\u003c/em> in 2009, and \u003cem>Good Goods\u003c/em> in 2012), and erstwhile Bay Area artistic roots, Anderson has garnered international acclaim for her multi-layered works centering the black American experience. With \u003cem>Inked Baby\u003c/em>, she begins by wrestling with the dynamics of an in-family surrogate pregnancy and winds up in a speculative realm where a mysterious malady ravages the city, and potentially their future. Directed by Lisa Marie Rollins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13864735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Churchill_Caryl_courtesyofAmericanConservatoryTheater.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caryl Churchill. \u003ccite>(American Conservatory Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caryl Churchill-palooza\u003c/h2>\n\u003cp>\u003cstrong>‘Top Girls’\u003c/strong>\u003cbr>\n\u003ci>A.C.T., San Francisco\u003cbr>\nSept. 19-Oct. 13, 2019\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1920_season/top_girls.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Vinegar Tom\u003c/strong>\u003cbr>\n\u003ci>Shotgun Players, Berkeley\u003cbr>\nDec. 6, 2019-Jan. 5, 2020\u003cbr>\n\u003ca href=\"http://bit.ly/2FPuyCJ\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Hot on the heels of new Caryl Churchill one-acts produced by Berkeley’s Anton’s Well, A.C.T. opens its new season with her best-known work, the \u003cspan class=\"st\">inimitable\u003c/span> \u003cem>Top Girls—\u003c/em>partly set at the most interesting dinner party of all time. Then, closing their season in December, Shotgun Players presents a rollicking rendition of Churchill’s \u003cem>Vinegar Tom\u003c/em>, a Brechtian musical foray set in a 17th century of witchfinders and oppressive patriarchy. It’s a wonderful opportunity for Bay Area theatergoers to reacquaint themselves with multiple decades’ worth of Churchill’s feminist ideals and strong-willed protagonists.\u003c/p>\n\u003cfigure id=\"attachment_13864729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864729\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/terrorvault_credit_JoseAGuzmanColon.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terror Vault returns to the Old Mint. \u003ccite>(Jose A. Guzman Colon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Terror Vault’\u003c/h2>\n\u003cp>\u003ci>The Old Mint, San Francisco\u003cbr>\nOct. 10-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://www.intothedarksf.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Most haunted houses don’t qualify as theater picks, but then again, most haunted houses aren’t 45-minute immersive experiences, scripted and staged by the great Peaches Christ (in collaboration with Non Plus Ultra and legendary haunted house designer David Flower). Last year’s \u003cem>Terror Vault\u003c/em> was a taut tightrope of creepshow, camp, and bloodbath, with a surprisingly cohesive narrative throughline and plenty of (optional) audience participation, and this year’s version looks to be all that and more. This edition introduces \u003cem>Apolcalypse,\u003c/em> a zombie-themed escape-room experience for folks who just can’t get scared enough. Discover the haunted histories of San Francisco’s Old Mint—or become one of them yourself.\u003c/p>\n\u003cfigure id=\"attachment_13864728\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864728\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg\" alt=\"\" width=\"600\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-800x1110.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-768x1066.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist-865x1200.jpg 865w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TheatreFIRST_DanWolf_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dan Wolf. \u003ccite>(TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Haunted Playwrights\u003c/h2>\n\u003cp>\u003cstrong>‘From the Ground Up’\u003c/strong>\u003cbr>\n\u003ci>TheatreFIRST, San Francisco\u003cbr>\nOct. 27-Nov. 10, 2019\u003cbr>\n\u003ca href=\"https://theatrefirst.com/2019-20-season/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>Eugene O’Neill Festival\u003c/strong>\u003cbr>\n\u003ci>Various venues\u003cbr>\nAug. 24-Sept. 29, 2019\u003cbr>\n\u003ca href=\"http://www.eugeneoneill.org/20th-annual-eugene-oneill-festival/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Speaking of hauntings, is there anything so haunted as the unresolved past? TheatreFIRST’s anthology of commissioned short plays explores the personal as peril—and how society is shaped by the supernatural—in \u003cem>From the Ground Up: An Anthology of Ghost Stories Made New\u003c/em>, penned by a who’s-who of some of the Bay Area’s most inventive voices, including Eugenie Chan, Dan Wolf, and Cleavon Smith. Meanwhile, the 20th Annual Eugene O’Neill Festival calls back to a pair of American Theater’s “haunted poets”—Eugene O’Neill and Tennessee Williams. It includes a special weekend of O’Neill’s seafaring short plays at Hyde Street Pier, and a production of his epic \u003cem>Long Day’s Journey Into Night \u003c/em>at his historic Tao House in Danville.\u003c/p>\n\u003cfigure id=\"attachment_13864736\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg\" alt=\"\" width=\"600\" height=\"668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-800x891.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist-768x856.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CentralWorks_CristinaGarcia_Headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cristina García. \u003ccite>(Central Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Lady Matador’s Hotel’\u003c/h2>\n\u003cp>\u003ci>Central Works, Berkeley\u003cbr>\nOct. 12-Nov. 10, 2019\u003cbr>\n\u003ca href=\"http://centralworks.org/the-lady-matadors-hotel/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>So successful was \u003cem>King of Cuba,\u003c/em> last year’s Central Works collaboration with novelist Cristina García, that they’re back this year with another, \u003cem>The Lady Matador’s Hotel\u003c/em>. Adapted from her 2010 book of the same name, \u003cem>The Lady Matador’s Hotel\u003c/em> follows the adventures of an unlikely coterie of travelers, stranded in an unnamed Central American country in a state of political unrest. Featuring a high-caliber cast and directed by Central Works’ co-artistic director, Gary Graves, this production closes out their 29th season with their 65th world premiere.\u003c/p>\n\u003cfigure id=\"attachment_13864733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/HPATCC-NY-Year-Two-Bubba-Weiler_Nadia-Brown_Nicholas-Podany_Photo-By-Matthew-Murphy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bubba Weller, Nadia Brown, Nicholas Podany in the New York production of ‘Harry Potter and the Cursed Child.’ \u003ccite>(Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Harry Potter and the Cursed Child’\u003c/h2>\n\u003cp>\u003ci>The Curran, San Francisco\u003cbr>\nOct. 23, 2019-May 2020\u003cbr>\n\u003ca href=\"https://sfcurran.com/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Calling all wizards! The extravaganza that is \u003cem>Harry Potter and the Cursed Child \u003c/em>is coming to San Francisco in October for its West Coast premiere under the refurbished Curran Theater roof. \u003cem>Harry Potter and the Cursed Child\u003c/em> features a grown-up Harry and his children, in particular his son Albus, who is heading to Hogwarts. Having been written with the many Harry Potter superfans in mind, the play is a two-part marathon, with tickets available for both consecutive and non-consecutive showings. Either way, be prepared to board the Hogwarts Express from Platform 9 ¾.\u003c/p>\n\u003cfigure id=\"attachment_13864730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864730\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MagicTheatre_Nassim_credit_David-Monteith-Hodge.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Nassim.’ \u003ccite>(David Monteith-Hodge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Nassim’\u003c/h2>\n\u003cp>\u003ci>Magic Theatre, San Francisco\u003cbr>\nNov. 12-16, 2019\u003cbr>\n\u003ca href=\"https://magictheatre.secure.force.com/ticket#details_a0S5A00000VLiXtUAL\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>In his infamous \u003cem>White Rabbit, Red Rabbit\u003c/em>, Nassim Soleimanpour challenged actors around the globe to perform his play without rehearsal, direction, or even time to read the script before the show. His eponymous \u003cem>Nassim \u003c/em>asks a similar leap of performer faith. The twist, however, is that Soleimanpour himself controls how and when the actor receives the text they are to speak via a projection screen. They’ll also receive an onstage crash course in Farsi, while exploring the human nuances of language and our universal struggles to communicate. Winner of the 2017 Fringe First award in Edinburgh, Scotland.\u003c/p>\n\u003cfigure id=\"attachment_13864737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864737\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BBB_San-Francisco-Skyline-Hat_RickMarkovich.