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"content": "\u003cp>The campy \u003cem>Beach Blanket Babylon\u003c/em> musical revue show that has been a must-see for San Francisco tourists for 45 years is coming to an end.\u003c/p>\n\u003cp>Producer Jo Schuman Silver announced Wednesday the show’s final performances will be on New Year’s Eve 2019.\u003c/p>\n\u003cp>The show spoofs political and pop culture through characters in colorful costumes with massive, gravity-defying hats, including one with San Francisco’s skyline.\u003c/p>\n\u003cp>[aside postID='arts_10137317,forum_908101000' label='Hats, Hats, Hats!']\u003c/p>\n\u003cp>Silver says the show is ending because she felt it was the right time and not for financial reasons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says that when the show was started by her late husband Steve Silver in 1974, it was scheduled to run for only six weeks. Instead, the show became an international phenomenon and “the quintessential San Francisco experience,” seen by royalty and national TV viewers alike.\u003c/p>\n\u003cp>“It never was about the money, the glory, the fame,” Silver told KQED in 2014. “He just wanted to have a great time and bring all his friends along. His mother’s bridge club, his cousins. Everybody.”\u003c/p>\n\u003cp>Silver estimates that the show has been seen by 6.5 million people from around the world.\u003c/p>\n\u003cp>See a slideshow of \u003cem>Beach Blanket Babylon\u003c/em> photos below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"rectangular\" align=\"aligncenter\" ids=\"10137335,10137332,10137351,10137337,10137338,10137336,10137334,10137333,10137352,10137350,10137349\"]\u003c/p>\n\n",
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"title": "Magic Theatre Does What It Does Best with Mfoniso Udofia’s 'In Old Age'",
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"content": "\u003cp>When Magic Theatre was founded in 1967, it immediately became a champion of new works and emerging American playwrights. One doesn’t have to look further than this season to see that this mission continues, from May’s revival of Luis Alfaro’s \u003cem>Oedipus El Rey\u003c/em> to this month’s world premiere of Mfoniso Udofia’s \u003cem>In Old Age.\u003c/em>\u003c/p>\n\u003cp>Audiences who caught the fourth installment of Udofia’s nine-play Ufot cycle at A.C.T. last month (\u003cem>Her Portmanteau\u003c/em>) will especially welcome the opportunity to continue the cycle with Magic Theatre’s production. Meanwhile, those still hoping to connect with this ambitious project will find \u003cem>In Old Age\u003c/em> an intriguing point of entry.\u003c/p>\n\u003cp>Udofia’s association with Magic Theatre began in 2014, as part of their Virgin Play series, and has continued to develop works there—including the West Coast premieres of her play \u003cem>Sojourners\u003c/em>, and the world premiere of \u003cem>runboyrun.\u003c/em> There’s a resonance between Udofia’s ongoing artistic collaboration with Magic Theatre and that of Sam Shepard’s, who developed his own “family” cycle of plays there decades earlier. Just as Shepard became emblematic of a certain urgent “American” voice, so does Udofia embody a certain playwriting sensibility of today’s American theater—embracing a plurality of identities, a willingness to allow the interior lives of her characters to reveal themselves in unexpected ways, and a penchant for small details as stand-ins for big events.\u003c/p>\n\u003cfigure id=\"attachment_13854601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Moricette in Mfoniso Udofia’s ‘In Old Age’ at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of Victor Malana Maog (who also directed \u003cem>Her Portmanteau\u003c/em>), silences give gravity to mundane exchanges, a shift in posture speaks volumes, a heavy sigh hangs in the air like a white flag. A two-hander set in the winter of family matriarch Abasiama Ufot’s life (played by Nancy Moricette), the action is mostly contained in a single room of her run-down Massachusetts house, which has been in a state of slow decay for decades. Enter handyman Azell Abernathy (Steven Anthony Jones) who has been hired sight unseen by Abasiama’s children to fix up the place for her, a claim she views with silent suspicion and territorial hostility.\u003c/p>\n\u003cp>While there are moments of humor, the play reaches far beyond the hokey odd-couple setup, and plunges into the hearts and consciences of its protagonists. Ratcheting up the tension, elements of a haunting invade their wary peace, insinuating itself as a third character whose presence serves as both a warning and a clarion call to action. Manifested primarily through Sara Huddleston’s immersive soundscape, and eerie flashes from York Kennedy’s light design, the insistent ghost of Abasiama’s past battles for control of her present. It’s a state of being all too familiar to Azell, whose own past demons are kept in mostly in check through great struggle and repetition of a time-worn mantra “I am an ever-expanding center of peace.”\u003c/p>\n\u003cfigure id=\"attachment_13854604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854604\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x666.jpg\" alt=\"\" width=\"800\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones and Nancy Moricette argue in Mfoniso Udofia’s ‘In Old Age’ at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Azell Abernathy, Steven Anthony Jones completely embodies a working man past the age of retirement but not yet retired, in a state of physical health he can (and does) boast of, and an appealing outward personae. His full commitment to character brings unexpected nuance to every motion, from the grudging, almost sarcastic way he moves a television set, to his exasperated early morning grimace, to the depths of gentleness he conveys during a moment when he washes Abasiama’s feet after a night of her exorcising her ghost.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nancy Moricette’s portrayal of Abasiama is somewhat less nuanced, perhaps in part because she’s decades younger than her character, and as such still lacks the perspective of an aging body. As a body, she’s asked to maintain a fairly athletic regimen (lifting sofas and tree stumps, being on her feet for long stretches, busting down a door), so it makes sense in that regard to cast a younger actor. But I couldn’t help wondering what an older actor might have conveyed in the role that Moricette didn’t quite manage. One thing is sure: her exemplary use of silence to convey meaning is stunningly realized. She lets each pause fill the space better than any frantic monologue could, commanding attention with every glowering side-eye.\u003c/p>\n\u003cfigure id=\"attachment_13854600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones and Nancy Moricette at peace in Mfoniso Udofia’s ‘In Old Age’ at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Udofia’s Ufot cycle, Magic Theatre has found a way to keep its longstanding tradition of championing emerging American playwrights feeling fresh and relevant. With three of her Ufot plays still in progress (one of which has been commissioned by A.C.T.), Bay Area audiences can hope to avail themselves of the unfolding saga, both of family and of playwright, for years to come. From both sides of the curtain, this particular relationship is magic.\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>‘In Old Age’ runs through April 21 at Magic Theatre in San Francisco. \u003ca href=\"http://magictheatre.org/season/in-old-age\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Magic Theatre was founded in 1967, it immediately became a champion of new works and emerging American playwrights. One doesn’t have to look further than this season to see that this mission continues, from May’s revival of Luis Alfaro’s \u003cem>Oedipus El Rey\u003c/em> to this month’s world premiere of Mfoniso Udofia’s \u003cem>In Old Age.\u003c/em>\u003c/p>\n\u003cp>Audiences who caught the fourth installment of Udofia’s nine-play Ufot cycle at A.C.T. last month (\u003cem>Her Portmanteau\u003c/em>) will especially welcome the opportunity to continue the cycle with Magic Theatre’s production. Meanwhile, those still hoping to connect with this ambitious project will find \u003cem>In Old Age\u003c/em> an intriguing point of entry.\u003c/p>\n\u003cp>Udofia’s association with Magic Theatre began in 2014, as part of their Virgin Play series, and has continued to develop works there—including the West Coast premieres of her play \u003cem>Sojourners\u003c/em>, and the world premiere of \u003cem>runboyrun.\u003c/em> There’s a resonance between Udofia’s ongoing artistic collaboration with Magic Theatre and that of Sam Shepard’s, who developed his own “family” cycle of plays there decades earlier. Just as Shepard became emblematic of a certain urgent “American” voice, so does Udofia embody a certain playwriting sensibility of today’s American theater—embracing a plurality of identities, a willingness to allow the interior lives of her characters to reveal themselves in unexpected ways, and a penchant for small details as stand-ins for big events.\u003c/p>\n\u003cfigure id=\"attachment_13854601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/6_Nancy-Moricette-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Moricette in Mfoniso Udofia’s ‘In Old Age’ at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under the direction of Victor Malana Maog (who also directed \u003cem>Her Portmanteau\u003c/em>), silences give gravity to mundane exchanges, a shift in posture speaks volumes, a heavy sigh hangs in the air like a white flag. A two-hander set in the winter of family matriarch Abasiama Ufot’s life (played by Nancy Moricette), the action is mostly contained in a single room of her run-down Massachusetts house, which has been in a state of slow decay for decades. Enter handyman Azell Abernathy (Steven Anthony Jones) who has been hired sight unseen by Abasiama’s children to fix up the place for her, a claim she views with silent suspicion and territorial hostility.\u003c/p>\n\u003cp>While there are moments of humor, the play reaches far beyond the hokey odd-couple setup, and plunges into the hearts and consciences of its protagonists. Ratcheting up the tension, elements of a haunting invade their wary peace, insinuating itself as a third character whose presence serves as both a warning and a clarion call to action. Manifested primarily through Sara Huddleston’s immersive soundscape, and eerie flashes from York Kennedy’s light design, the insistent ghost of Abasiama’s past battles for control of her present. It’s a state of being all too familiar to Azell, whose own past demons are kept in mostly in check through great struggle and repetition of a time-worn mantra “I am an ever-expanding center of peace.”\u003c/p>\n\u003cfigure id=\"attachment_13854604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854604\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x666.jpg\" alt=\"\" width=\"800\" height=\"666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x666.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-768x640.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/2_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones and Nancy Moricette argue in Mfoniso Udofia’s ‘In Old Age’ at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Azell Abernathy, Steven Anthony Jones completely embodies a working man past the age of retirement but not yet retired, in a state of physical health he can (and does) boast of, and an appealing outward personae. His full commitment to character brings unexpected nuance to every motion, from the grudging, almost sarcastic way he moves a television set, to his exasperated early morning grimace, to the depths of gentleness he conveys during a moment when he washes Abasiama’s feet after a night of her exorcising her ghost.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nancy Moricette’s portrayal of Abasiama is somewhat less nuanced, perhaps in part because she’s decades younger than her character, and as such still lacks the perspective of an aging body. As a body, she’s asked to maintain a fairly athletic regimen (lifting sofas and tree stumps, being on her feet for long stretches, busting down a door), so it makes sense in that regard to cast a younger actor. But I couldn’t help wondering what an older actor might have conveyed in the role that Moricette didn’t quite manage. One thing is sure: her exemplary use of silence to convey meaning is stunningly realized. She lets each pause fill the space better than any frantic monologue could, commanding attention with every glowering side-eye.\u003c/p>\n\u003cfigure id=\"attachment_13854600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/1_Nancy-Moricette-and-Steven-Anthony-Jones-in-the-World-Premiere-of-Mfoniso-Udofias-IN-OLD-AGE-at-Magic-Theatre.-Photo-by-Jennifer-Reiley.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Anthony Jones and Nancy Moricette at peace in Mfoniso Udofia’s ‘In Old Age’ at Magic Theatre. \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Udofia’s Ufot cycle, Magic Theatre has found a way to keep its longstanding tradition of championing emerging American playwrights feeling fresh and relevant. With three of her Ufot plays still in progress (one of which has been commissioned by A.C.T.), Bay Area audiences can hope to avail themselves of the unfolding saga, both of family and of playwright, for years to come. From both sides of the curtain, this particular relationship is magic.\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>‘In Old Age’ runs through April 21 at Magic Theatre in San Francisco. \u003ca href=\"http://magictheatre.org/season/in-old-age\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-jungle-an-unforgettable-experience-inside-a-transformed-curran-theater",
