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"title": "Enter the Rhino: Eugene Ionesco’s Absurdist Classic Stampedes A.C.T.",
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"content": "\u003cp>There’s a curious symbiosis between Edward Albee’s \u003cem>Seascape\u003c/em>, which opened at A.C.T. in January, and their current production of Eugene Ionesco’s \u003cem>Rhinoceros\u003c/em>, that extends beyond their use of thick-skinned quadrupeds to illuminate the human condition. Both take the strictly mundane—a vacation at the beach, a day in the office—and turn them into explorations of existence through an absurdist lens. But where \u003cem>Seascape\u003c/em>’s director Pam MacKinnon (also A.C.T.’s artistic director) leaned into the realism of a predictable beach holiday before juxtaposing it with the audacity of having giant lizards as two major characters, \u003cem>Rhinoceros’ \u003c/em>director, Frank Galati, takes a different approach.\u003c/p>\n\u003cp>In Galati’s \u003cem>Rhinoceros\u003c/em>, the absurd is not merely hinted at, but is integral to the core of the production from the beginning. A garishly painted backdrop of a quaint, French side street—positioned so close to a single cafe table that the actors seem in constant danger of poking through it—sets the tone. As does the heightened, jokey affect of friends Berenger (David Breitbarth) and Gene (Matt DeCaro), who are meeting for coffee and superfluous chit-chat. As they bicker over Berenger’s appearance, Gene hands him a glassless mirror frame to examine himself in, and their waiter pops through the wall to take their order. There’s no gradual descent into surrealism here. Those cards are lying right out on the flimsy table, and flimsier walls for all to see.\u003c/p>\n\u003cfigure id=\"attachment_13859204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne.jpg\" alt=\"Matt DeCaro as Gene and David Breitbarth as Berenger in 'Rhinoceros' at A.C.T.\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13859204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Matt DeCaro as Gene and David Breitbarth as Berenger in ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, when the rhinos make their entrance, first as offstage rumblings (sound by Joseph Cerqua) and later as fully-realized giants (courtesy of scenic designer Robert Perdziola), their effect still shocks the imagination, just as it shocks the villagers onstage. There are few hypothetical scenarios more unsettling than that of an agitated, 6000-pound creature stampeding through a quiet neighborhood, and the panic it stirs among the actors feels genuine.\u003c/p>\n\u003cp>Still, the premise feels in many ways like an elaborate put-on—until the second act, when the human implications of this strange metamorphosis really come to light. As Berenger visits, the normally impeccable Gene begins a startling transformation, conveying the weirdness of his situation with uncontrollable flailing, disco dancing, guttural growling, and with such commitment that when Breitbarch strips off his shirt you actually expect to see tough, rhino hide. \u003c/p>\n\u003cp>Throughout, as a concerned Berenger tries to soothe and calm his friend, we get a crucial insight into the mentality of a prospective pachyderm: there is pleasure in the transformation. Gene feels powerful, energetic, even sexy. He declares humanism “dead” and runs to the bathroom to check out his burgeoning horn. He embraces his new state of being—mentally and physically—even as vestiges of his old self struggle against it.\u003c/p>\n\u003cfigure id=\"attachment_13859201\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne.jpg\" alt=\"David Breitbarth as Berenger and Matt DeCaro as Gene, in 'Rhinoceros' at A.C.T.\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13859201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-768x511.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth as Berenger and Matt DeCaro as Gene, in ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this insight that guides the rest of the play to a natural conclusion, albeit in an unnatural world. What’s attractive about belonging to the herd isn’t boring conformity. It’s that there’s true strength in numbers, and even before the rhinos are the actual majority, they command an outsized amount of attention. Larger than life, seemingly indestructible, and made up of a community of friends, neighbors and co-workers, the way of the rhinoceros becomes plausible, even desirable, and soon even Berenger longs to join.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Granted permission by the Ionesco estate to adapt the script to the modern age has resulted in a leaner, meaner \u003cem>Rhinoceros\u003c/em>, minus a brace of cumbersome bit parts, and plus au courant terminology such as “fake news.” Certain lines take on new resonance, as when the boorish Mr. Botard (Jomar Tagatac) at the office patronizes the sweet-natured Daisy (Rona Figueroa), insisting she can’t possibly have seen what she knows she did, (even when a rhinoceros crashes in through the front door and destroys the office staircase as he watches). The aforementioned floorboard-shaking soundscape in tandem with Chris Lundahl’s chiseled lighting adds welcome dimension to the staging, and an aching rendition of \u003cem>“Non, je ne regrette rien,”\u003c/em> sung by Figueroa lends an air of melancholy to the madness.\u003c/p>\n\u003cfigure id=\"attachment_13859202\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne.jpg\" alt=\"Ensemble of 'Rhinoceros' at A.C.T.\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13859202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-768x511.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble of ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It feels pertinent to reflect on Ionesco’s backstory, when considering the implications of a \u003cem>Rhinoceros\u003c/em> for today. Born in Romania, raised in France, and an eyewitness to the rise of European fascism, Ionesco’s lived experience contributed heavily to his recognition of the seductive nature of raw power, and the siren song of capitulation. In this particular production, what’s more frightening by far than the stampede, is the cheery bonhomie of their human brethren who head off to join them with barely a trace of hesitation. We see housewives fling themselves down flights of stairs to be with their transformed husbands, wonky co-workers insisting they have a duty to stick by their peers, and an erstwhile love interest believes that the bellowing of beasts is just a musical number, before drifting away to join their song.\u003c/p>\n\u003cp>Their lack of resistance to what they have internalized as inevitable offers some uncomfortable insight into how a population might respond to a cool new platform that thrives by “connecting” them, even as it strips them of their right to privacy, or to a system that bankrupts people unlucky enough to require a major surgery without insurance, or to policies that prioritize personal vehicles above mass transportation. It’s not just fascist creep that Ionesco is cautioning against, but intrinsic societal complacency. \u003c/p>\n\u003cp>\u003cem>Rhinoceros\u003c/em> may be absurd. But it’s no joke.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003ci>‘Rhinoceros’ plays through \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.html\">June 23\u003c/a> at A.C.T.’s Geary Theater. \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a curious symbiosis between Edward Albee’s \u003cem>Seascape\u003c/em>, which opened at A.C.T. in January, and their current production of Eugene Ionesco’s \u003cem>Rhinoceros\u003c/em>, that extends beyond their use of thick-skinned quadrupeds to illuminate the human condition. Both take the strictly mundane—a vacation at the beach, a day in the office—and turn them into explorations of existence through an absurdist lens. But where \u003cem>Seascape\u003c/em>’s director Pam MacKinnon (also A.C.T.’s artistic director) leaned into the realism of a predictable beach holiday before juxtaposing it with the audacity of having giant lizards as two major characters, \u003cem>Rhinoceros’ \u003c/em>director, Frank Galati, takes a different approach.\u003c/p>\n\u003cp>In Galati’s \u003cem>Rhinoceros\u003c/em>, the absurd is not merely hinted at, but is integral to the core of the production from the beginning. A garishly painted backdrop of a quaint, French side street—positioned so close to a single cafe table that the actors seem in constant danger of poking through it—sets the tone. As does the heightened, jokey affect of friends Berenger (David Breitbarth) and Gene (Matt DeCaro), who are meeting for coffee and superfluous chit-chat. As they bicker over Berenger’s appearance, Gene hands him a glassless mirror frame to examine himself in, and their waiter pops through the wall to take their order. There’s no gradual descent into surrealism here. Those cards are lying right out on the flimsy table, and flimsier walls for all to see.\u003c/p>\n\u003cfigure id=\"attachment_13859204\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne.jpg\" alt=\"Matt DeCaro as Gene and David Breitbarth as Berenger in 'Rhinoceros' at A.C.T.\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13859204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_MattDeCaro_DavidBreitbarth_credit_KevinBerne-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Matt DeCaro as Gene and David Breitbarth as Berenger in ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, when the rhinos make their entrance, first as offstage rumblings (sound by Joseph Cerqua) and later as fully-realized giants (courtesy of scenic designer Robert Perdziola), their effect still shocks the imagination, just as it shocks the villagers onstage. There are few hypothetical scenarios more unsettling than that of an agitated, 6000-pound creature stampeding through a quiet neighborhood, and the panic it stirs among the actors feels genuine.\u003c/p>\n\u003cp>Still, the premise feels in many ways like an elaborate put-on—until the second act, when the human implications of this strange metamorphosis really come to light. As Berenger visits, the normally impeccable Gene begins a startling transformation, conveying the weirdness of his situation with uncontrollable flailing, disco dancing, guttural growling, and with such commitment that when Breitbarch strips off his shirt you actually expect to see tough, rhino hide. \u003c/p>\n\u003cp>Throughout, as a concerned Berenger tries to soothe and calm his friend, we get a crucial insight into the mentality of a prospective pachyderm: there is pleasure in the transformation. Gene feels powerful, energetic, even sexy. He declares humanism “dead” and runs to the bathroom to check out his burgeoning horn. He embraces his new state of being—mentally and physically—even as vestiges of his old self struggle against it.\u003c/p>\n\u003cfigure id=\"attachment_13859201\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne.jpg\" alt=\"David Breitbarth as Berenger and Matt DeCaro as Gene, in 'Rhinoceros' at A.C.T.\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13859201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_DavidBreitbarth_MattDeCaro_credit_KevinBerne-768x511.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth as Berenger and Matt DeCaro as Gene, in ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this insight that guides the rest of the play to a natural conclusion, albeit in an unnatural world. What’s attractive about belonging to the herd isn’t boring conformity. It’s that there’s true strength in numbers, and even before the rhinos are the actual majority, they command an outsized amount of attention. Larger than life, seemingly indestructible, and made up of a community of friends, neighbors and co-workers, the way of the rhinoceros becomes plausible, even desirable, and soon even Berenger longs to join.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Granted permission by the Ionesco estate to adapt the script to the modern age has resulted in a leaner, meaner \u003cem>Rhinoceros\u003c/em>, minus a brace of cumbersome bit parts, and plus au courant terminology such as “fake news.” Certain lines take on new resonance, as when the boorish Mr. Botard (Jomar Tagatac) at the office patronizes the sweet-natured Daisy (Rona Figueroa), insisting she can’t possibly have seen what she knows she did, (even when a rhinoceros crashes in through the front door and destroys the office staircase as he watches). The aforementioned floorboard-shaking soundscape in tandem with Chris Lundahl’s chiseled lighting adds welcome dimension to the staging, and an aching rendition of \u003cem>“Non, je ne regrette rien,”\u003c/em> sung by Figueroa lends an air of melancholy to the madness.\u003c/p>\n\u003cfigure id=\"attachment_13859202\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne.jpg\" alt=\"Ensemble of 'Rhinoceros' at A.C.T.\" width=\"1000\" height=\"665\" class=\"size-full wp-image-13859202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Rhinoceros_ensemble_blue_credit_KevinBerne-768x511.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble of ‘Rhinoceros’ at A.C.T. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It feels pertinent to reflect on Ionesco’s backstory, when considering the implications of a \u003cem>Rhinoceros\u003c/em> for today. Born in Romania, raised in France, and an eyewitness to the rise of European fascism, Ionesco’s lived experience contributed heavily to his recognition of the seductive nature of raw power, and the siren song of capitulation. In this particular production, what’s more frightening by far than the stampede, is the cheery bonhomie of their human brethren who head off to join them with barely a trace of hesitation. We see housewives fling themselves down flights of stairs to be with their transformed husbands, wonky co-workers insisting they have a duty to stick by their peers, and an erstwhile love interest believes that the bellowing of beasts is just a musical number, before drifting away to join their song.\u003c/p>\n\u003cp>Their lack of resistance to what they have internalized as inevitable offers some uncomfortable insight into how a population might respond to a cool new platform that thrives by “connecting” them, even as it strips them of their right to privacy, or to a system that bankrupts people unlucky enough to require a major surgery without insurance, or to policies that prioritize personal vehicles above mass transportation. It’s not just fascist creep that Ionesco is cautioning against, but intrinsic societal complacency. \u003c/p>\n\u003cp>\u003cem>Rhinoceros\u003c/em> may be absurd. But it’s no joke.