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Skyline at Beach Blanket Babylon \u003ccite>(Rick Markovich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Beach Blanket Babylon’\u003c/h2>\n\u003cp>\u003ci>Club Fugazi, San Francisco\u003cbr>\nThrough Dec. 31, 2019\u003cbr>\n\u003ca href=\"http://www.beachblanketbabylon.com\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Sure, it’s a little over the top. Ok, a \u003cem>lot\u003c/em>. But \u003cem>Beach Blanket Babylon\u003c/em> is as much a San Francisco institution as any of our mainstages, and predates many of them at a venerable 45 years old; it’s the world’s longest-running musical revue. But despite its enduring charm, unflappable energy, and strong sales, the show must apparently not go on, closing for good on Dec. 31. So whether you’re a long-time fan, or one who’s been meaning to go but just haven’t quite made it out, this is your last opportunity to make some \u003cem>Beach Blanket Babylon \u003c/em>memories to carry with you into a future bereft of its broad-stroke satire and iconic hats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Lionel Richie\u003c/strong>: You might remember seven or so years ago when Lionel Richie went country, and even performed on the CMA Awards—don’t worry, this ain’t that. Lately, he’s been playing hit after hit: “Hello,” “Running With the Night,” “Stuck on You,” “Dancing on the Ceiling”… hours of ’80s classics. He performs Saturday, Aug. 24, at the recently refurbished Frost Amphitheater at Stanford. \u003ca href=\"https://live.stanford.edu/calendar/august-2019/lionel-richie\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tankcrimes Takeover\u003c/strong>: Tankcrimes has held it down in the Bay Area punk and metal scene for almost 20 years as an underground label that champions bands of the dark, heavy and face-melting variety. They’re taking over Eli’s Mile High Club in Oakland on Friday, Aug. 23, with a showcase of some of the doom metal, death metal, punk and hardcore bands on their roster, including Necrot, as well as Kicker, Cliterati and Deathgrave. \u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Flick’\u003c/strong>: We’ve seen movies about record store employees—\u003cem>High Fidelity\u003c/em>, \u003cem>Empire Records\u003c/em>—but there’s never been a great script about movie theater employees… until now. \u003cem>The Flick\u003c/em> is a Pulitzer Prize-winning play about three employees working at a suburban movie theater, and how their lives intersect. But it’s about more than the movie trivia they try to stump each other with—it’s about those interactions we all have during formative years in our lives, that shape us in even the most basic environments. It opens Thursday, Aug,. 22, at the Ashby Stage in Berkeley, and runs through Sept. 22. \u003ca href=\"https://shotgunplayers.org\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Shame // Reflections’\u003c/strong>: At Oros Gallery in the back of Pentacle Coffee in SF, this photo show features photography by Hannah Said and Sammy Jonny, two Muslim artists. They juxtapose photos of Muslim women in hijabs from their community with photos of Trump supporters at his inauguration to ask questions about power, privilege and intimidation. There’s an opening reception on Friday, Aug. 23, with an artist talk on Sept. 20. \u003ca href=\"https://www.instagram.com/orosgallery/?hl=en\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Meredith Monk\u003c/strong>: There is nobody quite like Meredith Monk, a singer and composer who’s always intriguing. And at Grace Cathedral, with its high ceilings and famous seven-second echo, her music should sound even more amazing. On her current tour, she’s stopping by the L.A. Philharmonic and Lincoln Center in New York—and while those shows are not free, this one is. That’s on Friday night, Aug, 23, at Grace Cathedral in San Francisco. \u003ca href=\"https://gracecathedral.org/events/meredith-monk-vocal-ensemble-unearthed/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Lionel Richie\u003c/strong>: You might remember seven or so years ago when Lionel Richie went country, and even performed on the CMA Awards—don’t worry, this ain’t that. Lately, he’s been playing hit after hit: “Hello,” “Running With the Night,” “Stuck on You,” “Dancing on the Ceiling”… hours of ’80s classics. He performs Saturday, Aug. 24, at the recently refurbished Frost Amphitheater at Stanford. \u003ca href=\"https://live.stanford.edu/calendar/august-2019/lionel-richie\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Tankcrimes Takeover\u003c/strong>: Tankcrimes has held it down in the Bay Area punk and metal scene for almost 20 years as an underground label that champions bands of the dark, heavy and face-melting variety. They’re taking over Eli’s Mile High Club in Oakland on Friday, Aug. 23, with a showcase of some of the doom metal, death metal, punk and hardcore bands on their roster, including Necrot, as well as Kicker, Cliterati and Deathgrave. \u003ca href=\"https://www.eventbrite.com/e/tankcrimes-takeover-of-elis-necrot-kicker-cliterati-deathgrave-tickets-67329160331\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Flick’\u003c/strong>: We’ve seen movies about record store employees—\u003cem>High Fidelity\u003c/em>, \u003cem>Empire Records\u003c/em>—but there’s never been a great script about movie theater employees… until now. \u003cem>The Flick\u003c/em> is a Pulitzer Prize-winning play about three employees working at a suburban movie theater, and how their lives intersect. But it’s about more than the movie trivia they try to stump each other with—it’s about those interactions we all have during formative years in our lives, that shape us in even the most basic environments. It opens Thursday, Aug,. 22, at the Ashby Stage in Berkeley, and runs through Sept. 22. \u003ca href=\"https://shotgunplayers.org\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Shame // Reflections’\u003c/strong>: At Oros Gallery in the back of Pentacle Coffee in SF, this photo show features photography by Hannah Said and Sammy Jonny, two Muslim artists. They juxtapose photos of Muslim women in hijabs from their community with photos of Trump supporters at his inauguration to ask questions about power, privilege and intimidation. There’s an opening reception on Friday, Aug. 23, with an artist talk on Sept. 20. \u003ca href=\"https://www.instagram.com/orosgallery/?hl=en\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Meredith Monk\u003c/strong>: There is nobody quite like Meredith Monk, a singer and composer who’s always intriguing. And at Grace Cathedral, with its high ceilings and famous seven-second echo, her music should sound even more amazing. On her current tour, she’s stopping by the L.A. Philharmonic and Lincoln Center in New York—and while those shows are not free, this one is. That’s on Friday night, Aug, 23, at Grace Cathedral in San Francisco. \u003ca href=\"https://gracecathedral.org/events/meredith-monk-vocal-ensemble-unearthed/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" 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>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Outside Lands\u003c/strong>: We’ve got your \u003ca href=\"https://www.kqed.org/arts/13862534/headed-to-outside-lands-heres-everything-you-need-to-know\" rel=\"noopener\" target=\"_blank\">all-purpose online guide\u003c/a> to surviving the city’s biggest music festival, including how to get there, what to wear and how to navigate the crowds. And since you probably already know about the big headliners (Childish Gambino, Paul Simon, Twenty-One Pilots), we’ll take you on a brief tour of some of the lineup’s rising stars and local acts, like Yaeji, P-Lo and The Seshen. That’s Friday–Sunday, Aug. 9–11, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Satinder Sartaaj\u003c/strong>: Over the course of 10 albums, this Punjabi singer has made a big splash, not just at home in India, but around the globe. He also recently made his film debut, and with his charismatic style, it’s easy to imagine him as next year’s Bollywood star. He performs Saturday, Aug. 10, at the California Theatre in San Jose. \u003ca href=\"https://sanjosetheaters.org/event/satinder-sartaaj-aug10/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Mama’s Babies: An Account of Black Matriarchy in America’\u003c/strong>: For a Vallejo filmmaker and photographer, Adrian Burrell has a wide impact Bay Area-wide. After working on the acclaimed film \u003cem>Licks\u003c/em>, he’s turned his lens to social issues and people fighting for change. This exhibition, focusing on black mothers, runs Aug. 7–24, with an opening reception Aug. 10, at SHOH Gallery in Berkeley. \u003ca href=\"https://www.shohgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Those Dancin’ Feet’\u003c/strong>: There’s something special about the Transcendence Theatre Company, made up of Broadway professionals on summertime leave from New York. For starters, their shows are in a gorgeous outdoor setting: under the stars, inside old stone ruins at Jack London State Park. Secondly, they raise money for state parks. But the main thing is the productions are always a hell of a good time. Their latest show opens Aug. 9, at Jack London State Park in Glen Ellen. \u003ca href=\"https://transcendencetheatre.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Outside Lands\u003c/strong>: We’ve got your \u003ca href=\"https://www.kqed.org/arts/13862534/headed-to-outside-lands-heres-everything-you-need-to-know\" rel=\"noopener\" target=\"_blank\">all-purpose online guide\u003c/a> to surviving the city’s biggest music festival, including how to get there, what to wear and how to navigate the crowds. And since you probably already know about the big headliners (Childish Gambino, Paul Simon, Twenty-One Pilots), we’ll take you on a brief tour of some of the lineup’s rising stars and local acts, like Yaeji, P-Lo and The Seshen. That’s Friday–Sunday, Aug. 9–11, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Satinder Sartaaj\u003c/strong>: Over the course of 10 albums, this Punjabi singer has made a big splash, not just at home in India, but around the globe. He also recently made his film debut, and with his charismatic style, it’s easy to imagine him as next year’s Bollywood star. He performs Saturday, Aug. 10, at the California Theatre in San Jose. \u003ca href=\"https://sanjosetheaters.org/event/satinder-sartaaj-aug10/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Mama’s Babies: An Account of Black Matriarchy in America’\u003c/strong>: For a Vallejo filmmaker and photographer, Adrian Burrell has a wide impact Bay Area-wide. After working on the acclaimed film \u003cem>Licks\u003c/em>, he’s turned his lens to social issues and people fighting for change. This exhibition, focusing on black mothers, runs Aug. 7–24, with an opening reception Aug. 10, at SHOH Gallery in Berkeley. \u003ca href=\"https://www.shohgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When I get to the Fort Mason Fire House early on a Sunday evening in June, the wind is already rolling off the bay and buffeting my bicycle like a bumper car.\u003c/p>\n\u003cp>I’m here to take a preshow haptic tour of Deborah Slater’s \u003cem>Solos Lost and Found\u003c/em>, a choreographed work that’s part of the San Francisco International Arts Festival. It’s a revival of some of Slater’s classic pieces, celebrating her company’s 30-year anniversary, but what draws me to this particular performance is a \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\">new audio description service\u003c/a> by Jess Curtis/Gravity, an experiential dance company with a history of accessibility activism and programming,\u003c/p>\n\u003cp>While audio description for the visually impaired is not a wholly unknown service in the Bay Area (a San Jose-based organization, AudioVision, frequently describes shows for both SHN and the Curran Theatres in San Francisco), it hasn’t much penetrated the strata of smaller and more experimental theater and dance companies. Jess Curtis wants to change that.