"title": "'The Jungle' an Unforgettable Experience Inside a Transformed Curran Theater",
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"headTitle": "‘The Jungle’ an Unforgettable Experience Inside a Transformed Curran Theater | KQED",
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"content": "\u003cp>It’s a cliché in theater at this point: waxing rhapsodic about spending two hours in the dark with strangers, sharing an experience that’s impossible to replicate, and walking out onto the sidewalk bonded over your collective transformation.\u003c/p>\n\u003cp>The thing about \u003cem>The Jungle\u003c/em>, currently at the Curran Theater, is it’s true.\u003c/p>\n\u003cfigure id=\"attachment_13854504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg\" alt=\"Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I cannot accurately convey the experience of seeing \u003cem>The Jungle\u003c/em>. Oh, sure, I can tell you that in order to immerse the audience inside a refugee camp, the interior of the Curran Theater has been completely transformed with a brand-new floor, walls, ceiling and set built on top of the theater’s orchestra seating. (See a time-lapse video of it \u003ca href=\"https://www.youtube.com/watch?v=Xka8veAE4rc\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.) I can tell you that as attendees sit at tables in the theater, which has now become a restaurant, actors tumble into the audience, brush against seated attendee’s backs, spill water and oranges into their laps, and employ them to hold flashlights and drums. \u003c/p>\n\u003cp>But that doesn’t explain that this immersive set isn’t the gimmicky sort, utilized to augment a dull play. Rather, the wood bark on the floor, the ratty cardboard strewn about, the actual fruit flies inside the Curran—it all lends more impact to a story of refugees who, as one describes them, “are not people but between people, drowning in a sea of suffering.”\u003c/p>\n\u003cfigure id=\"attachment_13854505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg\" alt=\"Okot (John Pfumojena) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Okot (John Pfumojena) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Jungle\u003c/em> takes place in the recent past, at a makeshift cafe in the refugee camp at Calais, France. Nestled among thousands of people hoping to get to the UK from over two dozen different countries, the cafe serves as a meeting place for leaders from different countries’ camps to help each other, hold celebrations, and plan against evictions over naan and tea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, young British activists arrive, swiftly apologize on behalf of their country, and set out to help. They bring optimism about successfully fighting eviction of the camp by French police, along with some naïvete of the harrowing path its residents have taken to get there. Over the course of the play’s events, with the set used to dramatic effect—at one key moment producing loud gasps—they are accepted and trusted.\u003c/p>\n\u003cfigure id=\"attachment_13854503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg\" alt=\"Mohammed (Jonathan Nyati) and Salar (Ben Turner) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed (Jonathan Nyati) and Salar (Ben Turner) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ensemble cast here is top-notch, particularly cafe owner Salar (Ben Turner) and young, well-meaning Beth (Rachel Redford), whose inner turmoil over sending beaten, scarred refugee Okot (John Pfumojena) to be smuggled in a lorry across the English Channel is one of the play’s several emotional gut-punches.\u003c/p>\n\u003cp>Other highlights include Eton graduate Sam (Tommy Letts) as a one-man planning department, Hele (Nahel Tzegai) as the happy quitter who decides against immigrating to the UK due to its changing tolerance of immigrants, Boxer (Trevor Fox) as the camp’s drunken serenader and Little Amal (Zara Rasti) as the 6 year-old girl everyone knows they must protect. \u003c/p>\n\u003cp>It is impossible to watch \u003cem>The Jungle\u003c/em> without thinking of Brexit, or of Trump’s racist fearmongering over the U.S. border, or closer to home, the bulldozing of homeless camps in San Francisco. As the woman sitting next to me offered at intermission: “It’s so important, with everything that’s going on now. I’ve cried five times already.”\u003c/p>\n\u003cfigure id=\"attachment_13854508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg\" alt=\"Beth (Rachel Redford) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth (Rachel Redford) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What will ensure \u003cem>The Jungle\u003c/em> lasts in revivals when “everything that’s going on now” is a distant, shameful memory is the play’s innate understanding of grassroots organizing and communal living in desperate circumstances. \u003cem>The Jungle\u003c/em> is as much about activism’s unorganized hierarchy of responsibilities and duties as it is about refugees.\u003c/p>\n\u003cp>Inside the camp cafe, we see classic ego clashes, hair-brained schemes that actually work, fights driven by a shared passion, and hope in the face of insurmountable odds. Whether it be Calais, Occupy, the Dakota Access Pipeline or Ferguson, every movement has a similar array of figures and friction. Adding to the realism are two of the show’s actors, Yasin Moradi and Mohamed Sarrar, who actually lived in the camp in Calais upon which the play is based.\u003c/p>\n\u003cp>Despite a sudden shift in tone at the end (when Safi (Ammar Haj Ahmad) breaks the fourth wall to address the audience about ongoing grassroots efforts for refugees), \u003cem>The Jungle\u003c/em> creates a vivid world that’s intimate, raw, and real, particularly for those sitting among the action in the cafe’s table seating. It’s an incredible thing to be a part of for two and a half hours, and I can’t get it out of my head.\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>‘The Jungle’ runs through May 19 at the Curran Theater in San Francisco. \u003ca href=\"https://sfcurran.com/shows/the-jungle/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'The Jungle' an Unforgettable Experience Inside a Transformed Curran Theater | KQED",
"description": "Inside a drastically changed Curran Theater, 'The Jungle' places the audience in a refugee camp that's intimate, raw, and real.",
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"headline": "'The Jungle' an Unforgettable Experience Inside a Transformed Curran Theater",
"datePublished": "2019-04-08T15:08:57-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a cliché in theater at this point: waxing rhapsodic about spending two hours in the dark with strangers, sharing an experience that’s impossible to replicate, and walking out onto the sidewalk bonded over your collective transformation.\u003c/p>\n\u003cp>The thing about \u003cem>The Jungle\u003c/em>, currently at the Curran Theater, is it’s true.\u003c/p>\n\u003cfigure id=\"attachment_13854504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg\" alt=\"Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-19.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Little Amal (Arya Rose Lohmor) and Norullah (Khaled Zahabi) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I cannot accurately convey the experience of seeing \u003cem>The Jungle\u003c/em>. Oh, sure, I can tell you that in order to immerse the audience inside a refugee camp, the interior of the Curran Theater has been completely transformed with a brand-new floor, walls, ceiling and set built on top of the theater’s orchestra seating. (See a time-lapse video of it \u003ca href=\"https://www.youtube.com/watch?v=Xka8veAE4rc\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.) I can tell you that as attendees sit at tables in the theater, which has now become a restaurant, actors tumble into the audience, brush against seated attendee’s backs, spill water and oranges into their laps, and employ them to hold flashlights and drums. \u003c/p>\n\u003cp>But that doesn’t explain that this immersive set isn’t the gimmicky sort, utilized to augment a dull play. Rather, the wood bark on the floor, the ratty cardboard strewn about, the actual fruit flies inside the Curran—it all lends more impact to a story of refugees who, as one describes them, “are not people but between people, drowning in a sea of suffering.”\u003c/p>\n\u003cfigure id=\"attachment_13854505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg\" alt=\"Okot (John Pfumojena) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-8.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Okot (John Pfumojena) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Jungle\u003c/em> takes place in the recent past, at a makeshift cafe in the refugee camp at Calais, France. Nestled among thousands of people hoping to get to the UK from over two dozen different countries, the cafe serves as a meeting place for leaders from different countries’ camps to help each other, hold celebrations, and plan against evictions over naan and tea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, young British activists arrive, swiftly apologize on behalf of their country, and set out to help. They bring optimism about successfully fighting eviction of the camp by French police, along with some naïvete of the harrowing path its residents have taken to get there. Over the course of the play’s events, with the set used to dramatic effect—at one key moment producing loud gasps—they are accepted and trusted.\u003c/p>\n\u003cfigure id=\"attachment_13854503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg\" alt=\"Mohammed (Jonathan Nyati) and Salar (Ben Turner) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed (Jonathan Nyati) and Salar (Ben Turner) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ensemble cast here is top-notch, particularly cafe owner Salar (Ben Turner) and young, well-meaning Beth (Rachel Redford), whose inner turmoil over sending beaten, scarred refugee Okot (John Pfumojena) to be smuggled in a lorry across the English Channel is one of the play’s several emotional gut-punches.