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003ci>‘Rhinoceros’ plays through \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.html\">June 23\u003c/a> at A.C.T.’s Geary Theater. \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.html\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=LI_Oe-jtgdI]\u003c/p>\n\u003cp>“There’s usually a question on the audition form that says, ‘Which roles are you interested in taking?’ I will write down a male role, and 99% of the time, I do not get called back for that role and it is cast as a male.”\u003c/p>\n\u003cp>[aside postID='arts_13858609,arts_13858699,forum_2010101855532' label='Related Coverage']What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=M6b9ITKGWQM]\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just in time for LGBTQ+ Pride Month, \u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\">City Lights Theater Company\u003c/a> in San Jose presents \u003cem>Gender Bent Broadway\u003c/em>. That is to say, actors singing songs from roles they’ve always wanted to play, but couldn’t because of boring gender norms.\u003c/p>\n\u003cp>If you’re a fan of musical theater, and what 7 year old isn’t, it’s easy to love Robert Preston singing “Ya Got Trouble” from the 1957 Broadway musical \u003cem>The Music Man\u003c/em>.\u003c/p>\n\u003cp>Chloë Angst of Fremont fell in love with the song when she was 7.\u003c/p>\n\u003cp>“I loved it so much and I thought, ‘I want to play that part one day,'” Angst said, taking a moment’s respite from rehearsals ahead of the concert Sunday night.\u003c/p>\n\u003cp>But when she became a professional actor, right here in the San Francisco Bay Area, Angst was shocked to discover most casting directors seem inclined to hire biological males for roles written for men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What could possibly account for this conventionality in the San Francisco Bay Area in 2019? Angst suggests timid regional theater companies fear offending older season subscribers. That, despite the fact Baby Boomers, right here in the Bay Area, helped usher in the sexual revolution and gay rights revolution in the 1960s and 70s.\u003c/p>\n\u003cp>Certainly, cabaret theater in the U.S. and abroad has celebrated gender fluidity for decades. In a revue, it doesn’t require any leap of imagination to divorce a song from the character that song was written for.\u003c/p>\n\u003cp>Broadway plays like \u003cem>Hedwig\u003c/em> and \u003cem>M. Butterfly\u003c/em> show there’s an appetite for stories detached from hetereonormative traditions. But that consciousness doesn’t necessarily find its way to modern productions of older plays and musicals.\u003c/p>\n\u003cp>Perhaps gender bending casting choices seem less risky when it’s a \u003ca href=\"http://www.playbill.com/article/6-gender-bending-broadway-replacements\" target=\"_blank\" rel=\"noopener\">celebrity\u003c/a> casting choice, as in the English actor \u003ca href=\"https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/\" target=\"_blank\" rel=\"noopener\">Glenda Jackson playing King Lear\u003c/a> on Broadway.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/M6b9ITKGWQM'\n title='//www.youtube.com/embed/M6b9ITKGWQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Whatever the case, with \u003ca href=\"http://cltc.org/concerts-special-events/\" target=\"_blank\" rel=\"noopener\">Gender Bent Broadway\u003c/a>, Angst gives herself and five other singing actors the chance to switch up the casting in a cabaret format. Also, the concert functions as a fundraiser for Angst’s new theater company, \u003ca href=\"http://www.badtheatrecompany.com\" target=\"_blank\" rel=\"noopener noreferrer\">B.A.D. Theatre Company\u003c/a>. B.A.D. there standing for Bay Area Diversity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, expect more of the same. Finally!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area",
"headTitle": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area | KQED",
"content": "\u003cp>By now, you’ve probably heard that \u003cem>\u003ca href=\"https://hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> is in town, running through January of next year. You may have also heard that \u003ca href=\"https://sfcurran.com/shows/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> is coming in October, \u003ca href=\"https://www.kqed.org/arts/13845883/the-curran-at-a-crossroads\" target=\"_blank\" rel=\"noopener\">possibly running for three or more years\u003c/a>.\u003c/p>\n\u003cp>But what of all the other great theater in the shadow of the blockbusters? This summer, the Bay Area is home to an array of the stellar productions, from big musicals to small dramas. Below, we round up the best summertime theater to see on opera stages, black boxes and even on the sidewalk—which, in the Bay Area, is often a stage unto itself.\u003c/p>\n\u003cfigure id=\"attachment_13857960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg\" alt=\"David Breitbarth in Eugène Ionesco's Rhinoceros at A.C.T.'s Geary Theater.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth in Eugène Ionesco’s ‘Rhinoceros’ at A.C.T.’s Geary Theater. \u003ccite>(Cliff Roles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rhinocerous’\u003c/h2>\n\u003cp>\u003ci>May 29–June 23, 2019\u003cbr>\nGeary Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Eugène Ionesco’s absurdist masterpiece involves the inhabitants of a small French town transforming, one by one, into rhinos. But the play’s allegories to fascism—and the characterization of those who oppose it as paranoid—could not be any more relevant to the United States in 2019. Staged by ACT, which last year put \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener\">giant lizards on the stage in Edward Albee’s \u003cem>Seascape\u003c/em>\u003c/a>, \u003cem>Rhinocerous\u003c/em> is not only a marvelous study in conformity, but a consistently fun stampede through the possibilities of set and wardrobe.\u003c/p>\n\u003cfigure id=\"attachment_13858006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg\" alt=\"Deri'Andra Tucker in the touring production of 'Rent.'\" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1200x826.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deri’Andra Tucker in the touring production of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rent’\u003c/h2>\n\u003cp>\u003ci>June 14–23, 2019\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The retelling of \u003cem>La bohème\u003c/em> that swept the world in the 1990s gets the 20th anniversary tour it deserves, including this very quick stop in San Francisco. \u003cem>Rent\u003c/em> is particularly resonant in the expensive Bay Area, where living in warehouses and off-the-grid spaces is a necessity for many, and the turmoil of HIV/AIDS hits close to home. If you still get chills at the opening chords of “Seasons of Love,” don’t sleep on this one-week-only run.\u003c/p>\n\u003cfigure id=\"attachment_13857974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg\" alt=\"J'Nai Bridges plays the lead role in 'Carmen' at SF Opera this June.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J’Nai Bridges plays the lead role in ‘Carmen’ at SF Opera this June. \u003ccite>(S. Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Carmen’\u003c/h2>\n\u003cp>\u003ci>June 5–29, 2019\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/carmen/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You already know more songs from \u003cem>Carmen\u003c/em> than you think you know (thanks, \u003ca href=\"https://www.youtube.com/watch?v=3Wsx22WxWOc\" target=\"_blank\" rel=\"noopener\">Saturday morning cartoons\u003c/a>), and if you’re daunted by the marathon of \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener\">longer operas\u003c/a>, Bizet’s eternal tale of a woman who dares to live freely clocks in at under three hours. Add to it Francesca Zambello’s modern production, James Gaffigan conducting the orchestra and \u003ca href=\"https://www.youtube.com/watch?v=m_MMKJaIHes\" target=\"_blank\" rel=\"noopener\">basketball player-turned-opera star J’Nai Bridges\u003c/a> (pictured above) in the title role, and you’ve got a summertime opera that even those who \u003cem>think\u003c/em> they hate opera can enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13857965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg\" alt=\"The cast of 'Kiss My Aztec!' at Berkeley Rep, directed by Tony Taccone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Kiss My Aztec!’ at Berkeley Rep, directed by Tony Taccone. \u003ccite>(Cheshire Isaacs/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Kiss My Aztec!’\u003c/h2>\n\u003cp>\u003ci>May 28–July 21, 2019\u003cbr>\nRoda Theatre, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1819/13384.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13858009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘A Midsummer Night’s Dream’\u003c/h2>\n\u003cp>\u003ci>May 22–June 16, 2019\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"https://calshakes.org/make/a-midsummer-nights-dream/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Cal Shakes, the region’s premier purveyors of the Bard, bring this Shakespeare favorite to life this summer with all the sprites, dukes, queens and faeries you’ve come to know and love. It’s easy to forget just how damn \u003cem>fun\u003c/em> the action is in \u003cem>A Midsummer Night’s Dream\u003c/em>, and with costume by Ásta Bennie Hostetter and set by Nina Ball, the visuals are sure to be dazzling. Tyne Rafaeli directs in the picturesque outdoor Bruns Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13858316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg\" alt=\"Last year’s champions of ShortLived, The Geek Show, who won for their piece 'No Country for Old Henchmen.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s champions of ShortLived, The Geek Show, who won for their piece ‘No Country for Old Henchmen.’ \u003ccite>(Courtesy PIanoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘ShortLived VII’\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 7, 2019\u003cbr>\nPianoFight and The Strand, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-viii/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Pushing the limits of theatrical possibility, \u003cem>ShortLived\u003c/em> is a marathon \u003cem>American Idol\u003c/em>-esque race to a $5,000 check and eternal Bay Area glory. This year’s audience-judged competition features 48 short plays running over the course of 8 weeks, and then a winner-take-all finals on Sept. 6 and 7. If you want to take a dip into the rampant creativity of Bay Area theater—and see some fun, charming competition along the way—you can’t do much better than this.\u003c/p>\n\u003cfigure id=\"attachment_13858015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858015\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg\" alt=\"(L to R) Lady Malavendra, Red Velvet, and Dee O’s Mío in 'Dollhouse Monsters.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Lady Malavendra, Red Velvet and Dee O’s Mío in ‘Dollhouse Monsters.’ \u003ccite>(Ross Pearson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dollhouse Monsters’\u003c/h2>\n\u003cp>\u003ci>July 12–27, 2019\u003cbr>\nExit Stage Left, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/dollhouse/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>These days, burlesque is everywhere, thanks to an ongoing vaudeville-circus-steampunk revival especially resonant here on the Barbary Coast. And while body positivity has long been a staple of modern burlesque, the ladies of DIVA Or Die Burlesque take that introspection further in \u003cem>Dollhouse Monsters\u003c/em>, a half-theater, half-burlesque show that examines our inner behaviors and secrets, why we have them, and why we keep them.\u003c/p>\n\u003cfigure id=\"attachment_13857967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Hayes, Brian Freeman, Marga Gomez, J. Miko Thomas a.k.a. Landa Lakes for OUT of Site SOMA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘OUT of Site: SOMA’\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nHoward Langton Community Garden, San Francisco\u003cbr>\n\u003ca href=\"https://www.eyezen.org/out-of-site-soma\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cem>OUT of Site\u003c/em> has already brought history to life in North Beach, and now, the theatrical walking tour series alights South of Market for a reevaluation of the neighborhood’s LGBTQ contributions. The Castro gets most of the attention, but as \u003cem>OUT of Site\u003c/em> points out, SOMA is home to hidden stories, “from Native American Two-Spirit culture to the Folsom Street Fair, Lesbian auto-mechanics to labor activists and dock workers to drag queens.” Marga Gomez heads up a cast that should be illuminating and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13857973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg\" alt=\"'The Flick' won the 2014 Pulitzer Prize for Drama.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Flick’ won the 2014 Pulitzer Prize for Drama. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Flick’\u003c/h2>\n\u003cp>\u003ci>Aug. 22–Sept. 22, 2019\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"http://bit.ly/2rgcffY\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>People who work at movie theaters are a specific kind of nerd: exceedingly knowledgable about the minutiae of fictional film, but open to letting real life take over with gale force when it wants to. The winner of the 2014 Pulitzer Prize for Drama, \u003cem>The Flick\u003c/em> is about three employees of a suburban movie theater in Massachusetts who still know how to run 35mm film projectors, with a script that follows their personal struggles which overlap in unexpected, humorous and heartbreaking fashion.\u003c/p>\n\u003cfigure id=\"attachment_13858334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg\" alt=\"The Dragon Theatre stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dragon Theatre stage. \u003ccite>(Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Redwood City Play Festival\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nDragon Theatre, Redwood City\u003cbr>\n\u003ca href=\"http://www.fusetheatre.org/projects/rwc-festival/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A joint effort by Dragon Productions Theatre Company and Fuse Theatre, this festival of three one-act plays centers on issues of gender: \u003cem>Because I Went There\u003c/em>, \u003cem>Never Swim Alone\u003c/em> and \u003cem>Legal-Tender Loving Care\u003c/em>. Held in the heart of Redwood City’s downtown (time it right, and you could fit in the town’s surreal light show a block away in Courthouse Square), the plays should bring a good dose of social justice to the Peninsula.\u003c/p>\n\n",