\u003c/p>\n\u003ch2>‘Standard Practice’\u003c/h2>\n\u003cp>Over the years, Curtis has created much of his work with an emphasis on access and accessibility. But even he hadn’t wholly considered the importance of audio description for the visually impaired until working with disabled dancer Claire Cunningham on their collaborative \u003cem>The Way You Look (at me) Tonight\u003c/em> in the UK.\u003c/p>\n\u003cfigure id=\"attachment_13862807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham and Jess Curtis perform in ‘The Way You Look (at me) Tonight.’ \u003ccite>(Sven Hagolani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the UK it’s standard practice,” Curtis mentions to me, speaking from Berlin via Skype. “Almost any publicly funded theater there will have audio description, and sign language interpretation, and what they call ‘relaxed’ performances—a whole range of accommodation.” He attributes these standard practices to his observation that disability rights activism in the UK appears to be a “lot more advanced” than in other places, including the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13862808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham performs in ‘The Way You Look (at me) Tonight.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a body-based artist, Curtis’ exploration of the relationship between artist and audience bodies is a fundamental part of his practice. So for him, describing said bodies so that the visually impaired can follow the action is a logical continuation of his work. In the piece he’s currently creating in Berlin, \u003cem>(in)Visible\u003c/em>, he incorporates audio description into the piece organically, with input from visually impaired performers and consultants such as UC Berkeley’s Georgina Kleege and nationally recognized access activist Tiffany Taylor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kleege points to Curtis’ emphases on multi-sensory perception and accommodation as one of her main motivations for consulting on the project, as well as his performances. Through Gravity, she hopes to help foster a growing awareness of accessibility for all—and not just in the larger theaters. In fact, with a grant from the Haas Foundation, Curtis’ company can offer other Bay Area companies the opportunity to host audio description services at their shows for a reduced cost through the end of 2019. \u003c/p>\n\u003cfigure id=\"attachment_13862804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Mehling featured as “Grace” in an audio-described production of Deborah Slater’s Solos Lost and Found at SFIAF. \u003ccite>(Deborah Slater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>Solos Lost and Found\u003c/em>, we huddle onstage together; describers, describees, and described—to. A haptic tour is a multisensory experience; the performers are all careful to describe themselves to us in detail—haircolor, skin color, body build, and attire. We’re then invited to touch and manipulate a pile of woolen blankets, a small, fabric coated, wedge-shaped tabletop, a long wooden staff, and performer Hien Huynh, as he does an armless headstand on the tabletop. Finally, we’re all fitted with headsets through which we’ll get our audio description during the show.\u003c/p>\n\u003cfigure id=\"attachment_13862806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862806\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audio Description headsets used by Jess Curtis/Gravity. \u003ccite>(Courtesy of Jess Curtis/Gravity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How Does it Work?\u003c/h2>\n\u003cp>Much of Slater’s work is scored with spoken text as well as music, which means that the describer—in this case \u003ca href=\"https://www.kqed.org/arts/13860957/the-hustle-stephanie-hewett-dance\" rel=\"noopener\" target=\"_blank\">Stephanie Hewett\u003c/a>—can’t talk over the description. For a dance piece, having to wait long seconds, even minutes, between a description of the action, gives the description a disjointed feel. Fortunately, the spoken text of Slater’s piece is sufficiently evocative of mood that I get a feeling for the storyline and emotion, even with my eyes closed. Ultimately though, as a fully sighted person, I’m aware that I can only guess at the overall efficacy of the description. Fortunately, there are also two folks with low vision in attendance, and after the performance, we convene with Hewett, and program director India Davis, to offer our feedback.\u003c/p>\n\u003cp>The two visually impaired folks auditioning the audio description service at \u003cem>Solos Lost and Found\u003c/em> are Mike Berger and Alicia Connor. Mike, who happens to be Slater’s husband, has seen the work before while fully sighted, so for him the frustrations with the description lay in the details. What expressions did the performers make? Why did the audience laugh at a certain moment? Could there have been a way to make the description more interpretive without placing value judgments on the piece?\u003c/p>\n\u003cp>The second descriptee, Alicia Conner, a nutritionist and an advocate for the LightHouse for the Blind and Visually Impaired, described herself as low-vision, but still very visual. The description didn’t always work, she says, but she felt having it helped to enhance her experience overall. She, too, was frustrated at having missed the same motivation for laughter that Mike had, but they both expressed optimism for the development of the service. Everyone’s conclusion is that it’s a program we’re eager to see continue developing.\u003c/p>\n\u003cfigure id=\"attachment_13862803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862803\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1200x806.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1920x1289.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meegan Hertensteiner dances in an audio-described production of Deborah Slater’s Solos Lost and Found at SFIAF. \u003ccite>(Deborah Slater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Slater, the process of working with the audio description component was completely new, and while she, too, feels there are still things that could be improved about the service—more time for the describers to familiarize themselves with the piece, more ways to describe the emotional rather than the strictly physical content—she’s hopeful that in the future it might help Mike, and others, experience new works of hers that he isn’t already familiar with.\u003c/p>\n\u003cp>“It’s really cool that Jess is taking this on,” she emphasizes. “It’s an art form in itself, to transform what you’re seeing into meaningful text.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Gravity Audio Description Services will be available next at \u003cem>Into the Woods\u003c/em>, presented at the Woodminster Ampitheatre in Oakland, \u003ca href=\"https://bayareaaccessibleperformances.org/events\">Sept. 5.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>(in)Visible\u003c/em>\u003cem> will receive its U.S. Premiere at CounterPulse in San Francisco, runnning \u003ca href=\"http://counterpulse.org/event/invisible/\">Oct. 3-13\u003c/a>\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I get to the Fort Mason Fire House early on a Sunday evening in June, the wind is already rolling off the bay and buffeting my bicycle like a bumper car.\u003c/p>\n\u003cp>I’m here to take a preshow haptic tour of Deborah Slater’s \u003cem>Solos Lost and Found\u003c/em>, a choreographed work that’s part of the San Francisco International Arts Festival. It’s a revival of some of Slater’s classic pieces, celebrating her company’s 30-year anniversary, but what draws me to this particular performance is a \u003ca href=\"https://www.jesscurtisgravity.org/programs#access\">new audio description service\u003c/a> by Jess Curtis/Gravity, an experiential dance company with a history of accessibility activism and programming,\u003c/p>\n\u003cp>While audio description for the visually impaired is not a wholly unknown service in the Bay Area (a San Jose-based organization, AudioVision, frequently describes shows for both SHN and the Curran Theatres in San Francisco), it hasn’t much penetrated the strata of smaller and more experimental theater and dance companies. Jess Curtis wants to change that.\u003c/p>\n\u003ch2>‘Standard Practice’\u003c/h2>\n\u003cp>Over the years, Curtis has created much of his work with an emphasis on access and accessibility. But even he hadn’t wholly considered the importance of audio description for the visually impaired until working with disabled dancer Claire Cunningham on their collaborative \u003cem>The Way You Look (at me) Tonight\u003c/em> in the UK.\u003c/p>\n\u003cfigure id=\"attachment_13862807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ClaireCunningham_JessCurtis_credit_SvenHagolani.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham and Jess Curtis perform in ‘The Way You Look (at me) Tonight.’ \u003ccite>(Sven Hagolani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the UK it’s standard practice,” Curtis mentions to me, speaking from Berlin via Skype. “Almost any publicly funded theater there will have audio description, and sign language interpretation, and what they call ‘relaxed’ performances—a whole range of accommodation.” He attributes these standard practices to his observation that disability rights activism in the UK appears to be a “lot more advanced” than in other places, including the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13862808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Claire_Cunningham_credit_RobbieSweeny.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham performs in ‘The Way You Look (at me) Tonight.