\u003c/p>\n\u003cp>Other highlights include Eton graduate Sam (Tommy Letts) as a one-man planning department, Hele (Nahel Tzegai) as the happy quitter who decides against immigrating to the UK due to its changing tolerance of immigrants, Boxer (Trevor Fox) as the camp’s drunken serenader and Little Amal (Zara Rasti) as the 6 year-old girl everyone knows they must protect. \u003c/p>\n\u003cp>It is impossible to watch \u003cem>The Jungle\u003c/em> without thinking of Brexit, or of Trump’s racist fearmongering over the U.S. border, or closer to home, the bulldozing of homeless camps in San Francisco. As the woman sitting next to me offered at intermission: “It’s so important, with everything that’s going on now. I’ve cried five times already.”\u003c/p>\n\u003cfigure id=\"attachment_13854508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg\" alt=\"Beth (Rachel Redford) in 'The Jungle' at the Curran Theater.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13854508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/JNGLPRO-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth (Rachel Redford) in ‘The Jungle’ at the Curran Theater. \u003ccite>(Little Fang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What will ensure \u003cem>The Jungle\u003c/em> lasts in revivals when “everything that’s going on now” is a distant, shameful memory is the play’s innate understanding of grassroots organizing and communal living in desperate circumstances. \u003cem>The Jungle\u003c/em> is as much about activism’s unorganized hierarchy of responsibilities and duties as it is about refugees.\u003c/p>\n\u003cp>Inside the camp cafe, we see classic ego clashes, hair-brained schemes that actually work, fights driven by a shared passion, and hope in the face of insurmountable odds. Whether it be Calais, Occupy, the Dakota Access Pipeline or Ferguson, every movement has a similar array of figures and friction. Adding to the realism are two of the show’s actors, Yasin Moradi and Mohamed Sarrar, who actually lived in the camp in Calais upon which the play is based.\u003c/p>\n\u003cp>Despite a sudden shift in tone at the end (when Safi (Ammar Haj Ahmad) breaks the fourth wall to address the audience about ongoing grassroots efforts for refugees), \u003cem>The Jungle\u003c/em> creates a vivid world that’s intimate, raw, and real, particularly for those sitting among the action in the cafe’s table seating. It’s an incredible thing to be a part of for two and a half hours, and I can’t get it out of my head.\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>‘The Jungle’ runs through May 19 at the Curran Theater in San Francisco. \u003ca href=\"https://sfcurran.com/shows/the-jungle/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)... Sting??",
"headTitle": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)… Sting?? | KQED",
"content": "\u003cp>\u003ca href=\"https://www.sting.com/\" target=\"_blank\" rel=\"noopener\">Sting\u003c/a>, the 17-time Grammy-winning rock star who jet-sets between his five residences around the globe, probably isn’t the first person who comes to mind when one thinks of famous anti-capitalists.\u003c/p>\n\u003cp>But in an interview today at the \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">SHN Golden Gate Theatre\u003c/a> in San Francisco, he lets me in on a little-known fact.\u003c/p>\n\u003cp>“Yeah, I’m a critic of capitalism. I think when you take out the value of community from the economic equation, you end up with something, in the long-term, that is untenable,” he says. “I studied economics; it’s based on community. You can’t have it without community. Otherwise we’re being run by an algorithm that has no feeling for human dignity.”\u003c/p>\n\u003cp>So Sting the, uh… socialist?\u003c/p>\n\u003cp>“I won’t give it a name,” he says of his belief system. “I just think it’s basic human decency to look after people more than looking after money.”\u003c/p>\n\u003cfigure id=\"attachment_13853899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg\" alt=\"Sting speaks from his working class roots in 'The Last Ship,' a play about a shipbuilding community in decline.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting speaks from his working class roots in ‘The Last Ship,’ a play about a shipbuilding community in decline. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sting is in town to talk about his 2014 Broadway musical,\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">\u003cem> The Last Ship\u003c/em>\u003c/a>, which will come to the Golden Gate Theatre—with Sting in the starring role—in February 2020. Set in the ’80s in his hometown of Wallsend, Tyne and Wear, England, the musical is a love story set to the backdrop of a shipbuilding community in decline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the surface, its subject matter might seem niche. But \u003cem>The Last Ship\u003c/em>‘s central theme, of market forces disenfranchising the working class, has a deep resonance with today’s political moment. One could say it echoes the plight of Rust Belt steelworkers, Detroiters feeling the loss of the automotive industry and even low-income Bay Area residents pushed out by big tech.\u003c/p>\n\u003cp>“This is happening everywhere,” he says. “We were just in Toronto where a GM plant was about to close because they could move it to Mexico and pay workers $2 an hour.”\u003c/p>\n\u003cp>Sting then describes how he and the cast visited the plant workers, and performed an intimate, private show for them of songs from \u003cem>The Last Ship\u003c/em>. “The workers recognized the story we were telling,” he says. “And my actors were exposed to the reality of what they were portraying on stage. It was an electric moment, and it galvanized the whole thing. Then GM came back to the table to start renegotiating after that event, so we thought we were doing something useful.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Sting']‘I just think it’s basic human decency to look after people more than looking after money.’[/pullquote]\u003c/p>\n\u003cp>Talking with Sting, it’s clear that \u003cem>The Last Ship\u003c/em> is his way of both reconnecting to and speaking from his working-class roots, using personal insight to illuminate broader issues of economic inequality. Sting’s father and grandfather both worked in the Wallsend shipyards—where “the biggest ships on Earth were built at the end of my street,” he says—and he was expected to follow their footsteps and take up the family trade.\u003c/p>\n\u003cp>But the young boy then known as Gordon Sumner had a different dream: to become a rock star who got paid “big piles of money.” He especially wanted nothing to do with Wallsend and its ships. Fast-forward to now, over a dozen Platinum albums and hundreds of sold-out arenas later, and the Sting who sings of shipyards and labor organizing finally sees the value of those humble beginnings he once yearned to escape.\u003c/p>\n\u003cfigure id=\"attachment_13853901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg\" alt=\"Sting's musical 'The Last Ship' has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting’s musical ‘The Last Ship’ has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be real: Sting is widely seen as a self-serious, Bono-esque mega-star (critics often bring up his well-publicized interest in \u003ca href=\"https://www.theguardian.com/music/2011/sep/25/interview-the-thing-about-sting\" target=\"_blank\" rel=\"noopener\">tantric sex\u003c/a> and his passionate dabbling in \u003ca href=\"https://www.youtube.com/watch?v=bcvF6SI0A8s\" target=\"_blank\" rel=\"noopener\">the lute\u003c/a>). But in person, he’s welcoming and friendly, with a loud laugh and a gift for putting people at ease.\u003c/p>\n\u003cp>Someone in Sting’s position could easily rest on his laurels, enjoy Malibu’s beaches and Tuscany’s vineyards, and count his millions without much need to take creative risk. But Sting continues to push his own limits, undaunted by critical reception, and his fans love him for it. His last album, \u003cem>44/876,\u003c/em> a pop-reggae collaboration with Shaggy, peaked at No. 11 on the Billboard charts, even though it received lukewarm press (Pitchfork called it “\u003ca href=\"https://pitchfork.com/reviews/albums/sting-shaggy-44876/\" target=\"_blank\" rel=\"noopener\">helplessly uncool\u003c/a>“). And though \u003cem>The Last Ship \u003c/em>also received \u003ca href=\"https://www.broadwayworld.com/article/Review-Roundup-Sting-In-THE-LAST-SHIP-In-Toronto-20190221\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a> from theater critics during its latest run in Canada, Sting’s passion for the storyline was apparent as he performed songs on the Golden Gate stage Thursday from the perspective of a union organizer and a shipyard manager fighting for his workers.\u003c/p>\n\u003cp>So what does success mean to Sting at this stage in his career, when he’s accomplished nearly everything a rock star can?\u003c/p>\n\u003cp>“For me, it’s about surprise,” he says. “I want people to be surprised by the choices I make, and this play is very surprising. People are kind of gobsmacked.”\u003c/p>\n\u003cp>He adds, laughing, “\u003cem>I’m\u003c/em> surprised that I can act! It was never an ambition of mine to be an actor. But I can see the value of my name in the marquee to bring people in, and I believe in this play enough to take that risk.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Last Ship’ runs Feb. 20, 2020–March 22, 2020 at the SHN Golden Gate Theatre. Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "\"I just think it's basic human decency to look after people more than looking after money.\"",
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"headline": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)... Sting??",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sting.com/\" target=\"_blank\" rel=\"noopener\">Sting\u003c/a>, the 17-time Grammy-winning rock star who jet-sets between his five residences around the globe, probably isn’t the first person who comes to mind when one thinks of famous anti-capitalists.\u003c/p>\n\u003cp>But in an interview today at the \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">SHN Golden Gate Theatre\u003c/a> in San Francisco, he lets me in on a little-known fact.\u003c/p>\n\u003cp>“Yeah, I’m a critic of capitalism. I think when you take out the value of community from the economic equation, you end up with something, in the long-term, that is untenable,” he says. “I studied economics; it’s based on community. You can’t have it without community. Otherwise we’re being run by an algorithm that has no feeling for human dignity.”\u003c/p>\n\u003cp>So Sting the, uh… socialist?\u003c/p>\n\u003cp>“I won’t give it a name,” he says of his belief system. “I just think it’s basic human decency to look after people more than looking after money.”\u003c/p>\n\u003cfigure id=\"attachment_13853899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg\" alt=\"Sting speaks from his working class roots in 'The Last Ship,' a play about a shipbuilding community in decline.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting speaks from his working class roots in ‘The Last Ship,’ a play about a shipbuilding community in decline. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sting is in town to talk about his 2014 Broadway musical,\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">\u003cem> The Last Ship\u003c/em>\u003c/a>, which will come to the Golden Gate Theatre—with Sting in the starring role—in February 2020. Set in the ’80s in his hometown of Wallsend, Tyne and Wear, England, the musical is a love story set to the backdrop of a shipbuilding community in decline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the surface, its subject matter might seem niche. But \u003cem>The Last Ship\u003c/em>‘s central theme, of market forces disenfranchising the working class, has a deep resonance with today’s political moment. One could say it echoes the plight of Rust Belt steelworkers, Detroiters feeling the loss of the automotive industry and even low-income Bay Area residents pushed out by big tech.\u003c/p>\n\u003cp>“This is happening everywhere,” he says. “We were just in Toronto where a GM plant was about to close because they could move it to Mexico and pay workers $2 an hour.”