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"excerpt": "Tony winners! New musicals! Shakespeare! Opera! Burlesque! All of this and more hits Bay Area stages this summer.",
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"description": "Tony winners! New musicals! Shakespeare! Opera! Burlesque! All of this and more hits Bay Area stages this summer.",
"title": "Hot Summer Guide 2019: Top 10 Picks for Theater in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, you’ve probably heard that \u003cem>\u003ca href=\"https://hamilton.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> is in town, running through January of next year. You may have also heard that \u003ca href=\"https://sfcurran.com/shows/harry-potter-and-the-cursed-child/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a> is coming in October, \u003ca href=\"https://www.kqed.org/arts/13845883/the-curran-at-a-crossroads\" target=\"_blank\" rel=\"noopener\">possibly running for three or more years\u003c/a>.\u003c/p>\n\u003cp>But what of all the other great theater in the shadow of the blockbusters? This summer, the Bay Area is home to an array of the stellar productions, from big musicals to small dramas. Below, we round up the best summertime theater to see on opera stages, black boxes and even on the sidewalk—which, in the Bay Area, is often a stage unto itself.\u003c/p>\n\u003cfigure id=\"attachment_13857960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg\" alt=\"David Breitbarth in Eugène Ionesco's Rhinoceros at A.C.T.'s Geary Theater.\" width=\"800\" height=\"686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Plays.Rhinocerous.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Breitbarth in Eugène Ionesco’s ‘Rhinoceros’ at A.C.T.’s Geary Theater. \u003ccite>(Cliff Roles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rhinocerous’\u003c/h2>\n\u003cp>\u003ci>May 29–June 23, 2019\u003cbr>\nGeary Theater, San Francisco\u003cbr>\n\u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/rhinoceros.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Eugène Ionesco’s absurdist masterpiece involves the inhabitants of a small French town transforming, one by one, into rhinos. But the play’s allegories to fascism—and the characterization of those who oppose it as paranoid—could not be any more relevant to the United States in 2019. Staged by ACT, which last year put \u003ca href=\"https://www.kqed.org/arts/13849904/a-day-at-the-beach-interrupted-by-two-giant-lizards\" target=\"_blank\" rel=\"noopener\">giant lizards on the stage in Edward Albee’s \u003cem>Seascape\u003c/em>\u003c/a>, \u003cem>Rhinocerous\u003c/em> is not only a marvelous study in conformity, but a consistently fun stampede through the possibilities of set and wardrobe.\u003c/p>\n\u003cfigure id=\"attachment_13858006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg\" alt=\"Deri'Andra Tucker in the touring production of 'Rent.'\" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_-1200x826.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Rent.SHN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deri’Andra Tucker in the touring production of ‘Rent.’ \u003ccite>(Carol Rosegg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Rent’\u003c/h2>\n\u003cp>\u003ci>June 14–23, 2019\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The retelling of \u003cem>La bohème\u003c/em> that swept the world in the 1990s gets the 20th anniversary tour it deserves, including this very quick stop in San Francisco. \u003cem>Rent\u003c/em> is particularly resonant in the expensive Bay Area, where living in warehouses and off-the-grid spaces is a necessity for many, and the turmoil of HIV/AIDS hits close to home. If you still get chills at the opening chords of “Seasons of Love,” don’t sleep on this one-week-only run.\u003c/p>\n\u003cfigure id=\"attachment_13857974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg\" alt=\"J'Nai Bridges plays the lead role in 'Carmen' at SF Opera this June.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BRIDGES_JNai_S.-Richards_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J’Nai Bridges plays the lead role in ‘Carmen’ at SF Opera this June. \u003ccite>(S. Richards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Carmen’\u003c/h2>\n\u003cp>\u003ci>June 5–29, 2019\u003cbr>\nWar Memorial Opera House, San Francisco\u003cbr>\n\u003ca href=\"https://sfopera.com/1819season/carmen/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>You already know more songs from \u003cem>Carmen\u003c/em> than you think you know (thanks, \u003ca href=\"https://www.youtube.com/watch?v=3Wsx22WxWOc\" target=\"_blank\" rel=\"noopener\">Saturday morning cartoons\u003c/a>), and if you’re daunted by the marathon of \u003ca href=\"https://www.kqed.org/arts/13835968/how-crazy-do-you-have-to-be-to-sit-through-15-hours-of-opera\" target=\"_blank\" rel=\"noopener\">longer operas\u003c/a>, Bizet’s eternal tale of a woman who dares to live freely clocks in at under three hours. Add to it Francesca Zambello’s modern production, James Gaffigan conducting the orchestra and \u003ca href=\"https://www.youtube.com/watch?v=m_MMKJaIHes\" target=\"_blank\" rel=\"noopener\">basketball player-turned-opera star J’Nai Bridges\u003c/a> (pictured above) in the title role, and you’ve got a summertime opera that even those who \u003cem>think\u003c/em> they hate opera can enjoy.\u003c/p>\n\u003cfigure id=\"attachment_13857965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg\" alt=\"The cast of 'Kiss My Aztec!' at Berkeley Rep, directed by Tony Taccone.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Aztec.CAST_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Kiss My Aztec!’ at Berkeley Rep, directed by Tony Taccone. \u003ccite>(Cheshire Isaacs/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Kiss My Aztec!’\u003c/h2>\n\u003cp>\u003ci>May 28–July 21, 2019\u003cbr>\nRoda Theatre, Berkeley\u003cbr>\n\u003ca href=\"https://www.berkeleyrep.org/season/1819/13384.asp\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Written by John Leguizamo and Tony Taccone, this world-premiere musical has more than a whiff of \u003cem>Hamilton\u003c/em> for Latin America: a history lesson of resistance in Spanish-occupied Mesoamerica told through salsa, hip-hop, merengue and funk, with a blend of 16th-century dialect and modern slang. Taccone and Leguizamo previously worked together on \u003cem>Latin History for Morons\u003c/em>, but this one’s special: it’s Taccone’s final production as artistic director \u003ca href=\"https://www.kqed.org/arts/12700435/berkeley-rep-artistic-director-tony-taccone-announces-departure\" target=\"_blank\" rel=\"noopener\">after 33 years at Berkeley Rep\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13858009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MidsummerNightDream.CalShakes.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch2>‘A Midsummer Night’s Dream’\u003c/h2>\n\u003cp>\u003ci>May 22–June 16, 2019\u003cbr>\nBruns Amphitheater, Orinda\u003cbr>\n\u003ca href=\"https://calshakes.org/make/a-midsummer-nights-dream/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Cal Shakes, the region’s premier purveyors of the Bard, bring this Shakespeare favorite to life this summer with all the sprites, dukes, queens and faeries you’ve come to know and love. It’s easy to forget just how damn \u003cem>fun\u003c/em> the action is in \u003cem>A Midsummer Night’s Dream\u003c/em>, and with costume by Ásta Bennie Hostetter and set by Nina Ball, the visuals are sure to be dazzling. Tyne Rafaeli directs in the picturesque outdoor Bruns Amphitheater.\u003c/p>\n\u003cfigure id=\"attachment_13858316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg\" alt=\"Last year’s champions of ShortLived, The Geek Show, who won for their piece 'No Country for Old Henchmen.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ShortLived.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Last year’s champions of ShortLived, The Geek Show, who won for their piece ‘No Country for Old Henchmen.’ \u003ccite>(Courtesy PIanoFight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘ShortLived VII’\u003c/h2>\n\u003cp>\u003ci>June 14–Sept. 7, 2019\u003cbr>\nPianoFight and The Strand, San Francisco\u003cbr>\n\u003ca href=\"https://www.pianofight.com/shortlived-viii/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>Pushing the limits of theatrical possibility, \u003cem>ShortLived\u003c/em> is a marathon \u003cem>American Idol\u003c/em>-esque race to a $5,000 check and eternal Bay Area glory. This year’s audience-judged competition features 48 short plays running over the course of 8 weeks, and then a winner-take-all finals on Sept. 6 and 7. If you want to take a dip into the rampant creativity of Bay Area theater—and see some fun, charming competition along the way—you can’t do much better than this.\u003c/p>\n\u003cfigure id=\"attachment_13858015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858015\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg\" alt=\"(L to R) Lady Malavendra, Red Velvet, and Dee O’s Mío in 'Dollhouse Monsters.'\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Dollhousemonsters.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Lady Malavendra, Red Velvet and Dee O’s Mío in ‘Dollhouse Monsters.’ \u003ccite>(Ross Pearson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Dollhouse Monsters’\u003c/h2>\n\u003cp>\u003ci>July 12–27, 2019\u003cbr>\nExit Stage Left, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/dollhouse/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>These days, burlesque is everywhere, thanks to an ongoing vaudeville-circus-steampunk revival especially resonant here on the Barbary Coast. And while body positivity has long been a staple of modern burlesque, the ladies of DIVA Or Die Burlesque take that introspection further in \u003cem>Dollhouse Monsters\u003c/em>, a half-theater, half-burlesque show that examines our inner behaviors and secrets, why we have them, and why we keep them.\u003c/p>\n\u003cfigure id=\"attachment_13857967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857967\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/SOMAQueerWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Hayes, Brian Freeman, Marga Gomez, J. Miko Thomas a.k.a. Landa Lakes for OUT of Site SOMA. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘OUT of Site: SOMA’\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nHoward Langton Community Garden, San Francisco\u003cbr>\n\u003ca href=\"https://www.eyezen.org/out-of-site-soma\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003cem>OUT of Site\u003c/em> has already brought history to life in North Beach, and now, the theatrical walking tour series alights South of Market for a reevaluation of the neighborhood’s LGBTQ contributions. The Castro gets most of the attention, but as \u003cem>OUT of Site\u003c/em> points out, SOMA is home to hidden stories, “from Native American Two-Spirit culture to the Folsom Street Fair, Lesbian auto-mechanics to labor activists and dock workers to drag queens.” Marga Gomez heads up a cast that should be illuminating and entertaining.\u003c/p>\n\u003cfigure id=\"attachment_13857973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg\" alt=\"'The Flick' won the 2014 Pulitzer Prize for Drama.\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/TheFlick.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Flick’ won the 2014 Pulitzer Prize for Drama. \u003ccite>(Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Flick’\u003c/h2>\n\u003cp>\u003ci>Aug. 22–Sept. 22, 2019\u003cbr>\nAshby Stage, Berkeley\u003cbr>\n\u003ca href=\"http://bit.ly/2rgcffY\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>People who work at movie theaters are a specific kind of nerd: exceedingly knowledgable about the minutiae of fictional film, but open to letting real life take over with gale force when it wants to. The winner of the 2014 Pulitzer Prize for Drama, \u003cem>The Flick\u003c/em> is about three employees of a suburban movie theater in Massachusetts who still know how to run 35mm film projectors, with a script that follows their personal struggles which overlap in unexpected, humorous and heartbreaking fashion.\u003c/p>\n\u003cfigure id=\"attachment_13858334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg\" alt=\"The Dragon Theatre stage.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/DragonTheatre.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dragon Theatre stage. \u003ccite>(Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Redwood City Play Festival\u003c/h2>\n\u003cp>\u003ci>June 8–16, 2019\u003cbr>\nDragon Theatre, Redwood City\u003cbr>\n\u003ca href=\"http://www.fusetheatre.org/projects/rwc-festival/\" target=\"_blank\" rel=\"noopener\">More information\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A joint effort by Dragon Productions Theatre Company and Fuse Theatre, this festival of three one-act plays centers on issues of gender: \u003cem>Because I Went There\u003c/em>, \u003cem>Never Swim Alone\u003c/em> and \u003cem>Legal-Tender Loving Care\u003c/em>. Held in the heart of Redwood City’s downtown (time it right, and you could fit in the town’s surreal light show a block away in Courthouse Square), the plays should bring a good dose of social justice to the Peninsula.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Silent Sky' Shines a Spotlight on a Woman in Love with Astronomy",