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a body-based artist, Curtis’ exploration of the relationship between artist and audience bodies is a fundamental part of his practice. So for him, describing said bodies so that the visually impaired can follow the action is a logical continuation of his work. In the piece he’s currently creating in Berlin, \u003cem>(in)Visible\u003c/em>, he incorporates audio description into the piece organically, with input from visually impaired performers and consultants such as UC Berkeley’s Georgina Kleege and nationally recognized access activist Tiffany Taylor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kleege points to Curtis’ emphases on multi-sensory perception and accommodation as one of her main motivations for consulting on the project, as well as his performances. Through Gravity, she hopes to help foster a growing awareness of accessibility for all—and not just in the larger theaters. In fact, with a grant from the Haas Foundation, Curtis’ company can offer other Bay Area companies the opportunity to host audio description services at their shows for a reduced cost through the end of 2019. \u003c/p>\n\u003cfigure id=\"attachment_13862804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Kerry-Mehling_credit_DeborahSlater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerry Mehling featured as “Grace” in an audio-described production of Deborah Slater’s Solos Lost and Found at SFIAF. \u003ccite>(Deborah Slater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>Solos Lost and Found\u003c/em>, we huddle onstage together; describers, describees, and described—to. A haptic tour is a multisensory experience; the performers are all careful to describe themselves to us in detail—haircolor, skin color, body build, and attire. We’re then invited to touch and manipulate a pile of woolen blankets, a small, fabric coated, wedge-shaped tabletop, a long wooden staff, and performer Hien Huynh, as he does an armless headstand on the tabletop. Finally, we’re all fitted with headsets through which we’ll get our audio description during the show.\u003c/p>\n\u003cfigure id=\"attachment_13862806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862806\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/JessCurtis_AudioDescriptionHeadsets_credit_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audio Description headsets used by Jess Curtis/Gravity. \u003ccite>(Courtesy of Jess Curtis/Gravity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How Does it Work?\u003c/h2>\n\u003cp>Much of Slater’s work is scored with spoken text as well as music, which means that the describer—in this case \u003ca href=\"https://www.kqed.org/arts/13860957/the-hustle-stephanie-hewett-dance\" rel=\"noopener\" target=\"_blank\">Stephanie Hewett\u003c/a>—can’t talk over the description. For a dance piece, having to wait long seconds, even minutes, between a description of the action, gives the description a disjointed feel. Fortunately, the spoken text of Slater’s piece is sufficiently evocative of mood that I get a feeling for the storyline and emotion, even with my eyes closed. Ultimately though, as a fully sighted person, I’m aware that I can only guess at the overall efficacy of the description. Fortunately, there are also two folks with low vision in attendance, and after the performance, we convene with Hewett, and program director India Davis, to offer our feedback.\u003c/p>\n\u003cp>The two visually impaired folks auditioning the audio description service at \u003cem>Solos Lost and Found\u003c/em> are Mike Berger and Alicia Connor. Mike, who happens to be Slater’s husband, has seen the work before while fully sighted, so for him the frustrations with the description lay in the details. What expressions did the performers make? Why did the audience laugh at a certain moment? Could there have been a way to make the description more interpretive without placing value judgments on the piece?\u003c/p>\n\u003cp>The second descriptee, Alicia Conner, a nutritionist and an advocate for the LightHouse for the Blind and Visually Impaired, described herself as low-vision, but still very visual. The description didn’t always work, she says, but she felt having it helped to enhance her experience overall. She, too, was frustrated at having missed the same motivation for laughter that Mike had, but they both expressed optimism for the development of the service. Everyone’s conclusion is that it’s a program we’re eager to see continue developing.\u003c/p>\n\u003cfigure id=\"attachment_13862803\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862803\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1200x806.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater-1920x1289.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SFIAF_Meegan-Hertensteiner_credit_DeborahSlater.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Meegan Hertensteiner dances in an audio-described production of Deborah Slater’s Solos Lost and Found at SFIAF. \u003ccite>(Deborah Slater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Slater, the process of working with the audio description component was completely new, and while she, too, feels there are still things that could be improved about the service—more time for the describers to familiarize themselves with the piece, more ways to describe the emotional rather than the strictly physical content—she’s hopeful that in the future it might help Mike, and others, experience new works of hers that he isn’t already familiar with.\u003c/p>\n\u003cp>“It’s really cool that Jess is taking this on,” she emphasizes. “It’s an art form in itself, to transform what you’re seeing into meaningful text.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Gravity Audio Description Services will be available next at \u003cem>Into the Woods\u003c/em>, presented at the Woodminster Ampitheatre in Oakland, \u003ca href=\"https://bayareaaccessibleperformances.org/events\">Sept. 5.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>(in)Visible\u003c/em>\u003cem> will receive its U.S. Premiere at CounterPulse in San Francisco, runnning \u003ca href=\"http://counterpulse.org/event/invisible/\">Oct. 3-13\u003c/a>\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>YUNA\u003c/strong>: When she’s not collaborating with rap artists like G-Eazy and Tyler the Creator, this young R&B singer incorporates influences from her home country of Malaysia into her music—a refreshing cross-cultural sound. She performs Friday, Aug. 2, at the New Parish, and Saturday, Aug. 3, at the Great American Music Hall. \u003ca href=\"https://www.thenewparish.com/e/yuna-the-rouge-tour-with-skylar-stecker-61658724906/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a> and \u003ca href=\"https://slimspresents.com/event/yuna-the-rouge-tour-gamh/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Long Look’\u003c/strong>: A recent study showed that people in museums or galleries spend an average of only 17 seconds looking at an individual piece of art. The folks at Bass & Reiner Gallery want to change that, through an interesting method: for the duration of ‘The Long Look,’ they’ll show just one piece of art at a time, on a rotating basis, through Aug. 31. \u003ca href=\"https://www.kqed.org/arts/13862637/the-long-look-bass-and-reiner-gallery\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>: This year, the company known for presenting opera in unlikely East Bay venues has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. But the location isn’t the most interesting thing about West Edge’s new season: it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the 1996 Lars Von Trier film. \u003cem>The Threepenny Opera\u003c/em> and \u003cem>Orfeo ed Euridice\u003c/em> round out the festival, running Aug. 3–18. \u003ca href=\"https://www.kqed.org/arts/13862267/cutting-edge-opera-about-sex-and-capitalism-performed-in-an-oakland-warehouse\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Running, Rigging, Waiting’\u003c/strong>: This weekend’s your last chance to see this excellent show by Dionne Lee that’s all about water, incorporating the Atlantic slave trade, the effects of climate change, and more. A panel discussion on Saturday with some bright minds gives the show even more context. That’s at Interface Gallery in Oakland. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Concord Jazz Festival\u003c/strong>: It’s been 50 years since this jazz festival was founded, and it celebrates in style on Saturday with Chick Corea, Patti Austin, Esperanza Spalding and more. That’s Aug. 3 at the Concord Pavilion. \u003ca href=\"https://concord.com/concord-news/50th-anniversary-concord-jazz-festival-saturday-august-3rd-at-concord-pavilion/?utm_source=google&utm_medium=search&utm_campaign=july_ads\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>YUNA\u003c/strong>: When she’s not collaborating with rap artists like G-Eazy and Tyler the Creator, this young R&B singer incorporates influences from her home country of Malaysia into her music—a refreshing cross-cultural sound. She performs Friday, Aug. 2, at the New Parish, and Saturday, Aug. 3, at the Great American Music Hall. \u003ca href=\"https://www.thenewparish.com/e/yuna-the-rouge-tour-with-skylar-stecker-61658724906/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a> and \u003ca href=\"https://slimspresents.com/event/yuna-the-rouge-tour-gamh/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Long Look’\u003c/strong>: A recent study showed that people in museums or galleries spend an average of only 17 seconds looking at an individual piece of art. The folks at Bass & Reiner Gallery want to change that, through an interesting method: for the duration of ‘The Long Look,’ they’ll show just one piece of art at a time, on a rotating basis, through Aug. 31. \u003ca href=\"https://www.kqed.org/arts/13862637/the-long-look-bass-and-reiner-gallery\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>West Edge Opera\u003c/strong>: This year, the company known for presenting opera in unlikely East Bay venues has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. But the location isn’t the most interesting thing about West Edge’s new season: it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the 1996 Lars Von Trier film. \u003cem>The Threepenny Opera\u003c/em> and \u003cem>Orfeo ed Euridice\u003c/em> round out the festival, running Aug. 3–18. \u003ca href=\"https://www.kqed.org/arts/13862267/cutting-edge-opera-about-sex-and-capitalism-performed-in-an-oakland-warehouse\" 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>‘Running, Rigging, Waiting’\u003c/strong>: This weekend’s your last chance to see this excellent show by Dionne Lee that’s all about water, incorporating the Atlantic slave trade, the effects of climate change, and more. A panel discussion on Saturday with some bright minds gives the show even more context. That’s at Interface Gallery in Oakland. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Concord Jazz Festival\u003c/strong>: It’s been 50 years since this jazz festival was founded, and it celebrates in style on Saturday with Chick Corea, Patti Austin, Esperanza Spalding and more. That’s Aug. 3 at the Concord Pavilion. \u003ca href=\"https://concord.com/concord-news/50th-anniversary-concord-jazz-festival-saturday-august-3rd-at-concord-pavilion/?utm_source=google&utm_medium=search&utm_campaign=july_ads\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sometimes, when you ask, you receive. So it was for Rolland Janairo, the new executive director of the \u003ca href=\"https://www.svudl.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Urban Debate League\u003c/a>. A few months ago, he attended a performance of \u003ca href=\"https://hamiltonmusical.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> in San Francisco, went back stage to meet the actors, pitched Christopher Henry Young on coaching a gaggle of high school debate students, and “his eyes just lit up.” \u003c/p>\n\u003cp>So it was, with an assist from the \u003ca href=\"http://www.sfbatco.org\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Theatre Company\u003c/a>, that Young showed up with at Yerba Buena High School in San Jose last week with three fellow cast members (in an unofficial capacity, as far as the musical is concerned). Unofficial or not, it was the headlining highlight of this year’s SVUDL summer debate institute.\u003c/p>\n\u003cp>“Little secret,” Young confided before the group gathered in the cafeteria. “We’re all much shyer than we appear. It’s all smoke and mirrors. So I’m able to be up here, and look you in the eye, not because it’s natural to me, but because I’ve had to learn tools and tricks,” said the \u003cem>Hamilton\u003c/em> ensemble member, who’s also been in \u003cem>The Wiz\u003c/em> and \u003cem>Guys and Dolls\u003c/em> on Broadway.\u003c/p>\n\u003cp>Frankly, they could have recited the \u003cem>U.S. Constitution\u003c/em> and this crowd of 35 students would have paid rapt attention, but it turns out debate and public speaking are legitimately a lot like theatre, because performers have to be prepared to respond to the unexpected while performing on stage.\u003c/p>\n\u003cp>“A lot of the exercises that we’re going to have you do today are things like we’ve done in theatre classes. They all help with concentration, flexibility, being able to think on your feet, focus, empathizing and sharing experiences with each other,” said Marja Harmon, who is the standby for all the Schuyler sisters in the local tour of \u003cem>Hamilton, \u003c/em>after stints in \u003cem>Book of Mormon \u003c/em>and\u003cem> Cat on a Hot Tin Roof\u003c/em> on Broadway\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13862370\" class=\"wp-caption aligncenter\" style=\"max-width: 2013px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg\" alt=\"\" width=\"2013\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg 2013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1200x792.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1920x1267.jpeg 1920w\" sizes=\"(max-width: 2013px) 100vw, 2013px\">\u003cfigcaption class=\"wp-caption-text\">Broadway actors Christopher Henry Young, Marja Harmon and Morgan Wood pay rapt attention as students with Silicon Valley Urban Debate League perform an improv exercise. \u003ccite>(Photo: Courtesy of SF BATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were powerful moments of poignancy as a few students were called up on stage and asked to describe themselves in 90 seconds. Think you can do it on the spot? Not so easy, regardless of your age. Most of us shy away from the most compelling thing you can be in front of others: confidently genuine. It’s what a lot of people describe as “owning your own truth,” and if it were easy, we’d all be doing it, all the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, everybody, students and debate coaches alike, were waiting for Q&A time, when they got to ask the actors about their careers and advice on life generally.\u003c/p>\n\u003cp>Morgan Anita Wood (a \u003cem>Hamilton\u003c/em> ensemble member and understudy for the the Schuyler sisters) admitted she’s a natural extrovert. When students asked what she likes best about acting, she professed she loves to play characters completely unlike her. “Everyone has their truth and their story. You could be playing a murderer, and there’s a reason they did what they did. Getting to play people who are completely outside of my personal realm of understanding makes me a more empathetic human being.”\u003c/p>\n\u003cp>The actors are not too far from high school themselves, and Young made a point of urging students to accept themselves in all their awkward, teenage glory. “When I was younger, if I would have saw me, I would not have been afraid to be me then. Be it, so others can see it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That, really, was the point of the program, said Janairo, noting that SVUDL is focused on low-income students in East Palo Alto and San Jose. “I hope they’re taking some nuggets home about how to present themselves, how to speak their truth, and find their joy.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, when you ask, you receive. So it was for Rolland Janairo, the new executive director of the \u003ca href=\"https://www.svudl.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Urban Debate League\u003c/a>. A few months ago, he attended a performance of \u003ca href=\"https://hamiltonmusical.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> in San Francisco, went back stage to meet the actors, pitched Christopher Henry Young on coaching a gaggle of high school debate students, and “his eyes just lit up.” \u003c/p>\n\u003cp>So it was, with an assist from the \u003ca href=\"http://www.sfbatco.org\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Theatre Company\u003c/a>, that Young showed up with at Yerba Buena High School in San Jose last week with three fellow cast members (in an unofficial capacity, as far as the musical is concerned). Unofficial or not, it was the headlining highlight of this year’s SVUDL summer debate institute.\u003c/p>\n\u003cp>“Little secret,” Young confided before the group gathered in the cafeteria. “We’re all much shyer than we appear. It’s all smoke and mirrors. So I’m able to be up here, and look you in the eye, not because it’s natural to me, but because I’ve had to learn tools and tricks,” said the \u003cem>Hamilton\u003c/em> ensemble member, who’s also been in \u003cem>The Wiz\u003c/em> and \u003cem>Guys and Dolls\u003c/em> on Broadway.\u003c/p>\n\u003cp>Frankly, they could have recited the \u003cem>U.S. Constitution\u003c/em> and this crowd of 35 students would have paid rapt attention, but it turns out debate and public speaking are legitimately a lot like theatre, because performers have to be prepared to respond to the unexpected while performing on stage.\u003c/p>\n\u003cp>“A lot of the exercises that we’re going to have you do today are things like we’ve done in theatre classes. They all help with concentration, flexibility, being able to think on your feet, focus, empathizing and sharing experiences with each other,” said Marja Harmon, who is the standby for all the Schuyler sisters in the local tour of \u003cem>Hamilton, \u003c/em>after stints in \u003cem>Book of Mormon \u003c/em>and\u003cem> Cat on a Hot Tin Roof\u003c/em> on Broadway\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13862370\" class=\"wp-caption aligncenter\" style=\"max-width: 2013px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg\" alt=\"\" width=\"2013\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg 2013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1200x792.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1920x1267.jpeg 1920w\" sizes=\"(max-width: 2013px) 100vw, 2013px\">\u003cfigcaption class=\"wp-caption-text\">Broadway actors Christopher Henry Young, Marja Harmon and Morgan Wood pay rapt attention as students with Silicon Valley Urban Debate League perform an improv exercise. \u003ccite>(Photo: Courtesy of SF BATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were powerful moments of poignancy as a few students were called up on stage and asked to describe themselves in 90 seconds. Think you can do it on the spot? Not so easy, regardless of your age. Most of us shy away from the most compelling thing you can be in front of others: confidently genuine. It’s what a lot of people describe as “owning your own truth,” and if it were easy, we’d all be doing it, all the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Since 1979, West Edge Opera has jumped all over the East Bay from one unlikely venue to another. This year, the company known for pushing the boundaries of opera has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. \u003c/p>\n\u003cp>But the location isn’t the most interesting thing about West Edge’s new season. For my money, it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the bleak 1996 Lars Von Trier film. The West Edge production stars Sara LeMesh as Bess McNeill, the young wife whose injured husband encourages her to sleep with other men due to his immobility; reviewing its premiere three years ago, the \u003cem>New York Times\u003c/em> praised its lush orchestration and “powerful, permeating mood.”\u003c/p>\n\u003cp>I don’t know anybody who rushes to defend Von Trier’s treatment of women, either in his films or \u003ca href=\"https://www.vanityfair.com/hollywood/2017/11/lars-von-trier-production-company-zentropa-allegations\" rel=\"noopener\" target=\"_blank\">behind the camera\u003c/a>. So, as if to offset \u003cem>Breaking the Waves\u003c/em>, West Edge’s season also includes Christoph Willibald Gluck’s \u003cem>Orfeo ed Euridice\u003c/em>, conducted, directed, choreographed, designed, and performed by women and non-binary artists. And rounding out the season is \u003cem>The Threepenny Opera\u003c/em>, with Maya Kherani as Polly Peachum (above) and Derek Chester as Mack the Knife. Something tells me that \u003cem>Threepenny\u003c/em>‘s story about class morality and capitalism will resonate extra strong on the Oakland shore, with the skyline of San Francisco as a backdrop.