\u003c/p>\n\u003cp>Sting then describes how he and the cast visited the plant workers, and performed an intimate, private show for them of songs from \u003cem>The Last Ship\u003c/em>. “The workers recognized the story we were telling,” he says. “And my actors were exposed to the reality of what they were portraying on stage. It was an electric moment, and it galvanized the whole thing. Then GM came back to the table to start renegotiating after that event, so we thought we were doing something useful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘I just think it’s basic human decency to look after people more than looking after money.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Talking with Sting, it’s clear that \u003cem>The Last Ship\u003c/em> is his way of both reconnecting to and speaking from his working-class roots, using personal insight to illuminate broader issues of economic inequality. Sting’s father and grandfather both worked in the Wallsend shipyards—where “the biggest ships on Earth were built at the end of my street,” he says—and he was expected to follow their footsteps and take up the family trade.\u003c/p>\n\u003cp>But the young boy then known as Gordon Sumner had a different dream: to become a rock star who got paid “big piles of money.” He especially wanted nothing to do with Wallsend and its ships. Fast-forward to now, over a dozen Platinum albums and hundreds of sold-out arenas later, and the Sting who sings of shipyards and labor organizing finally sees the value of those humble beginnings he once yearned to escape.\u003c/p>\n\u003cfigure id=\"attachment_13853901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg\" alt=\"Sting's musical 'The Last Ship' has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting’s musical ‘The Last Ship’ has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be real: Sting is widely seen as a self-serious, Bono-esque mega-star (critics often bring up his well-publicized interest in \u003ca href=\"https://www.theguardian.com/music/2011/sep/25/interview-the-thing-about-sting\" target=\"_blank\" rel=\"noopener\">tantric sex\u003c/a> and his passionate dabbling in \u003ca href=\"https://www.youtube.com/watch?v=bcvF6SI0A8s\" target=\"_blank\" rel=\"noopener\">the lute\u003c/a>). But in person, he’s welcoming and friendly, with a loud laugh and a gift for putting people at ease.\u003c/p>\n\u003cp>Someone in Sting’s position could easily rest on his laurels, enjoy Malibu’s beaches and Tuscany’s vineyards, and count his millions without much need to take creative risk. But Sting continues to push his own limits, undaunted by critical reception, and his fans love him for it. His last album, \u003cem>44/876,\u003c/em> a pop-reggae collaboration with Shaggy, peaked at No. 11 on the Billboard charts, even though it received lukewarm press (Pitchfork called it “\u003ca href=\"https://pitchfork.com/reviews/albums/sting-shaggy-44876/\" target=\"_blank\" rel=\"noopener\">helplessly uncool\u003c/a>“). And though \u003cem>The Last Ship \u003c/em>also received \u003ca href=\"https://www.broadwayworld.com/article/Review-Roundup-Sting-In-THE-LAST-SHIP-In-Toronto-20190221\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a> from theater critics during its latest run in Canada, Sting’s passion for the storyline was apparent as he performed songs on the Golden Gate stage Thursday from the perspective of a union organizer and a shipyard manager fighting for his workers.\u003c/p>\n\u003cp>So what does success mean to Sting at this stage in his career, when he’s accomplished nearly everything a rock star can?\u003c/p>\n\u003cp>“For me, it’s about surprise,” he says. “I want people to be surprised by the choices I make, and this play is very surprising. People are kind of gobsmacked.”\u003c/p>\n\u003cp>He adds, laughing, “\u003cem>I’m\u003c/em> surprised that I can act! It was never an ambition of mine to be an actor. But I can see the value of my name in the marquee to bring people in, and I believe in this play enough to take that risk.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Last Ship’ runs Feb. 20, 2020–March 22, 2020 at the SHN Golden Gate Theatre. Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cutting Ball Theater’s 'La Ronde' Gets Down and Dirty",
"headTitle": "Cutting Ball Theater’s ‘La Ronde’ Gets Down and Dirty | KQED",
"content": "\u003cp>Originally written in 1897 as \u003cem>Reigen\u003c/em>, Arthur Schnitzler’s \u003cem>La Ronde\u003c/em> is a parlor dance of seduction between ten couples, each of whom has at least more than one lover. Crossing lines of class and station, the story pairs together a wide variety of paramours: masters and servants, soldiers and prostitutes, actresses and admirers, and even a conventional husband and wife.\u003c/p>\n\u003cp>At Cutting Ball Theater, \u003cem>La Ronde\u003c/em> is directed by new artistic director Ariel Craft, who takes source material that could otherwise be less than mythic and applies some signature twists. Craft is known for her reimagining of classical work through a modern, intersectional lens, including productions of \u003cem>Phèdre\u003c/em>, an all-female adaptation of\u003cem> Macbeth\u003c/em>, and a theatrical examination of Kate Chopin’s \u003cem>The Awakening\u003c/em>.\u003c/p>\n\u003cp>In Craft’s hands, \u003cem>La Ronde\u003c/em>‘s possibilities expand. Instead of the requisite ten actors, why not use just two? Instead of binary gender pairings, why not have female bodies inhabiting each role? Instead of an exhausting merry-go-round of revealed flesh and awkwardly positioned hands, why not clad the performers in almost-chaste bloomers and artfully shredded accessories (costuming by Morgan May Louie)? Why not give them chairs to hump in a steamy scene that makes chairs seem suddenly really appealing?\u003c/p>\n\u003cfigure id=\"attachment_13853373\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853373\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon and chair in Cutting Ball Theater’s ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a dizzying roundelay, not only does each pairing lead to the next (in the first scene, we have prostitute and soldier, in the second, soldier and housemaid, in the third, housemaid and gentleman), but the actors swap out each role in sequence as well. Painted in mostly broad strokes, each character represents a different social strata as well as a different sexual appetite. There’s Jeunée Simon’s clear-eyed prostitute, who indicates her frank lust with a hungry lick of her own hand, and Ella Ruth Francis’ languid gentleman signaling his desires with a yank of a bell cord. There’s Simon’s self-assured actress dominating Francis’ timid Count, just moments after Francis’ actress had done the same to Simon’s poet. Giggling young misses and passionate young wives, eager soldiers and bloviating husbands—each take a turn on the Cutting Ball stage.\u003c/p>\n\u003cp>Rather leaning into its origins as exemplar of \u003cem>fin de siècle\u003c/em> decadence, Craft’s production is staged in the round, with just two chairs and a handful of thoughtfully chosen props to serve as entire households of well-appointed furniture (design by Randy Wong-Westbrooke and Adeline Smith). With audience hovering over the action on all sides, their contribution to the almost claustrophobic intimacy of the atmosphere in unmistakable. It’s as if we are witnesses to one of the play’s early, storied private performances, doubtlessly staged in the parlors of the Viennese bourgeoisie.\u003c/p>\n\u003cfigure id=\"attachment_13853374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853374\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon as poet and Ella Ruth Francis as actress in Cutting Ball Theater’s ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actors perform their multiple roles with flirtatious gusto: winking over each other’s shoulders, engaging the services of various audience members as coat racks and side tables, dramatically clutching their heaving bosoms. It’s sex play with an emphasis on \u003cem>play\u003c/em>. Even characters whose power dynamics take a dark turn are easily brushed off, as they quickly morph into the next set of lovers, with a different set of inclinations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a pleasure to watch actresses of Francis and Simon’s caliber take on such an assortment of roles, embracing with equal fervor the coquette and the cuckold, the dominant and the submissive, the brat and the bore. Simon in particular is adept at conveying whole oceans of feeling with a flick of the head or hand, fearlessly stalking the parameters of the space just as she fearlessly explores the edges of each character. Thanks to Maya Herbsman’s intimacy choreography, we get moments that reek of real passion, even when the actors are physically positioned at opposite ends of the stage. Each sexual encounter plays out as a sequence of steps and gestures (ably scored by sound designer James Ard), like the dance implied by the title of the show.\u003c/p>\n\u003cfigure id=\"attachment_13853376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853376\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon and Ella Ruth Francis seduce each other in ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as voyeurism represents one of many sexual expressions, it also represents one of many kinds of audience experience. In this vein, Cutting Ball’s inventive \u003cem>La Ronde\u003c/em> is perfectly suited to cater to that set of proclivities. With their flamboyant theatrics—milking certain moments for laughs and others for moans—Francis and Simon are consummate exhibitionists, giving the audience a feast for the senses, if not the soul. In a theatrical landscape full of earnest, sexless “messaging,” \u003cem>La Ronde\u003c/em> gives us permission to lick our lips, stretch our legs, and stare.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘La Ronde’ runs through April 14 at Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/la-ronde/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Originally written in 1897 as \u003cem>Reigen\u003c/em>, Arthur Schnitzler’s \u003cem>La Ronde\u003c/em> is a parlor dance of seduction between ten couples, each of whom has at least more than one lover. Crossing lines of class and station, the story pairs together a wide variety of paramours: masters and servants, soldiers and prostitutes, actresses and admirers, and even a conventional husband and wife.\u003c/p>\n\u003cp>At Cutting Ball Theater, \u003cem>La Ronde\u003c/em> is directed by new artistic director Ariel Craft, who takes source material that could otherwise be less than mythic and applies some signature twists. Craft is known for her reimagining of classical work through a modern, intersectional lens, including productions of \u003cem>Phèdre\u003c/em>, an all-female adaptation of\u003cem> Macbeth\u003c/em>, and a theatrical examination of Kate Chopin’s \u003cem>The Awakening\u003c/em>.\u003c/p>\n\u003cp>In Craft’s hands, \u003cem>La Ronde\u003c/em>‘s possibilities expand. Instead of the requisite ten actors, why not use just two? Instead of binary gender pairings, why not have female bodies inhabiting each role? Instead of an exhausting merry-go-round of revealed flesh and awkwardly positioned hands, why not clad the performers in almost-chaste bloomers and artfully shredded accessories (costuming by Morgan May Louie)? Why not give them chairs to hump in a steamy scene that makes chairs seem suddenly really appealing?\u003c/p>\n\u003cfigure id=\"attachment_13853373\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853373\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon_credit_Cheshire-Issacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon_credit_Cheshire-Issacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon and chair in Cutting Ball Theater’s ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a dizzying roundelay, not only does each pairing lead to the next (in the first scene, we have prostitute and soldier, in the second, soldier and housemaid, in the third, housemaid and gentleman), but the actors swap out each role in sequence as well. Painted in mostly broad strokes, each character represents a different social strata as well as a different sexual appetite. There’s Jeunée Simon’s clear-eyed prostitute, who indicates her frank lust with a hungry lick of her own hand, and Ella Ruth Francis’ languid gentleman signaling his desires with a yank of a bell cord. There’s Simon’s self-assured actress dominating Francis’ timid Count, just moments after Francis’ actress had done the same to Simon’s poet. Giggling young misses and passionate young wives, eager soldiers and bloviating husbands—each take a turn on the Cutting Ball stage.