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"content": "\u003cp>Which is worse? To have your work minimized as boring and routine? Or trumpeted to the heavens but the credit hogged by the man you work for? These narratives are sadly common when you look at the history of women in science — but they make for good theater, as in the play \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> in San Jose.\u003ci>\u003c/i>\u003c/p>\n\u003cp>The play focuses on a woman named Henrietta Swan Leavitt, whose work laid the ground for later revelations, like the idea the universe is much bigger than our little solar system.\u003c/p>\n\u003cp>When the Harvard Observatory hired her at the turn of the 20th century, women weren’t allowed to look through its telescopes. The delicate dears might catch a chill in the evening air. Also, they could be paid a whole lot less than men.\u003c/p>\n\u003cp>Leavitt and other “computers,” as female mathematicians were called then, volunteered or worked for 30 cents an hour cataloguing the brightness of stars on photographic plates taken by astronomer Edward Charles Pickering. But Leavitt, looking down at those plates of Cepheid variable stars, had an a-ha moment. Well, two of them, really.\u003c/p>\n\u003cp>The brightness of these “variable” stars varies, from day to day or week to week. Leavitt figured out that the longer a star took to change brightness, the brighter it actually was. So, if a star took a longer time to change brightness than others but didn’t appear brighter, it must be farther away.\u003c/p>\n\u003cfigure id=\"attachment_13857560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg\" alt=\"Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at a clutch of these stars in the same astronomic neighborhood, the Magellanic Clouds, she came to another conclusion: if one star looked much brighter than another, it was probably brighter. Together, these observations help astronomers figure out relative distances between stars and the Earth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you know how quickly the star is changing brightness, you can actually measure its distance. It helped us establish the size and scale of the universe,” said \u003ca href=\"http://www.ucolick.org/~egates/\" target=\"_blank\" rel=\"noopener\">Elinor Gates\u003c/a> of Lick Observatory was a local science consultant for the City Lights production of Silent Sky, written by \u003ca href=\"http://laurengunderson.com\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> of San Francisco.\u003c/p>\n\u003cp>Gunderson has a taste for science and a habit of profiling women under-represented in history. Leavitt, she said, was an obvious choice. “Her story is a beautiful one. Her scientific discovery is profound. She really had a major impact. It was a real pleasure and an honor to tell her story,” Gunderson said.\u003c/p>\n\u003cp>\u003cem>Silent Sky\u003c/em> has been making the rounds of small community theaters around the country since its publication in 2010. It debuted in the Bay Area in \u003ca href=\"https://www.kqed.org/arts/129311/seeking-answers-in-a-silent-sky\" target=\"_blank\" rel=\"noopener\">2014\u003c/a> with a \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> production.\u003c/p>\n\u003cp>Science and Leavitt’s love for it may be at the heart of the play, but Gunderson externalizes what could be a quiet internal drama by exploring Leavitt’s relationships with family and colleagues.\u003c/p>\n\u003cfigure id=\"attachment_13857562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg\" alt=\""Pickering's Harem," so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming.\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-160x117.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-768x562.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1020x746.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1200x878.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers.jpeg 1762w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Pickering’s Harem,” so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming. \u003ccite>(Photo: Courtesy of Harvard College Observatory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Married sister Margaret provides a convenient Victorian Era counterpoint, content to keep to the domestic sphere as society expected at the time.\u003c/p>\n\u003cp>Wisecracking buddies Williamina Fleming and Annie Jump Cannon stand in for the team of Harvard computers Leavitt worked with. Of course, Fleming and Cannon were accomplished astronomers as well, stultified in many of the same ways. The Harvard Computers in that room you see pictured above were full of scientific talent, and if they weren’t respected properly, they were surrounded by data they could use.\u003c/p>\n\u003cp>In real life, Cannon shares credit with Pickering for designing the Harvard Classification Scheme, the first serious attempt to classify stars based on their temperatures and spectral types. Fleming, who first came to Harvard to work as a maid, is best known now for her discovery of the Horsehead Nebula in 1888.\u003c/p>\n\u003cp>“It’s not actually the story of one incredible woman. It’s the story of four!” said Gunderson. “I’m inspired because it’s a true story. They were doing this menial work, but even so, they discovered things that changed the course of astronomy.”\u003c/p>\n\u003cp>“It’s about all of these people who are just so hungry for the truth,” said actress \u003ca href=\"http://www.mariagmarquis.com\" target=\"_blank\" rel=\"noopener\">Maria Marquis\u003c/a>, who plays Leavitt. Her favorite line in the play? “The real point is seeing something bigger, and knowing you’re a small part of it, if you’re lucky. In the end, that is a life well lived.”\u003c/p>\n\u003cfigure id=\"attachment_13857559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg\" alt=\"For women in the early 1900s, balancing career and family was never easy. Here, Henrietta's (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For women in the early 1900s, balancing career and family was never easy. Here, Henrietta’s (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13853573,forum_2010101864798,news_10342438' label='Related Coverage']Marquis is a stand in for all of us who admire astronomy from a distance. “If you talk to astronomers, they all know who [Leavitt] is. But we aren’t taught about her at all. So I did a bunch of research then, after being cast, and was like, ‘Why are we not yelling her name from the rooftops?’”\u003c/p>\n\u003cp>Leavitt did publish her findings, and her name was on those papers, but their importance didn’t become clear to the world until years later, when Edwin Hubble used her work to show how the universe is expanding.\u003c/p>\n\u003cp>Hubble often said Leavitt deserved a Nobel Prize for her work, but even though he was a nominator on the Nobel committee, it was Swedish mathematician Gustaf Mittag-Leffler who tried to nominate Leavitt in 1924. He was too late. Leavitt died in 1921, and Nobel Prizes can’t be awarded posthumously.\u003c/p>\n\u003cp>She never got proper credit during her lifetime, but Leavitt’s work lit the way for later discoveries. It would take decades for the rest of the world to catch up to a woman with an irrepressible passion for astronomy.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Silent Sky \u003c/strong>runs May 16 – June 16, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Which is worse? To have your work minimized as boring and routine? Or trumpeted to the heavens but the credit hogged by the man you work for? These narratives are sadly common when you look at the history of women in science — but they make for good theater, as in the play \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cem>Silent Sky\u003c/em>\u003c/a> in San Jose.\u003ci>\u003c/i>\u003c/p>\n\u003cp>The play focuses on a woman named Henrietta Swan Leavitt, whose work laid the ground for later revelations, like the idea the universe is much bigger than our little solar system.\u003c/p>\n\u003cp>When the Harvard Observatory hired her at the turn of the 20th century, women weren’t allowed to look through its telescopes. The delicate dears might catch a chill in the evening air. Also, they could be paid a whole lot less than men.\u003c/p>\n\u003cp>Leavitt and other “computers,” as female mathematicians were called then, volunteered or worked for 30 cents an hour cataloguing the brightness of stars on photographic plates taken by astronomer Edward Charles Pickering. But Leavitt, looking down at those plates of Cepheid variable stars, had an a-ha moment. Well, two of them, really.\u003c/p>\n\u003cp>The brightness of these “variable” stars varies, from day to day or week to week. Leavitt figured out that the longer a star took to change brightness, the brighter it actually was. So, if a star took a longer time to change brightness than others but didn’t appear brighter, it must be farther away.\u003c/p>\n\u003cfigure id=\"attachment_13857560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857560\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg\" alt=\"Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37167_citylights_silentsky_astronomers-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three pioneering woman astronomers at work in the Harvard Observatory: from left, Williamina Fleming (Karen DeHart), Henrietta Leavitt (Maria Giere Marquis) and Annie Jump Cannon (April Green). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking at a clutch of these stars in the same astronomic neighborhood, the Magellanic Clouds, she came to another conclusion: if one star looked much brighter than another, it was probably brighter. Together, these observations help astronomers figure out relative distances between stars and the Earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you know how quickly the star is changing brightness, you can actually measure its distance. It helped us establish the size and scale of the universe,” said \u003ca href=\"http://www.ucolick.org/~egates/\" target=\"_blank\" rel=\"noopener\">Elinor Gates\u003c/a> of Lick Observatory was a local science consultant for the City Lights production of Silent Sky, written by \u003ca href=\"http://laurengunderson.com\" target=\"_blank\" rel=\"noopener\">Lauren Gunderson\u003c/a> of San Francisco.\u003c/p>\n\u003cp>Gunderson has a taste for science and a habit of profiling women under-represented in history. Leavitt, she said, was an obvious choice. “Her story is a beautiful one. Her scientific discovery is profound. She really had a major impact. It was a real pleasure and an honor to tell her story,” Gunderson said.\u003c/p>\n\u003cp>\u003cem>Silent Sky\u003c/em> has been making the rounds of small community theaters around the country since its publication in 2010. It debuted in the Bay Area in \u003ca href=\"https://www.kqed.org/arts/129311/seeking-answers-in-a-silent-sky\" target=\"_blank\" rel=\"noopener\">2014\u003c/a> with a \u003ca href=\"https://theatreworks.org\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> production.\u003c/p>\n\u003cp>Science and Leavitt’s love for it may be at the heart of the play, but Gunderson externalizes what could be a quiet internal drama by exploring Leavitt’s relationships with family and colleagues.\u003c/p>\n\u003cfigure id=\"attachment_13857562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg\" alt=\""Pickering's Harem," so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming.\" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-800x585.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-160x117.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-768x562.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1020x746.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers-1200x878.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Astronomer_Edward_Charles_Pickerings_Harvard_computers.jpeg 1762w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Pickering’s Harem,” so-called, for the group of women computers at the Harvard College Observatory, who worked for the astronomer Edward Charles Pickering. The group included Henrietta Swan Leavitt, Annie Jump Cannon, and Williamina Fleming. \u003ccite>(Photo: Courtesy of Harvard College Observatory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Married sister Margaret provides a convenient Victorian Era counterpoint, content to keep to the domestic sphere as society expected at the time.\u003c/p>\n\u003cp>Wisecracking buddies Williamina Fleming and Annie Jump Cannon stand in for the team of Harvard computers Leavitt worked with. Of course, Fleming and Cannon were accomplished astronomers as well, stultified in many of the same ways. The Harvard Computers in that room you see pictured above were full of scientific talent, and if they weren’t respected properly, they were surrounded by data they could use.\u003c/p>\n\u003cp>In real life, Cannon shares credit with Pickering for designing the Harvard Classification Scheme, the first serious attempt to classify stars based on their temperatures and spectral types. Fleming, who first came to Harvard to work as a maid, is best known now for her discovery of the Horsehead Nebula in 1888.\u003c/p>\n\u003cp>“It’s not actually the story of one incredible woman. It’s the story of four!” said Gunderson. “I’m inspired because it’s a true story. They were doing this menial work, but even so, they discovered things that changed the course of astronomy.”\u003c/p>\n\u003cp>“It’s about all of these people who are just so hungry for the truth,” said actress \u003ca href=\"http://www.mariagmarquis.com\" target=\"_blank\" rel=\"noopener\">Maria Marquis\u003c/a>, who plays Leavitt. Her favorite line in the play? “The real point is seeing something bigger, and knowing you’re a small part of it, if you’re lucky. In the end, that is a life well lived.”\u003c/p>\n\u003cfigure id=\"attachment_13857559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg\" alt=\"For women in the early 1900s, balancing career and family was never easy. Here, Henrietta's (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37170_citylights_silentsky_mariagieremarquis_jessicawhittemore_hug-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For women in the early 1900s, balancing career and family was never easy. Here, Henrietta’s (Maria Giere Marquis, left) relationship with her sister Margaret (Jessica Whittemore) has become strained. \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Marquis is a stand in for all of us who admire astronomy from a distance. “If you talk to astronomers, they all know who [Leavitt] is. But we aren’t taught about her at all. So I did a bunch of research then, after being cast, and was like, ‘Why are we not yelling her name from the rooftops?’”\u003c/p>\n\u003cp>Leavitt did publish her findings, and her name was on those papers, but their importance didn’t become clear to the world until years later, when Edwin Hubble used her work to show how the universe is expanding.\u003c/p>\n\u003cp>Hubble often said Leavitt deserved a Nobel Prize for her work, but even though he was a nominator on the Nobel committee, it was Swedish mathematician Gustaf Mittag-Leffler who tried to nominate Leavitt in 1924. He was too late. Leavitt died in 1921, and Nobel Prizes can’t be awarded posthumously.\u003c/p>\n\u003cp>She never got proper credit during her lifetime, but Leavitt’s work lit the way for later discoveries. It would take decades for the rest of the world to catch up to a woman with an irrepressible passion for astronomy.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Silent Sky \u003c/strong>runs May 16 – June 16, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/silent-sky/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking Into the Hidden Lives of Women in 'Far, Far Better Things'",