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 1979, West Edge Opera has jumped all over the East Bay from one unlikely venue to another. This year, the company known for pushing the boundaries of opera has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. \u003c/p>\n\u003cp>But the location isn’t the most interesting thing about West Edge’s new season. For my money, it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the bleak 1996 Lars Von Trier film. The West Edge production stars Sara LeMesh as Bess McNeill, the young wife whose injured husband encourages her to sleep with other men due to his immobility; reviewing its premiere three years ago, the \u003cem>New York Times\u003c/em> praised its lush orchestration and “powerful, permeating mood.”\u003c/p>\n\u003cp>I don’t know anybody who rushes to defend Von Trier’s treatment of women, either in his films or \u003ca href=\"https://www.vanityfair.com/hollywood/2017/11/lars-von-trier-production-company-zentropa-allegations\" rel=\"noopener\" target=\"_blank\">behind the camera\u003c/a>. So, as if to offset \u003cem>Breaking the Waves\u003c/em>, West Edge’s season also includes Christoph Willibald Gluck’s \u003cem>Orfeo ed Euridice\u003c/em>, conducted, directed, choreographed, designed, and performed by women and non-binary artists. And rounding out the season is \u003cem>The Threepenny Opera\u003c/em>, with Maya Kherani as Polly Peachum (above) and Derek Chester as Mack the Knife. Something tells me that \u003cem>Threepenny\u003c/em>‘s story about class morality and capitalism will resonate extra strong on the Oakland shore, with the skyline of San Francisco as a backdrop.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Review: 'Kill Move Paradise' Pulses with Life at Shotgun Players",
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"content": "\u003cp>On a sterile white stage, gently curved like the interior of a celestial guitar, a man reads from a seemingly endless list.\u003c/p>\n\u003cp>“Amadou Diallo. Malcolm Ferguson. Patrick Dorismond.”\u003c/p>\n\u003cp>If you recognize these names, then you already know that the list—spooling comically from an impact printer—is pages and pages long. Among the names I hear Oscar Grant. Andy Lopez. Nia Wilson. A projection of a trickling river becomes a flood, sweeping uncontrolled across the back of the stage. Two other actors struggle against the current, which threatens to sweep them away.\u003c/p>\n\u003cfigure id=\"attachment_13861403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell, Lenard Jackson, and Tre’Vonne Bell read from the list in ‘Kill Move Paradise,’ by James Ijames, at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In James Ijames’ \u003cem>Kill Move Paradise\u003c/em>, Isa (Eddie Ewell), Grif (Lenard Jackson), and Daz (Tre’Vonne Bell) find themselves in purgatory, where they must work together toward the next plane in their ascension to the afterlife. As black men who have been murdered, their instructions for transformation include simply to “remember.” Without the comfort of oblivion, they must take comfort in each other, and demonstrate to themselves and the audience why they matter.\u003c/p>\n\u003cp>This rare collaboration between Shotgun Players and Lorraine Hansberry Theatre, directed by Darryl V. Jones, imbues Ijames’ eternity-focused script with earthly expressiveness. Isa, resigned, has been here before, and recognizes not only the room but the situation. In actor Eddie Ewell’s hands he is kindly, assured; the perfect, cardigan-clad intermediary to coach his fellow residents of limbo to the next level. Jackson’s Grif is sweetly dorky in a bow tie and a knack for the double take, and Bell’s Daz an explosion of street patter and crackling, live-wire energy.\u003c/p>\n\u003cfigure id=\"attachment_13861405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell dances on Celeste Martore’s singular set in ‘Kill Move Paradise,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The blank white walls of Celeste Martore’s set curve extravagantly into each other, flanked by tubular portals or ducts through which the three men have been unceremoniously shoved by unknown forces. When the men try to scale them, they quickly slide back down to the ground in Sisyphean frustration. In function, the set acts both as a blank canvas for Theodore J.H. Hulsker’s video projections of cracked earth, flood waters, lightning, and heavenly bodies, and as a perfect metaphor for our protagonists’ existential predicament—of black men trapped and held by implacable, oppressive whiteness. As they try to work out amongst themselves whether their untimely deaths make them martyrs or sacrifices, the pristine walls give them no clues, only barriers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just when it seems as if the setup couldn’t get more harrowing, a fourth character appears. Tiny (Dwayne Clay) is a playful teenager clad in red and blue sportswear and carrying an obviously fake, bright orange popgun. His arrival stuns and enrages his predecessors. A child. Who plays make-believe games of cowboys and aliens in the park. Who boasts of his high IQ one moment and sulks about being teased for it the next.\u003c/p>\n\u003cp>“He’s too young,” Daz protests, vacillating between wanting Tiny to know the truth of why he’s come, yet unable to break it to him. But remembering is in the instruction manual, and they can only move to the next level if they move together, and so they set about the task of bringing Tiny up to speed on his death.\u003c/p>\n\u003cp>In Ijames’ inspired vision of the afterlife, there’s no escaping the truth, not even for the audience. Our protective fourth wall is breached right at the beginning of the play, and frequently we become the subject of speculation. Are we a wall of observers, monitoring for quality control? A representative slice of Americans? A room of detached voyeurs? How can we just sit there and watch the pain and confusion of others unfurl before us like a spectator sport? Indeed, how can anyone, Ijames appears to demand.\u003c/p>\n\u003cfigure id=\"attachment_13861402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-800x497.jpg\" alt=\"\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell, Tre’Vonne Bell, and Lenard Jackson intimidate Dwayne Clay in ‘Kill Move Paradise,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before our eyes, the characters undergo harrowing transformations in their pursuit of revelation. At one point the three men join together to become an otherworldly three-headed Cerberus, sinuous and threatening. At another, they ham their way through a sit-com, complete with canned laughter and applause. Their reality contracts and expands with infinite possibility, while the audience remains static—not invited to participate in the piece so much as to bear witness.\u003c/p>\n\u003cfigure id=\"attachment_13861407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Clay as Tiny confronts the audience in ‘Kill Move Paradise’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Kill Move Paradise\u003c/em>, Ijames gives voice to those silenced for no other reason than the color of their skin and irrational fear. A dazzling pastiche of shimmering surrealism, poetic soliloquies, an undercurrent of grief, and a reverence for the pulsating life force that propels us forward, \u003cem>Kill Move Paradise\u003c/em> doesn’t so much unfold onstage but burst onto it, like an extraterrestrial explosion. A reflection of both our worst and best traits as a society. It may embody one of our grimmest statistics, but within it lies a kernel of hope.\u003c/p>\n\u003cp>“I am the last they shall eliminate,” Tiny pronounces near the end, as the four prepare to attain eternity. He makes it sound like a promise—and a prayer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kill Move’ Paradise’ runs through Aug. 4 at Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sterile white stage, gently curved like the interior of a celestial guitar, a man reads from a seemingly endless list.\u003c/p>\n\u003cp>“Amadou Diallo. Malcolm Ferguson. Patrick Dorismond.”\u003c/p>\n\u003cp>If you recognize these names, then you already know that the list—spooling comically from an impact printer—is pages and pages long. Among the names I hear Oscar Grant. Andy Lopez. Nia Wilson. A projection of a trickling river becomes a flood, sweeping uncontrolled across the back of the stage. Two other actors struggle against the current, which threatens to sweep them away.\u003c/p>\n\u003cfigure id=\"attachment_13861403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell, Lenard Jackson, and Tre’Vonne Bell read from the list in ‘Kill Move Paradise,’ by James Ijames, at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In James Ijames’ \u003cem>Kill Move Paradise\u003c/em>, Isa (Eddie Ewell), Grif (Lenard Jackson), and Daz (Tre’Vonne Bell) find themselves in purgatory, where they must work together toward the next plane in their ascension to the afterlife. As black men who have been murdered, their instructions for transformation include simply to “remember.” Without the comfort of oblivion, they must take comfort in each other, and demonstrate to themselves and the audience why they matter.\u003c/p>\n\u003cp>This rare collaboration between Shotgun Players and Lorraine Hansberry Theatre, directed by Darryl V. Jones, imbues Ijames’ eternity-focused script with earthly expressiveness. Isa, resigned, has been here before, and recognizes not only the room but the situation. In actor Eddie Ewell’s hands he is kindly, assured; the perfect, cardigan-clad intermediary to coach his fellow residents of limbo to the next level. Jackson’s Grif is sweetly dorky in a bow tie and a knack for the double take, and Bell’s Daz an explosion of street patter and crackling, live-wire energy.\u003c/p>\n\u003cfigure id=\"attachment_13861405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell dances on Celeste Martore’s singular set in ‘Kill Move Paradise,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The blank white walls of Celeste Martore’s set curve extravagantly into each other, flanked by tubular portals or ducts through which the three men have been unceremoniously shoved by unknown forces. When the men try to scale them, they quickly slide back down to the ground in Sisyphean frustration. In function, the set acts both as a blank canvas for Theodore J.H. Hulsker’s video projections of cracked earth, flood waters, lightning, and heavenly bodies, and as a perfect metaphor for our protagonists’ existential predicament—of black men trapped and held by implacable, oppressive whiteness. As they try to work out amongst themselves whether their untimely deaths make them martyrs or sacrifices, the pristine walls give them no clues, only barriers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just when it seems as if the setup couldn’t get more harrowing, a fourth character appears. Tiny (Dwayne Clay) is a playful teenager clad in red and blue sportswear and carrying an obviously fake, bright orange popgun. His arrival stuns and enrages his predecessors. A child. Who plays make-believe games of cowboys and aliens in the park. Who boasts of his high IQ one moment and sulks about being teased for it the next.