\u003c/p>\n\u003cp>Rather leaning into its origins as exemplar of \u003cem>fin de siècle\u003c/em> decadence, Craft’s production is staged in the round, with just two chairs and a handful of thoughtfully chosen props to serve as entire households of well-appointed furniture (design by Randy Wong-Westbrooke and Adeline Smith). With audience hovering over the action on all sides, their contribution to the almost claustrophobic intimacy of the atmosphere in unmistakable. It’s as if we are witnesses to one of the play’s early, storied private performances, doubtlessly staged in the parlors of the Viennese bourgeoisie.\u003c/p>\n\u003cfigure id=\"attachment_13853374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853374\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-as-poet-and-Ella-Ruth-Francis-as-actress_credit_Cheshire-Issacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon as poet and Ella Ruth Francis as actress in Cutting Ball Theater’s ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actors perform their multiple roles with flirtatious gusto: winking over each other’s shoulders, engaging the services of various audience members as coat racks and side tables, dramatically clutching their heaving bosoms. It’s sex play with an emphasis on \u003cem>play\u003c/em>. Even characters whose power dynamics take a dark turn are easily brushed off, as they quickly morph into the next set of lovers, with a different set of inclinations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a pleasure to watch actresses of Francis and Simon’s caliber take on such an assortment of roles, embracing with equal fervor the coquette and the cuckold, the dominant and the submissive, the brat and the bore. Simon in particular is adept at conveying whole oceans of feeling with a flick of the head or hand, fearlessly stalking the parameters of the space just as she fearlessly explores the edges of each character. Thanks to Maya Herbsman’s intimacy choreography, we get moments that reek of real passion, even when the actors are physically positioned at opposite ends of the stage. Each sexual encounter plays out as a sequence of steps and gestures (ably scored by sound designer James Ard), like the dance implied by the title of the show.\u003c/p>\n\u003cfigure id=\"attachment_13853376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853376\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Jeune%CC%81e-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Jeunée-Simon-and-Ella-Ruth-Francis_credit_Cheshire-Issacs.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeunée Simon and Ella Ruth Francis seduce each other in ‘La Ronde.’ \u003ccite>(Cheshire Issacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just as voyeurism represents one of many sexual expressions, it also represents one of many kinds of audience experience. In this vein, Cutting Ball’s inventive \u003cem>La Ronde\u003c/em> is perfectly suited to cater to that set of proclivities. With their flamboyant theatrics—milking certain moments for laughs and others for moans—Francis and Simon are consummate exhibitionists, giving the audience a feast for the senses, if not the soul. In a theatrical landscape full of earnest, sexless “messaging,” \u003cem>La Ronde\u003c/em> gives us permission to lick our lips, stretch our legs, and stare.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘La Ronde’ runs through April 14 at Cutting Ball Theater. \u003ca href=\"http://cuttingball.com/productions/la-ronde/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How do you perform a play in English and American Sign Language simultaneously? Can that work? Yes.\u003c/p>\n\u003cp>“I’ve always felt American Sign Language is not only a beautiful language, but it’s inherently theatrical,” said Lisa Mallette, executive artistic director for\u003ca href=\"https://cltc.org\" target=\"_blank\" rel=\"noopener\"> City Lights Theater Company\u003c/a> in San Jose. “I’m one of those people that, if I’m at a conference and they have an interpreter off to the side, I can’t take my eyes off of the interpreter.”\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_13827545,arts_13851676,arts_13808400' label='Related Coverage']She says she first came up with the idea of bilingual theater in English and ASL. Then she had to find the right play to serve as a vehicle. “It was harder than I thought it was going to be.”\u003c/p>\n\u003cp>Mallette finally fixed on playwright Sarah Ruhl’s \u003ci>Eurydice,\u003c/i> a modern retelling of the classic Greek myth. You’ll recall the basic construct: Orpheus is a talented musician whose bride Eurydice is stolen away by the Lord of the Underworld. Can Orpheus get her back?\u003c/p>\n\u003cp>Ruhl’s 90-minute take on the story centers on Eurydice’s love for her dead father and her fear of forgetting him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once she’s among the dead, the threatening Lord of the Underworld more or less becomes a comic caricature, and the story instead focuses on whether Eurydice will regain her memory, lost in the river of forgetfulness (the river Styx in the original Greek myth), whose waters erase the passions that hold the dead to the living.\u003c/p>\n\u003cfigure id=\"attachment_13853576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853576 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-800x533.jpeg\" alt=\"In City Lights' production of Sarah Ruhl's 'Eurydice,' Eurydice (Lauren Rhodes) signs 'father' to her lost father (Brian Rhodes).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In City Lights’ production of Sarah Ruhl’s ‘Eurydice,’ Eurydice (Lauren Rhodes) signs ‘father’ to her lost father (Brian Rhodes). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, Eurydice’s father has retained his memory of and love for her, but will she remember her love for him? When Orpheus appears at the gates, singing her name, it’s not clear whether Eurydice will follow her husband or stay below with her dad, even if it means marrying that annoying lord.\u003c/p>\n\u003cp>Mallette got Ruhl’s permission to experiment with the play. “Sarah Ruhl’s beautiful play works perfectly. It’s has a lovely, poetic language already. It’s almost fantastical in its presentation. There aren’t a lot of props, so people’s hands aren’t busy. It’s also not very long.”\u003c/p>\n\u003cp>Mallette cast two actors for every major role: one to speak, one to sign. “If you see them side by side, some of the signs are lovely and kind of obvious. Of course that’s someone falling from the sky onto a fluffy cloud. It makes perfect sense.”\u003c/p>\n\u003cp>So for instance, actor Lauren Rhodes plays Eurydice — and so does Leah Cohen. “We are actually performing simultaneously onstage while [Rhodes] is speaking,” Cohen explained. “I’m signing, but I’m not just standing there looking at her, or looking out at the audience. I’m actually incorporated into the show. I interact with the speaking characters, as well as some of the other signing roles onstage.”\u003c/p>\n\u003cfigure id=\"attachment_13853577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853577 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-800x533.jpeg\" alt=\"In City Lights' production of Sarah Ruhl's 'Eurydice,' the Eurydices are menaced by the Lords of the Underworld. Pictured, from left: Lauren Rhodes (English), Erik Gandolfi (English), Leah Cohen (ASL) and Dane K. Lentz (ASL).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In City Lights’ production of Sarah Ruhl’s ‘Eurydice,’ the Eurydices are menaced by the Lords of the Underworld. Pictured, from left: Lauren Rhodes (English), Erik Gandolfi (English), Leah Cohen (ASL) and Dane K. Lentz (ASL). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Foisy plays the signing Orpheus. “As a professional sign language interpreter, I’ve been interpreting for theater for years, but I’ve always been the supplement to what’s happening onstage. Getting a chance to be part of the action has been really fun,” Foisy said.\u003c/p>\n\u003cp>A portion of the ticket sales from \u003cem>Eurydice\u003c/em> goes to support the American Sign Language and Deaf Studies Program at \u003ca href=\"https://www.ohlone.edu/deafstudies/asl\" target=\"_blank\" rel=\"noopener\">Ohlone College\u003c/a>.\u003c/p>\n\u003cp>However, not a single person in the production is deaf. Those who sign came to it out of curiosity. Cohen took an “Interpreting for Musical Theater” course at the New School in Manhattan. “I just fell in love with it.”\u003c/p>\n\u003cp>\u003cem>Eurydice\u003c/em> gives the audience the opportunity to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Eurydice\u003c/strong> runs through April 14, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/eurydice/\" 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>She says she first came up with the idea of bilingual theater in English and ASL. Then she had to find the right play to serve as a vehicle. “It was harder than I thought it was going to be.”\u003c/p>\n\u003cp>Mallette finally fixed on playwright Sarah Ruhl’s \u003ci>Eurydice,\u003c/i> a modern retelling of the classic Greek myth. You’ll recall the basic construct: Orpheus is a talented musician whose bride Eurydice is stolen away by the Lord of the Underworld. Can Orpheus get her back?\u003c/p>\n\u003cp>Ruhl’s 90-minute take on the story centers on Eurydice’s love for her dead father and her fear of forgetting him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once she’s among the dead, the threatening Lord of the Underworld more or less becomes a comic caricature, and the story instead focuses on whether Eurydice will regain her memory, lost in the river of forgetfulness (the river Styx in the original Greek myth), whose waters erase the passions that hold the dead to the living.\u003c/p>\n\u003cfigure id=\"attachment_13853576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853576 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-800x533.jpeg\" alt=\"In City Lights' production of Sarah Ruhl's 'Eurydice,' Eurydice (Lauren Rhodes) signs 'father' to her lost father (Brian Rhodes).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_BrianHerndon_LaurenRhodes.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In City Lights’ production of Sarah Ruhl’s ‘Eurydice,’ Eurydice (Lauren Rhodes) signs ‘father’ to her lost father (Brian Rhodes). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, Eurydice’s father has retained his memory of and love for her, but will she remember her love for him? When Orpheus appears at the gates, singing her name, it’s not clear whether Eurydice will follow her husband or stay below with her dad, even if it means marrying that annoying lord.\u003c/p>\n\u003cp>Mallette got Ruhl’s permission to experiment with the play. “Sarah Ruhl’s beautiful play works perfectly. It’s has a lovely, poetic language already. It’s almost fantastical in its presentation. There aren’t a lot of props, so people’s hands aren’t busy. It’s also not very long.”\u003c/p>\n\u003cp>Mallette cast two actors for every major role: one to speak, one to sign. “If you see them side by side, some of the signs are lovely and kind of obvious. Of course that’s someone falling from the sky onto a fluffy cloud. It makes perfect sense.”\u003c/p>\n\u003cp>So for instance, actor Lauren Rhodes plays Eurydice — and so does Leah Cohen. “We are actually performing simultaneously onstage while [Rhodes] is speaking,” Cohen explained. “I’m signing, but I’m not just standing there looking at her, or looking out at the audience. I’m actually incorporated into the show. I interact with the speaking characters, as well as some of the other signing roles onstage.”