"headTitle": "Looking Into the Hidden Lives of Women in ‘Far, Far Better Things’ | KQED",
"content": "\u003cp>It was the best of times, it was the worst of times, and in an urban area much like our own, an undocumented housekeeper is reunited with a woman who used to be in her care as a teenager.\u003c/p>\n\u003cp>In \u003cem>Far, Far Better Things\u003c/em>, a co-production between TheatreFirst and the Shotgun Players, Zoe (Kimiya Shokri) is finishing a residency while attempting to raise a newborn baby alone, and has hit upon what she thinks is the perfect solution. Why not hire this familiar face from her adolescence to watch her child while she works to get her medical license? Of course, just as Zoe has grown in the interim, so too has her former housekeeper and now nanny, Pilar (Michelle Navarrete), who brings an adolescent of her own, Dani (Neiry Rojo), along with 16 years’ worth of additional life experiences that Zoe cannot entirely comprehend.\u003c/p>\n\u003cp>Not that Zoe even tries very hard. In Zoe, playwright Geetha Reddy delivers a casualty of millennial overextension—perpetually exhausted, myopically self-absorbed, a devotee of “self-care” up to and including spin class but not in limiting her consumption of bedtime wine. For Zoe, Pilar is a convenience, a godsend, and a given. For Pilar, the situation is infinitely more complicated, and as her personal autonomy becomes increasingly encroached upon, she realizes too late that her erstwhile haven has become a prison.\u003c/p>\n\u003cfigure id=\"attachment_13856719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimiya Shokri in Geetha Reddy’s ‘Far, Far Better Things.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reddy’s \u003cem>Far, Far Better Things\u003c/em> may have been inspired by her desire to revisit Charles Dickens’ revolutionary epic, \u003cem>A Tale of Two Cities,\u003c/em> but the resultant, episodic play feels much more influenced by the pressing political concerns of today—women’s rights, immigration, domestic violence. True, there are nods to the original text (mostly in book report form, as Dani is writing about it for her high school English class), but \u003cem>Far, Far Better Things \u003c/em>takes on a life of its own as the action unfolds. Written as a series of interconnected vignettes bracketed in the production by video (Ben Euphrat and Brandon West) and soundscape (Kristoffer Barrera), the play turns quiet domesticity into a fraught frontline. One where wildly divergent expectations cannot be met, and deep disconnections may prove impossible to bridge.\u003c/p>\n\u003cp>Directed by Katya Rivera, the production excels at revealing the quiet desperation threading through the lives of its female protagonists. Although outwardly in control of their respective paths—as mothers, daughters, career women, and students—it doesn’t take long for us to recognize that beneath a veneer of competency, each character barely holds themselves together. At the heart of their unease lies the ugly specter of domestic violence, which colors their relationships yet ties them, however unwillingly, together—a sisterhood of the abused. How they ultimately choose to confront the past and challenge their future gives the play its barely plausible storybook ending, but before we get there, it’s the indignities of the everyday that command the audience’s attention.\u003c/p>\n\u003cfigure id=\"attachment_13856723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856723\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neiry Rojo and Michelle Navarrate in Geetha Reddy’s Far Far Better Things. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the production suffers most is in its treatment of the character Josh (Yohana Ansari-Thomas), who as Zoe’s kid brother is himself a victim of childhood abuse, and yet never gets to evolve beyond villainous caricature. He’s basically a walking misogynist hashtag, whose every action serves to perpetuate a cycle of violence that he doesn’t get the opportunity to recognize affects him too. Josh’s existence feels basically written to jolt Zoe and Pilar from their “inert” paths and into action, but that propulsion comes at the expense of meaningful character development. Making him Zoe’s brother feels almost like an afterthought, and Ansari-Thomas and Shokri rarely read as family members onstage—a sharp contrast to the chemistry between Navarrete and Rojo, whose mother-daughter dynamic feels much more natural and compelling.\u003c/p>\n\u003cfigure id=\"attachment_13856720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856720\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimiya Shokri and Yohana Ansari-Thomas in Geetha Reddy’s ‘Far, Far Better Things.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moment where the characters break free of their respective confinements and out into the larger world does allow the play a nod to the epic self-sacrifice that gives \u003cem>A Tale of Two Cities\u003c/em> its famous closing lines, and \u003cem>Far, Far Better Things\u003c/em> its title. As an ending to this play, the scene feels a little rushed, and not necessarily true to each character, but as a beginning to a new chapter which gives both its struggling protagonists and the audience a reason to hope. It suggests that though we may not always be able to recognize the barriers set around us in time to push through them on our own, with solidarity, we can help set each other free.\u003c/p>\n\u003cp>[ad fullwidth]\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>‘Far, Far Better Things’ runs through May 19 at Live Oak Theater in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/far-far-better\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Domestic workers, millennial self-care, and domestic violence underpin Geetha Reddy's play inspired by 'A Tale of Two Cities.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the best of times, it was the worst of times, and in an urban area much like our own, an undocumented housekeeper is reunited with a woman who used to be in her care as a teenager.\u003c/p>\n\u003cp>In \u003cem>Far, Far Better Things\u003c/em>, a co-production between TheatreFirst and the Shotgun Players, Zoe (Kimiya Shokri) is finishing a residency while attempting to raise a newborn baby alone, and has hit upon what she thinks is the perfect solution. Why not hire this familiar face from her adolescence to watch her child while she works to get her medical license? Of course, just as Zoe has grown in the interim, so too has her former housekeeper and now nanny, Pilar (Michelle Navarrete), who brings an adolescent of her own, Dani (Neiry Rojo), along with 16 years’ worth of additional life experiences that Zoe cannot entirely comprehend.\u003c/p>\n\u003cp>Not that Zoe even tries very hard. In Zoe, playwright Geetha Reddy delivers a casualty of millennial overextension—perpetually exhausted, myopically self-absorbed, a devotee of “self-care” up to and including spin class but not in limiting her consumption of bedtime wine. For Zoe, Pilar is a convenience, a godsend, and a given. For Pilar, the situation is infinitely more complicated, and as her personal autonomy becomes increasingly encroached upon, she realizes too late that her erstwhile haven has become a prison.\u003c/p>\n\u003cfigure id=\"attachment_13856719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimiya Shokri in Geetha Reddy’s ‘Far, Far Better Things.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reddy’s \u003cem>Far, Far Better Things\u003c/em> may have been inspired by her desire to revisit Charles Dickens’ revolutionary epic, \u003cem>A Tale of Two Cities,\u003c/em> but the resultant, episodic play feels much more influenced by the pressing political concerns of today—women’s rights, immigration, domestic violence. True, there are nods to the original text (mostly in book report form, as Dani is writing about it for her high school English class), but \u003cem>Far, Far Better Things \u003c/em>takes on a life of its own as the action unfolds. Written as a series of interconnected vignettes bracketed in the production by video (Ben Euphrat and Brandon West) and soundscape (Kristoffer Barrera), the play turns quiet domesticity into a fraught frontline. One where wildly divergent expectations cannot be met, and deep disconnections may prove impossible to bridge.\u003c/p>\n\u003cp>Directed by Katya Rivera, the production excels at revealing the quiet desperation threading through the lives of its female protagonists. Although outwardly in control of their respective paths—as mothers, daughters, career women, and students—it doesn’t take long for us to recognize that beneath a veneer of competency, each character barely holds themselves together. At the heart of their unease lies the ugly specter of domestic violence, which colors their relationships yet ties them, however unwillingly, together—a sisterhood of the abused. How they ultimately choose to confront the past and challenge their future gives the play its barely plausible storybook ending, but before we get there, it’s the indignities of the everyday that command the audience’s attention.\u003c/p>\n\u003cfigure id=\"attachment_13856723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856723\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neiry Rojo and Michelle Navarrate in Geetha Reddy’s Far Far Better Things. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the production suffers most is in its treatment of the character Josh (Yohana Ansari-Thomas), who as Zoe’s kid brother is himself a victim of childhood abuse, and yet never gets to evolve beyond villainous caricature. He’s basically a walking misogynist hashtag, whose every action serves to perpetuate a cycle of violence that he doesn’t get the opportunity to recognize affects him too. Josh’s existence feels basically written to jolt Zoe and Pilar from their “inert” paths and into action, but that propulsion comes at the expense of meaningful character development. Making him Zoe’s brother feels almost like an afterthought, and Ansari-Thomas and Shokri rarely read as family members onstage—a sharp contrast to the chemistry between Navarrete and Rojo, whose mother-daughter dynamic feels much more natural and compelling.\u003c/p>\n\u003cfigure id=\"attachment_13856720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856720\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimiya Shokri and Yohana Ansari-Thomas in Geetha Reddy’s ‘Far, Far Better Things.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moment where the characters break free of their respective confinements and out into the larger world does allow the play a nod to the epic self-sacrifice that gives \u003cem>A Tale of Two Cities\u003c/em> its famous closing lines, and \u003cem>Far, Far Better Things\u003c/em> its title. As an ending to this play, the scene feels a little rushed, and not necessarily true to each character, but as a beginning to a new chapter which gives both its struggling protagonists and the audience a reason to hope. It suggests that though we may not always be able to recognize the barriers set around us in time to push through them on our own, with solidarity, we can help set each other free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Toni Morrison's 'Jazz' Comes to Life at Marin Theatre Co.",
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"content": "\u003cp>Transferring the poetry and detail of Toni Morrison’s ‘Jazz’ to the stage could seem like a daunting process, but at Marin Theatre Co., a West Coast premiere of Nambi E. Kelley’s adaptation makes it look easy. Morrison’s words dance around the stage like fireflies, and the action under director Awoye Timpo is dream-like and surreal. At moments, it feels like jazz itself.\u003c/p>\n\u003cp>Violet (C. Kelly Wright) has been done wrong by her man, Joe (Michael Gene Sullivan), and is haunted by the vision of his paramour, Dorcas (Dezi Soléy), whose ghost watches over much of the proceedings from a thin veil. As Violet and Joe move from the country to big city life in New York (“where water come to you, and not you to it”), a certain menace grows and grows. We get foreshadowings of a tragedy caused by jazz music (“Just hearin’ it is like violatin’ the law”), but the blame ultimately falls on human nature.\u003c/p>\n\u003cfigure id=\"attachment_13856514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg\" alt=\"Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.'s production of 'Jazz.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13856514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.’s production of ‘Jazz.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actors here are all good, especially \u003ca href=\"https://www.kqed.org/news/11685814/blindspotting-actor-considers-damaging-effects-of-white-voice\" rel=\"noopener\" target=\"_blank\">Margo Hall\u003c/a> (filmgoers may recognize her as Daveed Diggs’ character’s mom in \u003cem>Blindspotting\u003c/em>), even when the pacing is a little off. The music by Bay Area jazz treasure \u003ca href=\"https://www.kqed.org/arts/10135150/bassist-marcus-shelby-finding-freedoms-message-in-the-music\" rel=\"noopener\" target=\"_blank\">Marcus Shelby\u003c/a> underpins Morrison’s story with a bubbling eeriness, even when it’s joyful, as in country dances and Harlem nightclub scenes choreographed by \u003ca href=\"https://www.kqed.org/arts/13842165/a-dance-tribute-to-bayview-hunters-points-history\" rel=\"noopener\" target=\"_blank\">Joanna Haigood\u003c/a>. For all of the antiquated markers in \u003cem>Jazz\u003c/em>, with its overalls, cotton fields, fedoras, field hollers and spirituals, its themes aren’t going away anytime soon. \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>‘Jazz’ runs through May 19 at Marin Theatre Company in Mill Valley. \u003ca href=\"https://www.marintheatre.org/productions/jazz\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad=floatright]\u003c/p>\n\n",