\u003c/p>\n\u003cp>“He’s too young,” Daz protests, vacillating between wanting Tiny to know the truth of why he’s come, yet unable to break it to him. But remembering is in the instruction manual, and they can only move to the next level if they move together, and so they set about the task of bringing Tiny up to speed on his death.\u003c/p>\n\u003cp>In Ijames’ inspired vision of the afterlife, there’s no escaping the truth, not even for the audience. Our protective fourth wall is breached right at the beginning of the play, and frequently we become the subject of speculation. Are we a wall of observers, monitoring for quality control? A representative slice of Americans? A room of detached voyeurs? How can we just sit there and watch the pain and confusion of others unfurl before us like a spectator sport? Indeed, how can anyone, Ijames appears to demand.\u003c/p>\n\u003cfigure id=\"attachment_13861402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-800x497.jpg\" alt=\"\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell, Tre’Vonne Bell, and Lenard Jackson intimidate Dwayne Clay in ‘Kill Move Paradise,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before our eyes, the characters undergo harrowing transformations in their pursuit of revelation. At one point the three men join together to become an otherworldly three-headed Cerberus, sinuous and threatening. At another, they ham their way through a sit-com, complete with canned laughter and applause. Their reality contracts and expands with infinite possibility, while the audience remains static—not invited to participate in the piece so much as to bear witness.\u003c/p>\n\u003cfigure id=\"attachment_13861407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Clay as Tiny confronts the audience in ‘Kill Move Paradise’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Kill Move Paradise\u003c/em>, Ijames gives voice to those silenced for no other reason than the color of their skin and irrational fear. A dazzling pastiche of shimmering surrealism, poetic soliloquies, an undercurrent of grief, and a reverence for the pulsating life force that propels us forward, \u003cem>Kill Move Paradise\u003c/em> doesn’t so much unfold onstage but burst onto it, like an extraterrestrial explosion. A reflection of both our worst and best traits as a society. It may embody one of our grimmest statistics, but within it lies a kernel of hope.\u003c/p>\n\u003cp>“I am the last they shall eliminate,” Tiny pronounces near the end, as the four prepare to attain eternity. He makes it sound like a promise—and a prayer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kill Move’ Paradise’ runs through Aug. 4 at Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Mime Troupe Celebrates 60 Years with 'Treasure Island'",
"headTitle": "San Francisco Mime Troupe Celebrates 60 Years with ‘Treasure Island’ | KQED",
"content": "\u003cp>To celebrate our holidays, religious or secular, we frequently rely on tradition to guide us. Whether it’s dreidel for Chanukah, dyed eggs (or drag queens) for Easter, or lion dancing for the Lunar New Year, tradition acts as a framework holding a disparate group of people together. And any given holiday might generate different traditions for different systems of belief: Thanksgiving could mean a big family meal, a chance to shop for bargain electronics, a chance to buy nothing, or a chance to reflect on Native American rights.\u003c/p>\n\u003cp>For many Bay Area residents, the Fourth of July means opening day for the San Francisco Mime Troupe’s summer touring season.\u003c/p>\n\u003cp>Belying the fog that will later roll in and obscure the fireworks, the sky is often blue and bright for the Mime Troupe’s opening day. The crowd really begins to trickle in around noon, and by the 2pm showtime, the hillside facing the tennis courts on 18th Street is full of bodies. Young bodies, older bodies, multiracial bodies. Child bodies and dog bodies. Folks circulate through the crowd with petitions, pamphlets, programs. As I always do, I feel as if I know at least a quarter of the attendees—if not as friends, then as reputations. Organizers and educators. Actors and artists. Union members and cooperative workers. A great deal of time at a Mime Troupe show is spent in greeting folks whom I maybe haven’t seen since last year’s show. Frequently there is relief in the greeting—a “you’re-still-here-and-I’m-still-here-therefore-we-are-all-still-here” kind of acknowledgement. It’s all part of the ritual. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg\" alt=\"(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe's 'Treasure Island.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13860907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Mime Troupe has had plenty of time to cultivate its July Fourth tradition, considering that this summer marks their 60th anniversary—some 57 of which have been spent in public parks. In the 70s, when the NEA still funded tours, they criss-crossed the country with their left-wing messaging, garnering a handful of Obies and a Tony along the way. Collectively run since 1970, the Mime Troupe publicly committed themselves to being racially diverse in 1974 and multi-generational in the nineties, long before “\u003ca href=\"https://www.acronymfinder.com/Equality%2C-Diversity-and-Inclusion-(EDI).html\" rel=\"noopener\" target=\"_blank\">EDI\u003c/a>” became a \u003ca href=\"http://lort.org/who-we-are\" rel=\"noopener\" target=\"_blank\">LORT\u003c/a> buzzword, and their current membership actively reflects it.\u003c/p>\n\u003cp>Theirs is a specific kind of success story, one proving that it’s possible to run a company well into the 21st century with collective principles and leftist ideals. A company where people stay for two, three, or 30 years—and each get an equal vote. A company whose commitment to not taking corporate money, and reliance on on-again, off-again NEA funding has kept it in a perpetual state of brokeness for decades. A company whose commitment to touring still takes them to some very unlikely hamlets—Nevada City, Davis, San Jose—despite not having the means to travel the Midwest as in earlier decades. A company whose current audience comes as much for the experience of being their audience as they do for the actual show. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico is not that kind of mime in San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Mime Troupe, who still have to add to their swag the tagline “not that kind of mime,” actually specialize in flamboyant verbosity mixed with music. They frequently take on a single issue and attempt to flesh it out with a mix of slapstick, wonk-splaining, and showtunes. Their flexible, able cast performs multiple roles with quick costume changes and a willing suspension of disbelief on the part of the audience, and for every issue they bring to the forefront, there are a dozen others that feel equally urgent crowding behind the scenes. This inability to respond in the moment to every pressing cause can sometimes make a Mime Troupe show feel behind the times, even when they’re addressing very current concerns. It’s less street theater, and more theater-that-is-performed-on-the-streets, and in this way they are as constricted by their chosen script as any more conventional theater performed indoors might be.\u003c/p>\n\u003cfigure id=\"attachment_13860910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg\" alt=\"\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Heading to Treasure Island with Keiko Shimsoto Carreiro, Lizzie Calogero, and Brian Rivera. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show, \u003cem>Treasure Island,\u003c/em> written and directed by multiple members, is no different in that regard. They take to task San Francisco’s love affair with developers, in this production likened to pirates, complete with “arrrghs,” frilly shirts, callbacks to Robert Louis Stevenson’s high-seas adventure tale, and a great, Carla Pantoja-choreographed sword fight. And although the crowd initially can’t decide if it’s supposed to cheer or boo the first development referenced in the play—high-rise condos at 16th and Valencia (hint, you boo)—they soon come around to the Mime Troupe’s POV, as a whole slew of injustices are revealed in the greater fight for affordable housing, mostly on and off our very own Treasure Island.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What’s especially interesting about this storyline is that because it’s a messy, complex situation with no real happy ending in sight, the Mime Troupe have to focus instead on a lightweight redemption arc for their sprightly lead character, Jill Hawkins (Lizzie Calogero).\u003c/p>\n\u003cfigure id=\"attachment_13860909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg\" alt=\"\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzie Calogero and Michael Gene Sullivan in the San Francisco Mime Troupe’s Treasure Island. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs are mostly forgettable. Lines are delivered at two volumes, loud and louder. Double-takes are cartoonishly underscored with a slide whistle. At one point two characters bicker over who will deliver the backstory. There’s a lot to deliver.\u003c/p>\n\u003cp>But unlike an evening at the “theater,” the Mime Troupe experience is far more organically interactive. Folks laugh, cheer, and hiss. There’s spontaneous and not-so spontaneous applause throughout. A couple of my companions provide a running commentary of radicalized snark. And at the end, the crowd’s standing ovation feels not so much a celebration of the particular show, but a celebration of the Mime Troupe experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13860908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Standing ovation for the San Francisco Mime Troupe’s Treasure Island. Yes, that is a lot of tie-dye. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often accused of preaching to the choir, the Mime Troupe of today is probably not in the running for any more Tony awards. But no one goes to Midnight Mass or the Sisters of Perpetual Indulgence Easter celebration and accuses them of preaching to the choir—even though that is literally what they are doing. Sometimes the ritual demands that we perform it in the presence of our chosen congregation, one that willingly chooses to participate. Sure, maybe it would be nice to convert a few extra souls along the way. But if you’re going to a Mime Troupe show—just as with the Hunky Jesus competition—you probably already know what you’re going to get. And that’s exactly why you go. Tradition.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The San Francisco Mime Troupe’s ‘Treasure Island’ runs through Sept. 8 at 15 different cities around Northern California. \u003ca href=\"http://www.sfmt.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A tradition 60 years strong, the San Francisco Mime Troupe's Fourth of July show always draws a crowd.",