\u003c/p>\n\u003cfigure id=\"attachment_13853577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853577 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-800x533.jpeg\" alt=\"In City Lights' production of Sarah Ruhl's 'Eurydice,' the Eurydices are menaced by the Lords of the Underworld. Pictured, from left: Lauren Rhodes (English), Erik Gandolfi (English), Leah Cohen (ASL) and Dane K. Lentz (ASL).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1200x800.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane-1920x1280.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/CityLights_Eurydice_Lauren_Erik_Leah_Dane.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In City Lights’ production of Sarah Ruhl’s ‘Eurydice,’ the Eurydices are menaced by the Lords of the Underworld. Pictured, from left: Lauren Rhodes (English), Erik Gandolfi (English), Leah Cohen (ASL) and Dane K. Lentz (ASL). \u003ccite>(Photo: Courtesy of Taylor Sanders)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Foisy plays the signing Orpheus. “As a professional sign language interpreter, I’ve been interpreting for theater for years, but I’ve always been the supplement to what’s happening onstage. Getting a chance to be part of the action has been really fun,” Foisy said.\u003c/p>\n\u003cp>A portion of the ticket sales from \u003cem>Eurydice\u003c/em> goes to support the American Sign Language and Deaf Studies Program at \u003ca href=\"https://www.ohlone.edu/deafstudies/asl\" target=\"_blank\" rel=\"noopener\">Ohlone College\u003c/a>.\u003c/p>\n\u003cp>However, not a single person in the production is deaf. Those who sign came to it out of curiosity. Cohen took an “Interpreting for Musical Theater” course at the New School in Manhattan. “I just fell in love with it.”\u003c/p>\n\u003cp>\u003cem>Eurydice\u003c/em> gives the audience the opportunity to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Eurydice\u003c/strong> runs through April 14, 2019 at City Lights Theater Company in San Jose. For more information, click \u003ca href=\"http://cltc.org/eurydice/\" 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": "African-American Shakespeare Company’s 'Black Eagles' Aims High, but Misses",
"headTitle": "African-American Shakespeare Company’s ‘Black Eagles’ Aims High, but Misses | KQED",
"content": "\u003cp>There’s an air of coming full circle in L. Peter Callender’s decision to stage Leslie Lee’s \u003cem>\u003ca href=\"https://www.african-americanshakes.org/productions/black-eagles/\" rel=\"noopener\" target=\"_blank\">Black Eagles\u003c/a>\u003c/em>, currently running at the Marines’ Memorial Theatre in San Francisco.\u003c/p>\n\u003cp>Callender, the artistic director of the African-American Shakespeare Company and director of the show, was in the original off-Broadway production in the early nineties. And so this play must feel like a reunion to Callender—much in the way the reunion of Elder Tuskagee Airmen brackets \u003cem>Black Eagles\u003c/em> on either end. It’s not every theater-maker who gets the chance to build on a cherished early role later in life, and for Callender to bring his perspective of having performed in the original \u003cem>Black Eagles\u003c/em> to the director’s chair must have felt irresistible.\u003c/p>\n\u003cfigure id=\"attachment_13853197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853197\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elder Airmen, played by Thomas Robert Simpson, Gift Harris, and Todd Risby, reminisce about their wartime experiences. \u003ccite>(Joseph Giammarco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play unfolds at a surprisingly sedate pace for a show about the first African-American pilots in the U.S. military, who trained and fought during World War II and were at the forefront of the push to racially integrate the armed forces. Set mainly in Italy in 1944—a crucial juncture for both the war and for the Black Eagles’ involvement in it—the play details the evolution of the 99th Pursuit Squadron into the 99th Fighter Squadron. When we first encounter the three older Airmen at their 1989 reunion, they josh each other with affectionate familiarity.\u003c/p>\n\u003cp>“Every year when we get together, everybody lies bigger than they did the year before,” jokes Elder Clarkie (Gift Harris), as Elder Nolan (Todd Risby) attempts to tell his war story for the hundredth time. Dressed in dapper blazers, imbued with the gravity of years and circumstance, they watch a slideshow and comment on each image as if for the first time. As they reminisce, their younger selves march into the room and take their positions, as the elders fade into the background.\u003c/p>\n\u003cfigure id=\"attachment_13853200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment of levity with Brandon Callender, Joseph Pendleton, Devin A. Cunningham, and Luchan Baker as Black Eagles. \u003ccite>(Joseph Giammarco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frustratingly, the script is light on both character development and historical imperative. In a room full of high spirits and high hopes, we barely get a backstory for any of the six soldiers onstage. We don’t even get a reason for why soft-spoken Roscoe (Ron Chapman) has toted his ventriloquist dummy to Italy, despite the fact that he spends much of his free time in conversation with it. When the handsome Buddy (Donald Ray Antoine) clandestinely visits his Italian girlfriend, Pia (Margherita Ventura), it feels as inconsequential to the trajectory of the show as if she too were a dummy—except that the dummy has literally been given more lines. One man reveals himself to be a playboy, another a poet, but these character markers merely skate their mostly interchangeable surfaces.\u003c/p>\n\u003cfigure id=\"attachment_13853198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853198 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Chapman, as Roscoe, and his ventriloquist dummy, Julius. \u003ccite>(Joseph Giammarco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Black Eagles imagine their first kills, they do it in the adolescent language of their first hookups. When they rail at the injustice of their segregated circumstances (as black men, they are not allowed to use the same facilities as the white officers, and for much of the war they are not even allowed to shoot at enemy planes, merely shield American bombers from their bullets), their speeches sound blandly bullet-pointed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s about more than us,” one Eagle exclaims to his grumbling companions. “It’s about helping to change things back home.”\u003c/p>\n\u003cp>In an anticlimactic battle sequence, the emotional payoff of the show is reduced to an excited recitation of aerial moves half drowned out by Everett Elton Bradman’s sound design of roaring engines and whistling bombs. Their almost manic glee at having been allowed to finally kill lacks the leavening of introspection—not in the moment, and not at any time during their later recollections of that moment. In a broad sense, it’s a play that tackles themes of fighting injustice and finding self-worth, but in a dramatic sense, it fails to engage on either front.\u003c/p>\n\u003cfigure id=\"attachment_13853202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853202 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco-800x415.jpg\" alt=\"\" width=\"800\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco-800x415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Eagles in flight. \u003ccite>(Joseph Giammarco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On opening night, the cast hadn’t yet internalized the rhythm of each transition, littering the stage with moments of dead space rather than thoughtful silence. And though each actor does their best to embody their respective characters with dignity and personality (standouts in this regard include Brandon Callender as Nolan and Joseph Pendleton as Othel), Lee’s script doesn’t give them much to work with.\u003c/p>\n\u003cp>At this point, there have been several plays written about this fascinating chapter in U.S. Military History. It’s worth wondering, nostalgia for the original notwithstanding, if one of the others would have been a stronger choice of material for this influential theater company.\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>‘Black Eagles’ runs through March 31 at Marines’ Memorial Theatre in San Francisco. \u003ca href=\"https://www.african-americanshakes.org/productions/black-eagles/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In a new production of Leslie Lee's 1991 drama about the Tuskegee Airmen, we get history without backstory.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an air of coming full circle in L. Peter Callender’s decision to stage Leslie Lee’s \u003cem>\u003ca href=\"https://www.african-americanshakes.org/productions/black-eagles/\" rel=\"noopener\" target=\"_blank\">Black Eagles\u003c/a>\u003c/em>, currently running at the Marines’ Memorial Theatre in San Francisco.\u003c/p>\n\u003cp>Callender, the artistic director of the African-American Shakespeare Company and director of the show, was in the original off-Broadway production in the early nineties. And so this play must feel like a reunion to Callender—much in the way the reunion of Elder Tuskagee Airmen brackets \u003cem>Black Eagles\u003c/em> on either end. It’s not every theater-maker who gets the chance to build on a cherished early role later in life, and for Callender to bring his perspective of having performed in the original \u003cem>Black Eagles\u003c/em> to the director’s chair must have felt irresistible.\u003c/p>\n\u003cfigure id=\"attachment_13853197\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853197\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Thomas-Robert-Simpson-Gift-Harris-Todd-Risby_Photo-by-Joseph-Giammarco.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elder Airmen, played by Thomas Robert Simpson, Gift Harris, and Todd Risby, reminisce about their wartime experiences. \u003ccite>(Joseph Giammarco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The play unfolds at a surprisingly sedate pace for a show about the first African-American pilots in the U.S. military, who trained and fought during World War II and were at the forefront of the push to racially integrate the armed forces. Set mainly in Italy in 1944—a crucial juncture for both the war and for the Black Eagles’ involvement in it—the play details the evolution of the 99th Pursuit Squadron into the 99th Fighter Squadron. When we first encounter the three older Airmen at their 1989 reunion, they josh each other with affectionate familiarity.\u003c/p>\n\u003cp>“Every year when we get together, everybody lies bigger than they did the year before,” jokes Elder Clarkie (Gift Harris), as Elder Nolan (Todd Risby) attempts to tell his war story for the hundredth time. Dressed in dapper blazers, imbued with the gravity of years and circumstance, they watch a slideshow and comment on each image as if for the first time. As they reminisce, their younger selves march into the room and take their positions, as the elders fade into the background.\u003c/p>\n\u003cfigure id=\"attachment_13853200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Brandon-Callender-Joseph-Pendleton-Devin-A.-Cunningham-and-Luchan-Baker_Photo-by-Joseph-Giammarco.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A moment of levity with Brandon Callender, Joseph Pendleton, Devin A. Cunningham, and Luchan Baker as Black Eagles. \u003ccite>(Joseph Giammarco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frustratingly, the script is light on both character development and historical imperative. In a room full of high spirits and high hopes, we barely get a backstory for any of the six soldiers onstage. We don’t even get a reason for why soft-spoken Roscoe (Ron Chapman) has toted his ventriloquist dummy to Italy, despite the fact that he spends much of his free time in conversation with it. When the handsome Buddy (Donald Ray Antoine) clandestinely visits his Italian girlfriend, Pia (Margherita Ventura), it feels as inconsequential to the trajectory of the show as if she too were a dummy—except that the dummy has literally been given more lines. One man reveals himself to be a playboy, another a poet, but these character markers merely skate their mostly interchangeable surfaces.