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"excerpt": "A stage adaptation of Morrison's woman-done-wrong story makes its West Coast premiere.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Transferring the poetry and detail of Toni Morrison’s ‘Jazz’ to the stage could seem like a daunting process, but at Marin Theatre Co., a West Coast premiere of Nambi E. Kelley’s adaptation makes it look easy. Morrison’s words dance around the stage like fireflies, and the action under director Awoye Timpo is dream-like and surreal. At moments, it feels like jazz itself.\u003c/p>\n\u003cp>Violet (C. Kelly Wright) has been done wrong by her man, Joe (Michael Gene Sullivan), and is haunted by the vision of his paramour, Dorcas (Dezi Soléy), whose ghost watches over much of the proceedings from a thin veil. As Violet and Joe move from the country to big city life in New York (“where water come to you, and not you to it”), a certain menace grows and grows. We get foreshadowings of a tragedy caused by jazz music (“Just hearin’ it is like violatin’ the law”), but the blame ultimately falls on human nature.\u003c/p>\n\u003cfigure id=\"attachment_13856514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg\" alt=\"Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.'s production of 'Jazz.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13856514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/MTC_Jazz.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violet (C. Kelly Wright) speaks to the portrait of Dorcas (Dezi Solèy) in Marin Theatre Co.’s production of ‘Jazz.’ \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actors here are all good, especially \u003ca href=\"https://www.kqed.org/news/11685814/blindspotting-actor-considers-damaging-effects-of-white-voice\" rel=\"noopener\" target=\"_blank\">Margo Hall\u003c/a> (filmgoers may recognize her as Daveed Diggs’ character’s mom in \u003cem>Blindspotting\u003c/em>), even when the pacing is a little off. The music by Bay Area jazz treasure \u003ca href=\"https://www.kqed.org/arts/10135150/bassist-marcus-shelby-finding-freedoms-message-in-the-music\" rel=\"noopener\" target=\"_blank\">Marcus Shelby\u003c/a> underpins Morrison’s story with a bubbling eeriness, even when it’s joyful, as in country dances and Harlem nightclub scenes choreographed by \u003ca href=\"https://www.kqed.org/arts/13842165/a-dance-tribute-to-bayview-hunters-points-history\" rel=\"noopener\" target=\"_blank\">Joanna Haigood\u003c/a>. For all of the antiquated markers in \u003cem>Jazz\u003c/em>, with its overalls, cotton fields, fedoras, field hollers and spirituals, its themes aren’t going away anytime soon. \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>‘Jazz’ runs through May 19 at Marin Theatre Company in Mill Valley. \u003ca href=\"https://www.marintheatre.org/productions/jazz\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp dir=\"ltr\">In today’s enlightened age, polite people would never admit talking about mental illness is taboo. But it is. If you have a psychiatric illness, or someone you love does, you know it’s awkward to talk about. Raise the subject, and people mutter something vaguely sympathetic and find a way to move away from you or change the subject.\u003c/p>\n\u003cp dir=\"ltr\">Then there’s the taboo you feel within yourself. That was the experience of fourth-year Stanford Ph.D. Student \u003ca href=\"https://earth.stanford.edu/people/zack-burton#gs.9bv9by\" target=\"_blank\" rel=\"noopener\">Zack Burton,\u003c/a> now a couple of years past his first psychotic break and diagnosis of bipolar disorder.\u003c/p>\n\u003cp>“Some of the stigma, that even I myself had toward mental illness, really made that recovery somewhat more difficult than the psychosis itself and the actual events surrounding my diagnosis,” Burton said.\u003c/p>\n\u003cp dir=\"ltr\">Searching online for information and community didn’t help. “There’s this lack of relatable stories out there, which is very frightening when you’re sort of WebMDing symptoms and saying ‘Will life ever be the same?’ A lot of responses are saying ‘No, life will never be the same again.’”\u003c/p>\n\u003cp dir=\"ltr\">Burton and his girlfriend, psychiatric clinical research coordinator \u003ca href=\"https://profiles.stanford.edu/elisa-hofmeister\" target=\"_blank\" rel=\"noopener\">Elisa Hofmeister\u003c/a>, were willing to talk openly about what they were experiencing—only to discover people they thought they knew had been hiding their own experiences. “It was something like three or four of our closest friends who either had mental illness or had a parent who had mental illness. But we had never realized that before, even amongst very close friends,” marveled Burton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp dir=\"ltr\">That’s when they hit on the idea of doing the mental-illness version of \u003ca href=\"https://www.eveensler.org/plays/the-vagina-monologues/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Vagina Monologues\u003c/em>\u003c/a>, Eve Ensler’s classic collection of first-person stories about female sexuality.\u003c/p>\n\u003cp dir=\"ltr\">[youtube https://www.youtube.com/watch?v=_eKbur64CdA]Roughly 20 years ago, the blockbuster theater piece blasted a longstanding taboo to smithereens with devastating humor and pathos. Ensler did all the research and writing.\u003c/p>\n\u003cp dir=\"ltr\">For \u003cem>\u003ca href=\"https://www.themanicmonologues.org/\" target=\"_blank\" rel=\"noopener\">Manic Monologues\u003c/a>\u003c/em>, Burton and Hofmeister reached out to a wide variety of people to get first-person stories. There are fifteen altogether, ranging from the funny to the heartbreaking, performed by actors and the authors themselves.\u003c/p>\n\u003cp dir=\"ltr\">Hofmeister drew a parallel between mental illness and cancer. “Back in the 1950s, cancer was really stigmatized. People did not want to talk about it. It was seen as kind of a shameful thing to receive a diagnosis of cancer. It’s frightening, of course, but there’s no reason to be ashamed of it,” Hofmeister said.\u003c/p>\n\u003cp dir=\"ltr\">The two enlisted the help of a wide-ranging advisory team, including \u003ca href=\"https://stanfordhealthcare.org/doctors/h/rona-hu.html\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a Clinical Associate Professor in Psychiatry and Behavioral Sciences who launched \u003ca href=\"https://www.kqed.org/arts/13113401/stanford-psychiatrists-take-to-the-stage\" target=\"_blank\" rel=\"noopener\">a series of theatrical vignettes\u003c/a> designed to help Asian-Americans and Latinos confront a variety of parenting and mental health issues.\u003c/p>\n\u003cp dir=\"ltr\">She even wrote a monologue about her own experience that she’s performing in \u003cem>Manic Monologues\u003c/em>.\u003c/p>\n\u003cp dir=\"ltr\">Back when Hu was a college student, she didn’t understand her boyfriend had bipolar disorder. She was so freaked out by his behavior, she actually ghosted him.\u003c/p>\n\u003cfigure id=\"attachment_13856444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856444 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg\" alt='The cast of \"Manic Monologues,\" a theatre piece exploring 15 different perspectives on mental illness, not unlike \"Vagina Monologues\" did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of “Manic Monologues,” a theatre piece exploring 15 different perspectives on mental illness, not unlike “Vagina Monologues” did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee \u003ccite>(Photo: Courtesy of Vianno Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">“Lucky for me, it was getting to be the end of the school year, and I had summer plans in another country, in Paris. These were plans I kept to myself. So when June rolled around, I just sort of got on the plane and disappeared,” Ru says in her monologue, baring that awkward chapter from her past in the hopes of reaching people in pain who are afraid to admit it.\u003c/p>\n\u003cp dir=\"ltr\">[aside postID='arts_13113401,news_10524319,arts_13851676' label='Related Coverage']Today, Hu is Medical Director of the Acute Psychiatric Inpatient Unit at Stanford Hospital, where she treats lots of people with bipolar disorder, schizophrenia, and depression.\u003c/p>\n\u003cp>Hu knows what mental illness looks like today. But she encounters lots of people who don’t, who misinterpret their loved ones’ behavior, “almost like a moral weakness. Or something that people are doing on purpose,” she said.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.nimh.nih.gov/health/statistics/mental-illness.shtml\" target=\"_blank\" rel=\"noopener\">National Institute of Mental Health\u003c/a>, nearly one in five U.S. adults live with a mental illness (46.6 million in 2017).\u003c/p>\n\u003cp>“Stigma is such a dangerous thing. It keeps people from getting help. It keeps people from even realizing that there’s an issue that there are solutions for,” Hu said. She’s enthusiastic about encouraging people to talk openly about mental illness, even if it means talking about the misgivings many people have about getting or staying emotionally involved with a person on a mental health roller coaster.\u003c/p>\n\u003cp dir=\"ltr\">“If that young man had had just a few fewer episodes, or had hidden them from me better, than maybe I would have several very attractive children with him right now, and be tracking him down through his credit card receipts, and asking the highway patrol if they’d seen him. Things that I’ve had patients tell me about, and patients’ family members tell me about,” Hu said.\u003c/p>\n\u003cp dir=\"ltr\">All three \u003cem>Manic Monologues\u003c/em> shows at Stanford are sold out, but the hope is that the show travels the way \u003cem>Vagina Monologues\u003c/em> did, and has the same cultural impact.\u003c/p>\n\u003cp>“We would really like to help high school, college, and community theaters put on their own versions of the show,” Burton said, and to that effect, he added, “All proceeds of the show, as well as our \u003ca href=\"https://www.gofundme.com/the-manic-monologues-destigmatizing-mental-health\" target=\"_blank\" rel=\"noopener\">gofundme\u003c/a> campaign, will go toward seed funding for other theaters to perform the show.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manic Monologues’ runs Thursday through Saturday, May 2–4, at Stanford’s Pigott Theater. \u003ca href=\"https://arts.stanford.edu/event/82535/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">In today’s enlightened age, polite people would never admit talking about mental illness is taboo. But it is. If you have a psychiatric illness, or someone you love does, you know it’s awkward to talk about. Raise the subject, and people mutter something vaguely sympathetic and find a way to move away from you or change the subject.\u003c/p>\n\u003cp dir=\"ltr\">Then there’s the taboo you feel within yourself. That was the experience of fourth-year Stanford Ph.D. Student \u003ca href=\"https://earth.stanford.edu/people/zack-burton#gs.9bv9by\" target=\"_blank\" rel=\"noopener\">Zack Burton,\u003c/a> now a couple of years past his first psychotic break and diagnosis of bipolar disorder.\u003c/p>\n\u003cp>“Some of the stigma, that even I myself had toward mental illness, really made that recovery somewhat more difficult than the psychosis itself and the actual events surrounding my diagnosis,” Burton said.\u003c/p>\n\u003cp dir=\"ltr\">Searching online for information and community didn’t help. “There’s this lack of relatable stories out there, which is very frightening when you’re sort of WebMDing symptoms and saying ‘Will life ever be the same?’ A lot of responses are saying ‘No, life will never be the same again.’”\u003c/p>\n\u003cp dir=\"ltr\">Burton and his girlfriend, psychiatric clinical research coordinator \u003ca href=\"https://profiles.stanford.edu/elisa-hofmeister\" target=\"_blank\" rel=\"noopener\">Elisa Hofmeister\u003c/a>, were willing to talk openly about what they were experiencing—only to discover people they thought they knew had been hiding their own experiences. “It was something like three or four of our closest friends who either had mental illness or had a parent who had mental illness. But we had never realized that before, even amongst very close friends,” marveled Burton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">That’s when they hit on the idea of doing the mental-illness version of \u003ca href=\"https://www.eveensler.org/plays/the-vagina-monologues/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Vagina Monologues\u003c/em>\u003c/a>, Eve Ensler’s classic collection of first-person stories about female sexuality.\u003c/p>\n\u003cp dir=\"ltr\">\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_eKbur64CdA'\n title='//www.youtube.com/embed/_eKbur64CdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Roughly 20 years ago, the blockbuster theater piece blasted a longstanding taboo to smithereens with devastating humor and pathos. Ensler did all the research and writing.\u003c/p>\n\u003cp dir=\"ltr\">For \u003cem>\u003ca href=\"https://www.themanicmonologues.org/\" target=\"_blank\" rel=\"noopener\">Manic Monologues\u003c/a>\u003c/em>, Burton and Hofmeister reached out to a wide variety of people to get first-person stories. There are fifteen altogether, ranging from the funny to the heartbreaking, performed by actors and the authors themselves.\u003c/p>\n\u003cp dir=\"ltr\">Hofmeister drew a parallel between mental illness and cancer. “Back in the 1950s, cancer was really stigmatized. People did not want to talk about it. It was seen as kind of a shameful thing to receive a diagnosis of cancer. It’s frightening, of course, but there’s no reason to be ashamed of it,” Hofmeister said.