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"title": "San Francisco Mime Troupe Celebrates 60 Years with 'Treasure Island' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To celebrate our holidays, religious or secular, we frequently rely on tradition to guide us. Whether it’s dreidel for Chanukah, dyed eggs (or drag queens) for Easter, or lion dancing for the Lunar New Year, tradition acts as a framework holding a disparate group of people together. And any given holiday might generate different traditions for different systems of belief: Thanksgiving could mean a big family meal, a chance to shop for bargain electronics, a chance to buy nothing, or a chance to reflect on Native American rights.\u003c/p>\n\u003cp>For many Bay Area residents, the Fourth of July means opening day for the San Francisco Mime Troupe’s summer touring season.\u003c/p>\n\u003cp>Belying the fog that will later roll in and obscure the fireworks, the sky is often blue and bright for the Mime Troupe’s opening day. The crowd really begins to trickle in around noon, and by the 2pm showtime, the hillside facing the tennis courts on 18th Street is full of bodies. Young bodies, older bodies, multiracial bodies. Child bodies and dog bodies. Folks circulate through the crowd with petitions, pamphlets, programs. As I always do, I feel as if I know at least a quarter of the attendees—if not as friends, then as reputations. Organizers and educators. Actors and artists. Union members and cooperative workers. A great deal of time at a Mime Troupe show is spent in greeting folks whom I maybe haven’t seen since last year’s show. Frequently there is relief in the greeting—a “you’re-still-here-and-I’m-still-here-therefore-we-are-all-still-here” kind of acknowledgement. It’s all part of the ritual. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg\" alt=\"(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe's 'Treasure Island.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13860907\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMTl-r-Brian-Rivera-Developer-Lizzie-Calogero-Jill-Hawkins-Andre-Amarotico-Developer-Michael-Gene-Sullivan-Developer-Keiko-Shimosato-Carreiro-Livesey-in-Treasure-Island_credit_MikeMelnyk.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Brian Rivera, Lizzie Calogero, Andre Amarotico, Michael Gene Sullivan, and Keiko Shimosato Carreiro in the San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The San Francisco Mime Troupe has had plenty of time to cultivate its July Fourth tradition, considering that this summer marks their 60th anniversary—some 57 of which have been spent in public parks. In the 70s, when the NEA still funded tours, they criss-crossed the country with their left-wing messaging, garnering a handful of Obies and a Tony along the way. Collectively run since 1970, the Mime Troupe publicly committed themselves to being racially diverse in 1974 and multi-generational in the nineties, long before “\u003ca href=\"https://www.acronymfinder.com/Equality%2C-Diversity-and-Inclusion-(EDI).html\" rel=\"noopener\" target=\"_blank\">EDI\u003c/a>” became a \u003ca href=\"http://lort.org/who-we-are\" rel=\"noopener\" target=\"_blank\">LORT\u003c/a> buzzword, and their current membership actively reflects it.\u003c/p>\n\u003cp>Theirs is a specific kind of success story, one proving that it’s possible to run a company well into the 21st century with collective principles and leftist ideals. A company where people stay for two, three, or 30 years—and each get an equal vote. A company whose commitment to not taking corporate money, and reliance on on-again, off-again NEA funding has kept it in a perpetual state of brokeness for decades. A company whose commitment to touring still takes them to some very unlikely hamlets—Nevada City, Davis, San Jose—despite not having the means to travel the Midwest as in earlier decades. A company whose current audience comes as much for the experience of being their audience as they do for the actual show. Tradition.\u003c/p>\n\u003cfigure id=\"attachment_13860912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860912\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski-1020x745.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_AndreAmarotico_as_WilliamBones_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andre Amarotico is not that kind of mime in San Francisco Mime Troupe’s ‘Treasure Island.’ \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Mime Troupe, who still have to add to their swag the tagline “not that kind of mime,” actually specialize in flamboyant verbosity mixed with music. They frequently take on a single issue and attempt to flesh it out with a mix of slapstick, wonk-splaining, and showtunes. Their flexible, able cast performs multiple roles with quick costume changes and a willing suspension of disbelief on the part of the audience, and for every issue they bring to the forefront, there are a dozen others that feel equally urgent crowding behind the scenes. This inability to respond in the moment to every pressing cause can sometimes make a Mime Troupe show feel behind the times, even when they’re addressing very current concerns. It’s less street theater, and more theater-that-is-performed-on-the-streets, and in this way they are as constricted by their chosen script as any more conventional theater performed indoors might be.\u003c/p>\n\u003cfigure id=\"attachment_13860910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg\" alt=\"\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_KeikoShimosatoCarreiro_LizzieCalogero_BrianRivera_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Heading to Treasure Island with Keiko Shimsoto Carreiro, Lizzie Calogero, and Brian Rivera. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s show, \u003cem>Treasure Island,\u003c/em> written and directed by multiple members, is no different in that regard. They take to task San Francisco’s love affair with developers, in this production likened to pirates, complete with “arrrghs,” frilly shirts, callbacks to Robert Louis Stevenson’s high-seas adventure tale, and a great, Carla Pantoja-choreographed sword fight. And although the crowd initially can’t decide if it’s supposed to cheer or boo the first development referenced in the play—high-rise condos at 16th and Valencia (hint, you boo)—they soon come around to the Mime Troupe’s POV, as a whole slew of injustices are revealed in the greater fight for affordable housing, mostly on and off our very own Treasure Island.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What’s especially interesting about this storyline is that because it’s a messy, complex situation with no real happy ending in sight, the Mime Troupe have to focus instead on a lightweight redemption arc for their sprightly lead character, Jill Hawkins (Lizzie Calogero).\u003c/p>\n\u003cfigure id=\"attachment_13860909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860909\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg\" alt=\"\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_LizzieCalagero_MichaelGeneSullivan_credit_StanSadowski.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzie Calogero and Michael Gene Sullivan in the San Francisco Mime Troupe’s Treasure Island. \u003ccite>(Stan Sadowski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs are mostly forgettable. Lines are delivered at two volumes, loud and louder. Double-takes are cartoonishly underscored with a slide whistle. At one point two characters bicker over who will deliver the backstory. There’s a lot to deliver.\u003c/p>\n\u003cp>But unlike an evening at the “theater,” the Mime Troupe experience is far more organically interactive. Folks laugh, cheer, and hiss. There’s spontaneous and not-so spontaneous applause throughout. A couple of my companions provide a running commentary of radicalized snark. And at the end, the crowd’s standing ovation feels not so much a celebration of the particular show, but a celebration of the Mime Troupe experience as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13860908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/SFMT_standingovation_credit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Standing ovation for the San Francisco Mime Troupe’s Treasure Island. Yes, that is a lot of tie-dye. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often accused of preaching to the choir, the Mime Troupe of today is probably not in the running for any more Tony awards. But no one goes to Midnight Mass or the Sisters of Perpetual Indulgence Easter celebration and accuses them of preaching to the choir—even though that is literally what they are doing. Sometimes the ritual demands that we perform it in the presence of our chosen congregation, one that willingly chooses to participate. Sure, maybe it would be nice to convert a few extra souls along the way. But if you’re going to a Mime Troupe show—just as with the Hunky Jesus competition—you probably already know what you’re going to get. And that’s exactly why you go. Tradition.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Mime Troupe’s ‘Treasure Island’ runs through Sept. 8 at 15 different cities around Northern California. \u003ca href=\"http://www.sfmt.org/schedule/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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