\u003c/p>\n\u003cfigure id=\"attachment_13853198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853198 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RonChapman_asRoscoe_credit_JosephGiammarco.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ron Chapman, as Roscoe, and his ventriloquist dummy, Julius. \u003ccite>(Joseph Giammarco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the Black Eagles imagine their first kills, they do it in the adolescent language of their first hookups. When they rail at the injustice of their segregated circumstances (as black men, they are not allowed to use the same facilities as the white officers, and for much of the war they are not even allowed to shoot at enemy planes, merely shield American bombers from their bullets), their speeches sound blandly bullet-pointed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s about more than us,” one Eagle exclaims to his grumbling companions. “It’s about helping to change things back home.”\u003c/p>\n\u003cp>In an anticlimactic battle sequence, the emotional payoff of the show is reduced to an excited recitation of aerial moves half drowned out by Everett Elton Bradman’s sound design of roaring engines and whistling bombs. Their almost manic glee at having been allowed to finally kill lacks the leavening of introspection—not in the moment, and not at any time during their later recollections of that moment. In a broad sense, it’s a play that tackles themes of fighting injustice and finding self-worth, but in a dramatic sense, it fails to engage on either front.\u003c/p>\n\u003cfigure id=\"attachment_13853202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853202 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco-800x415.jpg\" alt=\"\" width=\"800\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco-800x415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Black-Eagles-in-flight-on-mission_Photo-by-Joseph-Giammarco.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Eagles in flight. \u003ccite>(Joseph Giammarco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On opening night, the cast hadn’t yet internalized the rhythm of each transition, littering the stage with moments of dead space rather than thoughtful silence. And though each actor does their best to embody their respective characters with dignity and personality (standouts in this regard include Brandon Callender as Nolan and Joseph Pendleton as Othel), Lee’s script doesn’t give them much to work with.\u003c/p>\n\u003cp>At this point, there have been several plays written about this fascinating chapter in U.S. Military History. It’s worth wondering, nostalgia for the original notwithstanding, if one of the others would have been a stronger choice of material for this influential theater company.\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>‘Black Eagles’ runs through March 31 at Marines’ Memorial Theatre in San Francisco. \u003ca href=\"https://www.african-americanshakes.org/productions/black-eagles/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland High School's 'Hairspray' Finds a Home, for Now",
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"content": "\u003cp>When students at Oakland High learned that the teachers strike would \u003ca href=\"https://www.kqed.org/arts/13851076/first-musical-at-oakland-high-in-40-years-could-fall-victim-to-strike\" rel=\"noopener\" target=\"_blank\">likely derail their plans for the first-ever Broadway musical\u003c/a> at the budget-strapped school in 40 years, they could have lowered the curtain and gone dark.\u003c/p>\n\u003cp>Instead, not wanting to cross the picket line, they packed up and moved to Lake Merritt, where outside on the shore, they continued rehearsing. Then they moved to the Oakland Museum Theater for more rehearsals. Now, they’re at the Asian Cultural Center in Oakland’s Chinatown neighborhood, where they’ll perform \u003ca href=\"https://www.eventbrite.com/e/hairspray-the-musical-a-preview-performance-by-oakland-high-school-tickets-57472428581?aff=efbneb&fbclid=IwAR2mOE49KnC646Hhyx1OVWiGZxRIh_gRoenEkcqjsDnyLqjXej3af83C4-s\" rel=\"noopener\" target=\"_blank\">a free preview of \u003cem>Hairspray\u003c/em> on Saturday, March 2, at 7pm\u003c/a>.\u003c/p>\n\u003cp>The “preview” in that announcement alludes to hopes that the full show will still run March 7 and 8. In addition to the strike, Oakland High School has been hammered by budget cuts and doesn’t have a drama program, making \u003cem>Hairspray\u003c/em> a volunteer effort.\u003c/p>\n\u003cp>“I’m just so excited for this play. But if it’s not going to happen, I just don’t know what to say,” Trinity Chau, an 18-year-old in her senior year, \u003ca href=\"https://www.kqed.org/arts/13851076/first-musical-at-oakland-high-in-40-years-could-fall-victim-to-strike\" rel=\"noopener\" target=\"_blank\">told KQED\u003c/a> in February.\u003c/p>\n\u003cp>The preview performance on March 2 is free; \u003ca href=\"https://www.eventbrite.com/e/hairspray-the-musical-a-preview-performance-by-oakland-high-school-tickets-57472428581?aff=efbneb&fbclid=IwAR2mOE49KnC646Hhyx1OVWiGZxRIh_gRoenEkcqjsDnyLqjXej3af83C4-s\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When students at Oakland High learned that the teachers strike would \u003ca href=\"https://www.kqed.org/arts/13851076/first-musical-at-oakland-high-in-40-years-could-fall-victim-to-strike\" rel=\"noopener\" target=\"_blank\">likely derail their plans for the first-ever Broadway musical\u003c/a> at the budget-strapped school in 40 years, they could have lowered the curtain and gone dark.\u003c/p>\n\u003cp>Instead, not wanting to cross the picket line, they packed up and moved to Lake Merritt, where outside on the shore, they continued rehearsing. Then they moved to the Oakland Museum Theater for more rehearsals. Now, they’re at the Asian Cultural Center in Oakland’s Chinatown neighborhood, where they’ll perform \u003ca href=\"https://www.eventbrite.com/e/hairspray-the-musical-a-preview-performance-by-oakland-high-school-tickets-57472428581?aff=efbneb&fbclid=IwAR2mOE49KnC646Hhyx1OVWiGZxRIh_gRoenEkcqjsDnyLqjXej3af83C4-s\" rel=\"noopener\" target=\"_blank\">a free preview of \u003cem>Hairspray\u003c/em> on Saturday, March 2, at 7pm\u003c/a>.\u003c/p>\n\u003cp>The “preview” in that announcement alludes to hopes that the full show will still run March 7 and 8. In addition to the strike, Oakland High School has been hammered by budget cuts and doesn’t have a drama program, making \u003cem>Hairspray\u003c/em> a volunteer effort.\u003c/p>\n\u003cp>“I’m just so excited for this play. But if it’s not going to happen, I just don’t know what to say,” Trinity Chau, an 18-year-old in her senior year, \u003ca href=\"https://www.kqed.org/arts/13851076/first-musical-at-oakland-high-in-40-years-could-fall-victim-to-strike\" rel=\"noopener\" target=\"_blank\">told KQED\u003c/a> in February.\u003c/p>\n\u003cp>The preview performance on March 2 is free; \u003ca href=\"https://www.eventbrite.com/e/hairspray-the-musical-a-preview-performance-by-oakland-high-school-tickets-57472428581?aff=efbneb&fbclid=IwAR2mOE49KnC646Hhyx1OVWiGZxRIh_gRoenEkcqjsDnyLqjXej3af83C4-s\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "theatreworks-silicon-valley-tackles-slings-arrows-of-childhood-with-oskar",
"title": "TheatreWorks Silicon Valley Tackles Slings & Arrows of Childhood With ‘Oskar’",
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"content": "\u003cp>This week marks the start of this year’s season of \u003ca href=\"https://www.theatreworks.org/education/oskar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Oskar\u003c/em>\u003c/a> in schools, community centers and hospitals around the Bay Area. \u003ca href=\"https://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> tours with a short list of plays especially focused on the challenges of being a kid today. \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cem>Oskar and the Last Straw\u003c/em>, for instance, is about a 10 year-old lugging around what appears to be the biggest backpack known to humankind. He’s got too much to do this week: school, soccer practice, ukulele lessons, buy a present for his friend Molly’s birthday, memorize songs for Mikey’s rock concert, and deal with the pressures of mass media. “Whatever that means!” his friends on stage yell periodically.\u003c/p>\n\u003cp>When a proverbial last straw is added to his pack, Oskar falls over and can’t get up. It may sound a little silly, but the idea behind “drama therapy” — as plays like this one are called — is to introduce coping skills to elementary school kids before they’re really overwhelmed in high school.\u003c/p>\n\u003cp>The Oskar plays — there are now \u003ca href=\"https://www.whatwouldoskardo.org/the-plays-1\" target=\"_blank\" rel=\"noopener\">five in all\u003c/a> — were originally commissioned from playwright \u003ca href=\"https://www.youtube.com/channel/UCDYP5B63aDxdrZ5gPh47Dmw\" target=\"_blank\" rel=\"noopener\">Prince Gomolvilas\u003c/a> by the Palo Alto Unified School District about a decade ago, around the time it began to struggle with teen suicide spikes.\u003c/p>\n\u003cfigure id=\"attachment_13851816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-800x757.jpeg\" alt='Jomar Martinez, Vivian Marino, and Filip Hofman perform in “Oskar and the Big Bully Battle,\" touring with TheatreWorks Silicon Valley through April 5, 2019.' width=\"800\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-800x757.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-160x151.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-768x726.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1020x965.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1200x1135.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1920x1816.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jomar Martinez, Vivian Marino, and Filip Hofman perform in “Oskar and the Big Bully Battle,” touring with TheatreWorks Silicon Valley through April 5, 2019. \u003ccite>(Photo: Courtesy of Scott Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was a response to community concerns,” said TheatreWorks’ Director of Education Lisa Giglio, who added the play topics come from suggestions forwarded by the schools, including embracing diversity, gender stereotypes and bullying.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other play on tap this year from TheatreWorks is \u003cem>Oskar the Big Bully Battle\u003c/em>. “I think we know it in our bones, sadly, that bullying would be the number one thing that people will relate to.”\u003c/p>\n\u003cp>Or #2, according to recent research from the \u003ca href=\"http://www.pewsocialtrends.org/2019/02/20/most-u-s-teens-see-anxiety-and-depression-as-a-major-problem-among-their-peers/\" target=\"_blank\" rel=\"noopener\">Pew Research Center\u003c/a> that ranks anxiety and depression as #1. Whatever the case, there is a growing body of evidence American teenagers operate under psychological stress. So it stands to reason younger children are just a few years away from needing the tools to cope.\u003c/p>\n\u003cp>“This is happening. How do we convey it to kids that haven’t yet reached that point?” said \u003cem>Oskar\u003c/em> tour stage manager Rachel Spanner, who added the series is designed to plant the seed in children’s minds that they can turn to friends, family and educators for help in later years for “coping strategies that actually work in high school and college.”\u003c/p>\n\u003cp>The plays last a little more than a half hour, and are typically attached to lesson plans ahead of the performance and Q&As after.\u003c/p>\n\u003cp>“Hopefully these plays can provide a way for kids to deal that they either didn’t think of before or were thinking of doing but didn’t know how to approach it,” said \u003ca href=\"https://www.filiphofman.com\" target=\"_blank\" rel=\"noopener\">Filip Hofman\u003c/a>, who plays Oskar this year.