\u003c/p>\n\u003cp dir=\"ltr\">The two enlisted the help of a wide-ranging advisory team, including \u003ca href=\"https://stanfordhealthcare.org/doctors/h/rona-hu.html\" target=\"_blank\" rel=\"noopener\">Dr. Rona Hu\u003c/a>, a Clinical Associate Professor in Psychiatry and Behavioral Sciences who launched \u003ca href=\"https://www.kqed.org/arts/13113401/stanford-psychiatrists-take-to-the-stage\" target=\"_blank\" rel=\"noopener\">a series of theatrical vignettes\u003c/a> designed to help Asian-Americans and Latinos confront a variety of parenting and mental health issues.\u003c/p>\n\u003cp dir=\"ltr\">She even wrote a monologue about her own experience that she’s performing in \u003cem>Manic Monologues\u003c/em>.\u003c/p>\n\u003cp dir=\"ltr\">Back when Hu was a college student, she didn’t understand her boyfriend had bipolar disorder. She was so freaked out by his behavior, she actually ghosted him.\u003c/p>\n\u003cfigure id=\"attachment_13856444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856444 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg\" alt='The cast of \"Manic Monologues,\" a theatre piece exploring 15 different perspectives on mental illness, not unlike \"Vagina Monologues\" did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS36913_IMG_6906-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of “Manic Monologues,” a theatre piece exploring 15 different perspectives on mental illness, not unlike “Vagina Monologues” did with female sexuality in the 1990s. (Back row, left to right): Audrey Mitchell, Corinne Bernhard, Zack Burton, Rebecca Jia, Grégoire Faucher, Steve Dobbs (Front row, left to right): Dr. Rona Hu, Chloe Harris, Elisa Hofmeister, Khuyen Le, Julie Lee \u003ccite>(Photo: Courtesy of Vianno Vo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp dir=\"ltr\">“Lucky for me, it was getting to be the end of the school year, and I had summer plans in another country, in Paris. These were plans I kept to myself. So when June rolled around, I just sort of got on the plane and disappeared,” Ru says in her monologue, baring that awkward chapter from her past in the hopes of reaching people in pain who are afraid to admit it.\u003c/p>\n\u003cp dir=\"ltr\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Today, Hu is Medical Director of the Acute Psychiatric Inpatient Unit at Stanford Hospital, where she treats lots of people with bipolar disorder, schizophrenia, and depression.\u003c/p>\n\u003cp>Hu knows what mental illness looks like today. But she encounters lots of people who don’t, who misinterpret their loved ones’ behavior, “almost like a moral weakness. Or something that people are doing on purpose,” she said.\u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.nimh.nih.gov/health/statistics/mental-illness.shtml\" target=\"_blank\" rel=\"noopener\">National Institute of Mental Health\u003c/a>, nearly one in five U.S. adults live with a mental illness (46.6 million in 2017).\u003c/p>\n\u003cp>“Stigma is such a dangerous thing. It keeps people from getting help. It keeps people from even realizing that there’s an issue that there are solutions for,” Hu said. She’s enthusiastic about encouraging people to talk openly about mental illness, even if it means talking about the misgivings many people have about getting or staying emotionally involved with a person on a mental health roller coaster.\u003c/p>\n\u003cp dir=\"ltr\">“If that young man had had just a few fewer episodes, or had hidden them from me better, than maybe I would have several very attractive children with him right now, and be tracking him down through his credit card receipts, and asking the highway patrol if they’d seen him. Things that I’ve had patients tell me about, and patients’ family members tell me about,” Hu said.\u003c/p>\n\u003cp dir=\"ltr\">All three \u003cem>Manic Monologues\u003c/em> shows at Stanford are sold out, but the hope is that the show travels the way \u003cem>Vagina Monologues\u003c/em> did, and has the same cultural impact.\u003c/p>\n\u003cp>“We would really like to help high school, college, and community theaters put on their own versions of the show,” Burton said, and to that effect, he added, “All proceeds of the show, as well as our \u003ca href=\"https://www.gofundme.com/the-manic-monologues-destigmatizing-mental-health\" target=\"_blank\" rel=\"noopener\">gofundme\u003c/a> campaign, will go toward seed funding for other theaters to perform the show.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Manic Monologues’ runs Thursday through Saturday, May 2–4, at Stanford’s Pigott Theater. \u003ca href=\"https://arts.stanford.edu/event/82535/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "theatreworks-silicon-valley-to-receive-regional-theatre-tony-award",
"title": "TheatreWorks Silicon Valley to Receive Regional Theatre Tony Award",
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"content": "\u003cp>The Tony Awards announced Monday that TheatreWorks Silicon Valley will receive the 2019 Regional Theatre Tony Award on the recommendation of the American Theatre Critics Association.\u003c/p>\n\u003cp>The non-competitive honorary award, which generally recognizes excellence in incubating new productions, includes a $25,000 grant. The news comes as Robert Kelley, TheatreWorks’ founding artistic director, launches his 50th and final season with the company he created as a new Stanford University graduate in 1970.\u003c/p>\n\u003cp>[aside tag='theatreworks-silicon-valley' label='TheatreWorks Silicon Valley']\u003c/p>\n\u003cp>“I can think of no better way to begin TheatreWorks’s 50th Anniversary Season than with this highest honor, a testament to the passion and imaginative spirit of the artists whose work has been presented on TheatreWorks’s stages,” Kelley said in a statement. “There is a joy here, a warmth to the creative process that many have found inspiring. For me, that joy has been worth a lifetime.” \u003c/p>\n\u003cp>In a joint statement, Broadway League president Charlotte St. Martin and American Theatre Wing president Heather Hitchens lauded TheatreWorks for celebrating the human spirit. \u003c/p>\n\u003cp>“They have helped develop hundreds of vibrant new plays and musicals that are now being performed in theaters across America, and they have pioneered education programs that inspire thousands of students each year, creating future generations of creative artists and enthusiastic audiences,” said St. Martin and Hitchens. \u003c/p>\n\u003cp>\u003ca href=\"https://www.theatreworks.org/\">TheatreWorks Silicon Valley\u003c/a> produced 13 wholly original works in its first three years, staging them in unconventional venues, including warehouses, basements and a parking garage. The company developed a reputation for diverse programming and savvy use of a limited budget.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the organization grew, it continued to stress new works by emerging artists, staging smaller productions alongside its main season. In the 1990s, TheatreWorks started producing shows at the Mountain View Center for the Performing Arts as well as the Lucie Stern Theatre in Palo Alto, and opened a new black-box theatre at the Cubberley Center.\u003c/p>\n\u003cp>Today, the organization is one of California’s largest theaters, with 40 staff members, more than 8,000 subscribers and an annual budget exceeding $8 million. Its New Works Initiative, which includes an annual writers’ retreat and festival, is central to the organization’s identity. \u003c/p>\n\u003cp>TheatreWorks Silicon Valley is the first Bay Area company to receive the Regional Theatre Tony Award since Berkeley Repertory Theatre, in 1997. Last year the award went to La MaMa Experimental Theatre Club, an Off-Off-Broadway theatre in New York city. \u003c/p>\n\u003cp>The Tony Awards will broadcast live from Radio City Music Hall in New York City on Sunday, June 9. \u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The prestigious award—the first for a Bay Area theater company in over 20 years—comes with a $25,000 grant.",
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"title": "TheatreWorks Silicon Valley to Receive Regional Theatre Tony Award | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Tony Awards announced Monday that TheatreWorks Silicon Valley will receive the 2019 Regional Theatre Tony Award on the recommendation of the American Theatre Critics Association.\u003c/p>\n\u003cp>The non-competitive honorary award, which generally recognizes excellence in incubating new productions, includes a $25,000 grant. The news comes as Robert Kelley, TheatreWorks’ founding artistic director, launches his 50th and final season with the company he created as a new Stanford University graduate in 1970.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can think of no better way to begin TheatreWorks’s 50th Anniversary Season than with this highest honor, a testament to the passion and imaginative spirit of the artists whose work has been presented on TheatreWorks’s stages,” Kelley said in a statement. “There is a joy here, a warmth to the creative process that many have found inspiring. For me, that joy has been worth a lifetime.” \u003c/p>\n\u003cp>In a joint statement, Broadway League president Charlotte St. Martin and American Theatre Wing president Heather Hitchens lauded TheatreWorks for celebrating the human spirit. \u003c/p>\n\u003cp>“They have helped develop hundreds of vibrant new plays and musicals that are now being performed in theaters across America, and they have pioneered education programs that inspire thousands of students each year, creating future generations of creative artists and enthusiastic audiences,” said St. Martin and Hitchens. \u003c/p>\n\u003cp>\u003ca href=\"https://www.theatreworks.org/\">TheatreWorks Silicon Valley\u003c/a> produced 13 wholly original works in its first three years, staging them in unconventional venues, including warehouses, basements and a parking garage. The company developed a reputation for diverse programming and savvy use of a limited budget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the organization grew, it continued to stress new works by emerging artists, staging smaller productions alongside its main season. In the 1990s, TheatreWorks started producing shows at the Mountain View Center for the Performing Arts as well as the Lucie Stern Theatre in Palo Alto, and opened a new black-box theatre at the Cubberley Center.\u003c/p>\n\u003cp>Today, the organization is one of California’s largest theaters, with 40 staff members, more than 8,000 subscribers and an annual budget exceeding $8 million. Its New Works Initiative, which includes an annual writers’ retreat and festival, is central to the organization’s identity. \u003c/p>\n\u003cp>TheatreWorks Silicon Valley is the first Bay Area company to receive the Regional Theatre Tony Award since Berkeley Repertory Theatre, in 1997. Last year the award went to La MaMa Experimental Theatre Club, an Off-Off-Broadway theatre in New York city. \u003c/p>\n\u003cp>The Tony Awards will broadcast live from Radio City Music Hall in New York City on Sunday, June 9. \u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>May is Asian and Pacific American Heritage Month, and San Francisco’s Asian Pacific Islander Cultural Center is celebrating with its 22nd annual \u003ca href=\"https://www.apiculturalcenter.org/usaaf2019_calendar\" target=\"_blank\" rel=\"noopener\">United States of Asian America Festival\u003c/a>, two months of interdisciplinary programming spread over 19 events by 25 artists of diverse cultures and identities.\u003c/p>\n\u003cp>This year’s featured performer is comedian \u003ca href=\"https://www.apiculturalcenter.org/ripirene\" target=\"_blank\" rel=\"noopener\">Irene Tu\u003c/a>, whose storytelling and stand-up show \u003cem>\u003ca href=\"https://www.apiculturalcenter.org/ripirene\" target=\"_blank\" rel=\"noopener\">Rest in Peace Irene\u003c/a> \u003c/em>parses through family relationships and death through humor. That event takes place May 17 and 18 at Bindlestiff Studios. \u003cem>Rest in Peace Irene\u003c/em> is a fitting centerpiece for the festival’s 2019 theme, “Collective // Memory,” which bears witness to tragic losses and honors the Bay Area’s API artist community.\u003c/p>\n\u003cp>Dinner becomes an interactive storytelling project about culture and heritage at June 9’s \u003ca href=\"https://www.apiculturalcenter.org/rrp_cm\" target=\"_blank\" rel=\"noopener\">Rooted Recipes Project\u003c/a> event at Hummingbird Farm. Nancy Wang’s \u003ca href=\"https://www.apiculturalcenter.org/shadowsandsecrets\" target=\"_blank\" rel=\"noopener\">\u003cem>Shadows and Secrets\u003c/em>\u003c/a> attempts to solve a 95-year-old mystery through multimedia theater on May 26 at Southside Theater. And the \u003ca href=\"https://www.apiculturalcenter.org/queerasfuckiii\" target=\"_blank\" rel=\"noopener\">\u003cem>Queer as F-ck III\u003c/em>\u003c/a> sketch comedy show takes on queer dating May 30–June 8 at Bindestiff Studios.\u003c/p>\n\u003cp>Other highlights include poet \u003ca href=\"https://www.apiculturalcenter.org/_locusbookrelease\" target=\"_blank\" rel=\"noopener\">Jason Bayani\u003c/a>‘s reading and book release on May 3 at the Bindery; a \u003ca href=\"https://www.apiculturalcenter.org/invocation\" target=\"_blank\" rel=\"noopener\">Friscopinx\u003c/a> spoken-word poetry and hip-hop cypher on May 24 Acción Latina’s Juan R. Fuentes Gallery; and \u003ca href=\"https://www.apiculturalcenter.org/visibleresilience\" target=\"_blank\" rel=\"noopener\">Resilience Archives\u003c/a>‘ LGBTQ storytelling showcase on May 31 at the California Institute of Integral Studies.\u003c/p>\n\u003cp>The full schedule of programming for United States of Asian America can be found \u003ca href=\"https://www.apiculturalcenter.org/usaaf2019_calendar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>May is Asian and Pacific American Heritage Month, and San Francisco’s Asian Pacific Islander Cultural Center is celebrating with its 22nd annual \u003ca href=\"https://www.apiculturalcenter.org/usaaf2019_calendar\" target=\"_blank\" rel=\"noopener\">United States of Asian America Festival\u003c/a>, two months of interdisciplinary programming spread over 19 events by 25 artists of diverse cultures and identities.\u003c/p>\n\u003cp>This year’s featured performer is comedian \u003ca href=\"https://www.apiculturalcenter.org/ripirene\" target=\"_blank\" rel=\"noopener\">Irene Tu\u003c/a>, whose storytelling and stand-up show \u003cem>\u003ca href=\"https://www.apiculturalcenter.org/ripirene\" target=\"_blank\" rel=\"noopener\">Rest in Peace Irene\u003c/a> \u003c/em>parses through family relationships and death through humor. That event takes place May 17 and 18 at Bindlestiff Studios. \u003cem>Rest in Peace Irene\u003c/em> is a fitting centerpiece for the festival’s 2019 theme, “Collective // Memory,” which bears witness to tragic losses and honors the Bay Area’s API artist community.\u003c/p>\n\u003cp>Dinner becomes an interactive storytelling project about culture and heritage at June 9’s \u003ca href=\"https://www.apiculturalcenter.org/rrp_cm\" target=\"_blank\" rel=\"noopener\">Rooted Recipes Project\u003c/a> event at Hummingbird Farm. Nancy Wang’s \u003ca href=\"https://www.apiculturalcenter.org/shadowsandsecrets\" target=\"_blank\" rel=\"noopener\">\u003cem>Shadows and Secrets\u003c/em>\u003c/a> attempts to solve a 95-year-old mystery through multimedia theater on May 26 at Southside Theater. And the \u003ca href=\"https://www.apiculturalcenter.org/queerasfuckiii\" target=\"_blank\" rel=\"noopener\">\u003cem>Queer as F-ck III\u003c/em>\u003c/a> sketch comedy show takes on queer dating May 30–June 8 at Bindestiff Studios.\u003c/p>\n\u003cp>Other highlights include poet \u003ca href=\"https://www.apiculturalcenter.org/_locusbookrelease\" target=\"_blank\" rel=\"noopener\">Jason Bayani\u003c/a>‘s reading and book release on May 3 at the Bindery; a \u003ca href=\"https://www.apiculturalcenter.org/invocation\" target=\"_blank\" rel=\"noopener\">Friscopinx\u003c/a> spoken-word poetry and hip-hop cypher on May 24 Acción Latina’s Juan R. Fuentes Gallery; and \u003ca href=\"https://www.apiculturalcenter.org/visibleresilience\" target=\"_blank\" rel=\"noopener\">Resilience Archives\u003c/a>‘ LGBTQ storytelling showcase on May 31 at the California Institute of Integral Studies.\u003c/p>\n\u003cp>The full schedule of programming for United States of Asian America can be found \u003ca href=\"https://www.apiculturalcenter.org/usaaf2019_calendar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In New Play 'Down Here Below,' the Audience Becomes One With a Homeless Camp",
"headTitle": "In New Play ‘Down Here Below,’ the Audience Becomes One With a Homeless Camp | KQED",
"content": "\u003cp>For a show that didn’t have a confirmed venue until a couple weeks before opening night, it’s somewhat appropriate that the world-premiere production of \u003cem>Down Here Below\u003c/em>, from Oakland’s Ubuntu Theater Project, is set in a homeless encampment.\u003c/p>\n\u003cp>In Ubuntu’s production, situated in the loading zone of the Oakland branch of FLAX artist supply store, the cast occupies an ephemeral camp called the “Village of Radical Acceptance.” It’s a bare-bones suggestion of a camp, really, created from a few tarps and chairs, scattered milk crates, a refrigerator box, and graffiti-covered walls.\u003c/p>\n\u003cp>By serendipitous coincidence, Ubuntu’s run of \u003cem>Down Here Below—\u003c/em>an adaptation of Maxim Gorky’s \u003cem>The Lower Depths\u003c/em> by Ubuntu associate artist, Lisa Ramirez—coincides with that of \u003cem>The Jungle\u003c/em>, across the Bay at the Curran Theatre in San Francisco. Though \u003cem>The Jungle\u003c/em> has a bigger budget, and therefore a more realized immersive experience, both productions put their audience in the same physical and psychological space as the characters.\u003c/p>\n\u003cp>Upon walking into FLAX, the audience must navigate a path through the waiting performers, who ask for spare change and sandwiches. Once seated, hunched around the playing area as if at a bonfire, the audience is pulled into the daily routines of the camp and its denizens without the artificial distance of a proscenium stage. We are all a part of the story.\u003c/p>\n\u003cfigure id=\"attachment_13855144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha as Zig Zag and Margherita Ventura as Chicken Little in the Village of Radical Acceptance. \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Down Here Below\u003c/em> is a story without a beginning or an end only adds to its immersive quality. The inhabitants of the Village are already familiar with each other, and therefore have no need to painstakingly lay out their backstories—at least not until their backstories come looking for them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s the passionate activist rapper Goldilox (Abdulrahim Harara), who’s desperately trying to scrape together enough coin to record what he knows will be a hit. There’s the emotionally wounded Zig Zag (J Jha), who can’t help but lash out at others, propelled by their own pain. There’s the spaced-out psychic Chicken Little (Margherita Ventura), whose tenuous grasp on reality could be mistaken for a higher spirituality—or vice versa. And then there’s Jones (Dorian Lockett), who imagines he is performing Eugene O’Neill and Shakespeare—stumbling in desperate drunken circles, and calling fruitlessly for a line. Altogether, 20 actors are involved, giving stage time to a broad swath of the lower strata: street kids, veterans, dealers, recyclers, artists and auto-didacts.\u003c/p>\n\u003cfigure id=\"attachment_13855143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">GI Joe (Matt Standley), and Mama Gwen (Kimberly Daniels) in Lisa Ramirez’ ‘Down Here Below.’ \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While each character gets a moment in the spotlight, it’s the tight-knit family of camp “mayor” Mama Gwen (Kimberly Daniels) and her two children Blue (Rolanda D. Bell) and Little Bit (William Oliver III) who hold the center of both the play and the stage. The comfortable ease with which they communicate—whether mediating camp disputes, discussing family chores, or facing down city workers trying to sweep them out—speaks to the strength and dignity they cultivate in each other and, through their actions, impart to the camp at large.\u003c/p>\n\u003cp>When a third child Abbey (Champagne Hughes) comes to visit, she has her middle-class assumptions challenged by Blue, who calls the camp—but not her blood sister—her “family.” And like any family, despite the squabbles, tensions and addictions that plague its members, the Village offers at its core a vision of true acceptance. A vision in which it’s understood that no one person will ever know the whole of another’s life, but that within the context of a certain place and time, they can be a part of each other’s stories.\u003c/p>\n\u003cfigure id=\"attachment_13855142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Champagne Hughes as Abbey visits her sister Blue in the Village of Radical Acceptance. \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by Michael French, \u003cem>Down Here Below\u003c/em> is a naturalistic doorway into an everyday milieu that’s disproportionately ignored by both our playwrights and politicians. As KQED \u003ca href=\"https://www.kqed.org/news/11739894/bay-area-has-3rd-largest-homeless-population-in-country-nearly-70-have-no-shelter\" rel=\"noopener\" target=\"_blank\">reported last week\u003c/a>, the Bay Area has the third-largest homeless population in the United States, with nearly 70% of the region’s homeless living unsheltered on the streets, in cars, in tents or elsewhere.\u003c/p>\n\u003cp>But the visibility of the homeless is a separate issue. With the action in \u003cem>Down Here Below\u003c/em> sprawled across the room in an almost haphazard manner, there’s no one seat in the house from which attendees can catch every moment of the play, mirroring our inability to absorb and understand every detail of our surroundings when out in the world.\u003c/p>\n\u003cp>Ultimately, we’re all limited by what we choose to see, and what chooses to be revealed to us. But as \u003cem>Down Here Below\u003c/em> suggests, the bigger picture of our shared humanity is well within our view.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>‘Down Here Below’ runs through April 28 at the FLAX Building (1501 Martin Luther King Jr. Way) in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com/below\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "In New Play 'Down Here Below,' the Audience Becomes One With a Homeless Camp",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a show that didn’t have a confirmed venue until a couple weeks before opening night, it’s somewhat appropriate that the world-premiere production of \u003cem>Down Here Below\u003c/em>, from Oakland’s Ubuntu Theater Project, is set in a homeless encampment.\u003c/p>\n\u003cp>In Ubuntu’s production, situated in the loading zone of the Oakland branch of FLAX artist supply store, the cast occupies an ephemeral camp called the “Village of Radical Acceptance.” It’s a bare-bones suggestion of a camp, really, created from a few tarps and chairs, scattered milk crates, a refrigerator box, and graffiti-covered walls.\u003c/p>\n\u003cp>By serendipitous coincidence, Ubuntu’s run of \u003cem>Down Here Below—\u003c/em>an adaptation of Maxim Gorky’s \u003cem>The Lower Depths\u003c/em> by Ubuntu associate artist, Lisa Ramirez—coincides with that of \u003cem>The Jungle\u003c/em>, across the Bay at the Curran Theatre in San Francisco. Though \u003cem>The Jungle\u003c/em> has a bigger budget, and therefore a more realized immersive experience, both productions put their audience in the same physical and psychological space as the characters.\u003c/p>\n\u003cp>Upon walking into FLAX, the audience must navigate a path through the waiting performers, who ask for spare change and sandwiches. Once seated, hunched around the playing area as if at a bonfire, the audience is pulled into the daily routines of the camp and its denizens without the artificial distance of a proscenium stage. We are all a part of the story.\u003c/p>\n\u003cfigure id=\"attachment_13855144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_J-Jha-as-Zig-Zag-and-Margherita-Ventura-as-Chicken-Little_credit_Jose-Manuel-Moctezuma.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Jha as Zig Zag and Margherita Ventura as Chicken Little in the Village of Radical Acceptance. \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Down Here Below\u003c/em> is a story without a beginning or an end only adds to its immersive quality. The inhabitants of the Village are already familiar with each other, and therefore have no need to painstakingly lay out their backstories—at least not until their backstories come looking for them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s the passionate activist rapper Goldilox (Abdulrahim Harara), who’s desperately trying to scrape together enough coin to record what he knows will be a hit. There’s the emotionally wounded Zig Zag (J Jha), who can’t help but lash out at others, propelled by their own pain. There’s the spaced-out psychic Chicken Little (Margherita Ventura), whose tenuous grasp on reality could be mistaken for a higher spirituality—or vice versa. And then there’s Jones (Dorian Lockett), who imagines he is performing Eugene O’Neill and Shakespeare—stumbling in desperate drunken circles, and calling fruitlessly for a line. Altogether, 20 actors are involved, giving stage time to a broad swath of the lower strata: street kids, veterans, dealers, recyclers, artists and auto-didacts.\u003c/p>\n\u003cfigure id=\"attachment_13855143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Matt-Standley-GI-Joe-and-Kimberly-Daniels-Mama-Gwen_credit_Jose-Manuel-Moctezuma.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">GI Joe (Matt Standley), and Mama Gwen (Kimberly Daniels) in Lisa Ramirez’ ‘Down Here Below.’ \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While each character gets a moment in the spotlight, it’s the tight-knit family of camp “mayor” Mama Gwen (Kimberly Daniels) and her two children Blue (Rolanda D. Bell) and Little Bit (William Oliver III) who hold the center of both the play and the stage. The comfortable ease with which they communicate—whether mediating camp disputes, discussing family chores, or facing down city workers trying to sweep them out—speaks to the strength and dignity they cultivate in each other and, through their actions, impart to the camp at large.\u003c/p>\n\u003cp>When a third child Abbey (Champagne Hughes) comes to visit, she has her middle-class assumptions challenged by Blue, who calls the camp—but not her blood sister—her “family.” And like any family, despite the squabbles, tensions and addictions that plague its members, the Village offers at its core a vision of true acceptance. A vision in which it’s understood that no one person will ever know the whole of another’s life, but that within the context of a certain place and time, they can be a part of each other’s stories.\u003c/p>\n\u003cfigure id=\"attachment_13855142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DownHereBelow_Champagne-Hughes-Abbey_credit_Jose-Manuel-Moctezuma.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Champagne Hughes as Abbey visits her sister Blue in the Village of Radical Acceptance. \u003ccite>(Jose Manuel Monteczuma)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed by Michael French, \u003cem>Down Here Below\u003c/em> is a naturalistic doorway into an everyday milieu that’s disproportionately ignored by both our playwrights and politicians. As KQED \u003ca href=\"https://www.kqed.org/news/11739894/bay-area-has-3rd-largest-homeless-population-in-country-nearly-70-have-no-shelter\" rel=\"noopener\" target=\"_blank\">reported last week\u003c/a>, the Bay Area has the third-largest homeless population in the United States, with nearly 70% of the region’s homeless living unsheltered on the streets, in cars, in tents or elsewhere.\u003c/p>\n\u003cp>But the visibility of the homeless is a separate issue. With the action in \u003cem>Down Here Below\u003c/em> sprawled across the room in an almost haphazard manner, there’s no one seat in the house from which attendees can catch every moment of the play, mirroring our inability to absorb and understand every detail of our surroundings when out in the world.\u003c/p>\n\u003cp>Ultimately, we’re all limited by what we choose to see, and what chooses to be revealed to us. But as \u003cem>Down Here Below\u003c/em> suggests, the bigger picture of our shared humanity is well within our view.\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>‘Down Here Below’ runs through April 28 at the FLAX Building (1501 Martin Luther King Jr. Way) in Oakland. \u003ca href=\"http://www.ubuntutheaterproject.com/below\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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