\u003c/p>\n\u003cp>Sadly, grown ups are often the primary source of stress in children’s lives, and they often can’t stay off social media unless their goal is total social isolation. But if they leave \u003cem>Oskar\u003c/em> plays thinking they’re not alone, it’s a positive start in the direction of psychological health.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Oskar the Big Bully Battle\u003c/strong>\u003ci> and\u003c/i>\u003cstrong style=\"font-style: italic\"> Oskar and the Last Straw\u003c/strong>\u003ci> run through April 5, 2019, with TheatreWorks Silicon Valley performances scheduled throughout the San Francisco Bay Area. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"https://www.theatreworks.org/education/oskar/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "A drama therapy series from TheatreWorks Silicon Valley spreads cheer and good mental health to children throughout the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week marks the start of this year’s season of \u003ca href=\"https://www.theatreworks.org/education/oskar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Oskar\u003c/em>\u003c/a> in schools, community centers and hospitals around the Bay Area. \u003ca href=\"https://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> tours with a short list of plays especially focused on the challenges of being a kid today. \u003cb>\u003c/b>\u003c/p>\n\u003cp>\u003cem>Oskar and the Last Straw\u003c/em>, for instance, is about a 10 year-old lugging around what appears to be the biggest backpack known to humankind. He’s got too much to do this week: school, soccer practice, ukulele lessons, buy a present for his friend Molly’s birthday, memorize songs for Mikey’s rock concert, and deal with the pressures of mass media. “Whatever that means!” his friends on stage yell periodically.\u003c/p>\n\u003cp>When a proverbial last straw is added to his pack, Oskar falls over and can’t get up. It may sound a little silly, but the idea behind “drama therapy” — as plays like this one are called — is to introduce coping skills to elementary school kids before they’re really overwhelmed in high school.\u003c/p>\n\u003cp>The Oskar plays — there are now \u003ca href=\"https://www.whatwouldoskardo.org/the-plays-1\" target=\"_blank\" rel=\"noopener\">five in all\u003c/a> — were originally commissioned from playwright \u003ca href=\"https://www.youtube.com/channel/UCDYP5B63aDxdrZ5gPh47Dmw\" target=\"_blank\" rel=\"noopener\">Prince Gomolvilas\u003c/a> by the Palo Alto Unified School District about a decade ago, around the time it began to struggle with teen suicide spikes.\u003c/p>\n\u003cfigure id=\"attachment_13851816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851816\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-800x757.jpeg\" alt='Jomar Martinez, Vivian Marino, and Filip Hofman perform in “Oskar and the Big Bully Battle,\" touring with TheatreWorks Silicon Valley through April 5, 2019.' width=\"800\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-800x757.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-160x151.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-768x726.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1020x965.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1200x1135.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto-1920x1816.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Oskar5_-ScottDevinePhoto.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jomar Martinez, Vivian Marino, and Filip Hofman perform in “Oskar and the Big Bully Battle,” touring with TheatreWorks Silicon Valley through April 5, 2019. \u003ccite>(Photo: Courtesy of Scott Devine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was a response to community concerns,” said TheatreWorks’ Director of Education Lisa Giglio, who added the play topics come from suggestions forwarded by the schools, including embracing diversity, gender stereotypes and bullying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other play on tap this year from TheatreWorks is \u003cem>Oskar the Big Bully Battle\u003c/em>. “I think we know it in our bones, sadly, that bullying would be the number one thing that people will relate to.”\u003c/p>\n\u003cp>Or #2, according to recent research from the \u003ca href=\"http://www.pewsocialtrends.org/2019/02/20/most-u-s-teens-see-anxiety-and-depression-as-a-major-problem-among-their-peers/\" target=\"_blank\" rel=\"noopener\">Pew Research Center\u003c/a> that ranks anxiety and depression as #1. Whatever the case, there is a growing body of evidence American teenagers operate under psychological stress. So it stands to reason younger children are just a few years away from needing the tools to cope.\u003c/p>\n\u003cp>“This is happening. How do we convey it to kids that haven’t yet reached that point?” said \u003cem>Oskar\u003c/em> tour stage manager Rachel Spanner, who added the series is designed to plant the seed in children’s minds that they can turn to friends, family and educators for help in later years for “coping strategies that actually work in high school and college.”\u003c/p>\n\u003cp>The plays last a little more than a half hour, and are typically attached to lesson plans ahead of the performance and Q&As after.\u003c/p>\n\u003cp>“Hopefully these plays can provide a way for kids to deal that they either didn’t think of before or were thinking of doing but didn’t know how to approach it,” said \u003ca href=\"https://www.filiphofman.com\" target=\"_blank\" rel=\"noopener\">Filip Hofman\u003c/a>, who plays Oskar this year.\u003c/p>\n\u003cp>Sadly, grown ups are often the primary source of stress in children’s lives, and they often can’t stay off social media unless their goal is total social isolation. But if they leave \u003cem>Oskar\u003c/em> plays thinking they’re not alone, it’s a positive start in the direction of psychological health.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong style=\"font-style: italic\">Oskar the Big Bully Battle\u003c/strong>\u003ci> and\u003c/i>\u003cstrong style=\"font-style: italic\"> Oskar and the Last Straw\u003c/strong>\u003ci> run through April 5, 2019, with TheatreWorks Silicon Valley performances scheduled throughout the San Francisco Bay Area. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"https://www.theatreworks.org/education/oskar/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was a standing room-only crowd as supporters of Stephen Buescher, the plaintiff in a discrimination lawsuit against his former employer American Conservatory Theater (ACT), gathered Wednesday evening to discuss racism in the theater world.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">a complaint filed a day prior\u003c/a>, Buescher alleges that ACT, where he held faculty and creative roles for ten years until 2018, created a racially hostile environment and systematically discriminated against black artists, staff and students.\u003c/p>\n\u003cp>[contextly_sidebar id=”flaueC6OR4YAZwC6XQROSareU5dK0Gtj”]\u003c/p>\n\u003cp>The event in the 92-seat theater at Pianofight in San Francisco was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an hour, Buescher, current staff and students at American Conservatory Theater and other theater figures passed a microphone to share their frustrations with being typecast, tokenized and silenced as black artists.\u003c/p>\n\u003cp>It began with poems from Jerrie Johnson, one of several ACT graduate students present, followed by Buescher. Choking up, he called his experience at the company a “long, silent, lonely road” before saying that, in the wake of the lawsuit, he’s heard from many theater figures with similar accounts. Most of the following speakers said they now felt emboldened.\u003c/p>\n\u003cfigure id=\"attachment_13851345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg\" alt=\"Margo Hall encouraged the audience to complicate black stereotypes.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall encouraged the audience to complicate black stereotypes. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Wilborn, community programs manager at ACT, read a prepared piece about being one of few black workers at the company, including references to colleagues inappropriately touching and commenting on her hair. “It means having a board member ask you your name for the fifth time and then ask what year you’re graduating,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve worked at ACT for three years and what Stephen has courageously said to [the media] is true.” Wilborn continued, “I’ve seen it happen and it’s happened to me.”\u003c/p>\n\u003cp>Margo Hall, the prominent local actor and educator who recently appeared in \u003cem>Blindspotting\u003c/em>, drew shouts and applause as she encouraged the audience to complicate black stereotypes. “Hell, my uncle was a pimp—but he had a life, he had a story,” she said. “Don’t be afraid to embrace your stories because someone has created a narrative around those stories. We get to tell the truth about them. Keep thinking about that.” [contextly_sidebar id=”SxQaArjM4knABlFrFzPhB63EHl6NBVrd”]\u003c/p>\n\u003cp>Ellen Sebastian Chang, the longtime local theater fixture who co-created the site-specific ritual performance series \u003cem>House/Full of Black Women\u003c/em> with Amara Tabor-Smith, emphasized how the racial wealth gap colors the arts. And at the same time black people are alienated from arts organizations, she said, black cultural products are in demand.\u003c/p>\n\u003cp>“So when I get triggered by \u003cem>Fairview\u003c/em> at Berkeley Rep and the spirit comes over me and I jump up and say, ‘Look at how black women are doing CPR on the failing heart of America’—and doing it for fucking minimum wage—and then the white folks run up to me and go, ‘Are you okay?’” She continued, “Then I say fuck off, ‘cus I’m not okay!”\u003c/p>\n\u003cfigure id=\"attachment_13851344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg\" alt=\"Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the lawsuit, ACT issued a statement describing institutional changes including hiring a diversity, equity and inclusion consultant and a new human resources director. Buescher called the changes “superficial,” and other speakers made it a refrain.\u003c/p>\n\u003cp>“How many folks in this space are currently involved in some kind of diversity, equity and inclusion work?” asked artist and activist Claudia Alick. Dozens of hands shot up. “Okay, so, this is the question that I’ve been holding on to this week: Are we helping organizations perform the optics of justice while maintaining systems of injustice?”\u003c/p>\n\u003cp>Buescher’s complaint, filed by Oakland civil rights firm Medina Orthwein LLP, alleges ACT subjected him and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cfigure id=\"attachment_13851342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg\" alt='Artist and activist Claudia Alick asked listeners if they were only helping organizations \"perform the optics of justice.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and activist Claudia Alick asked listeners if they were only helping organizations “perform the optics of justice.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint singles out former Artistic Director Carey Perloff and director Melissa Smith for making racially insensitive comments, explicitly refusing to advance black artists, and dismissing formal complaints from staff and students. After Buescher took his concerns to the board, the suit alleges, his pay and credit were withheld in retaliation.\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement. “As a former valued member of the American Conservatory Theater faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a standing room-only crowd as supporters of Stephen Buescher, the plaintiff in a discrimination lawsuit against his former employer American Conservatory Theater (ACT), gathered Wednesday evening to discuss racism in the theater world.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13851200/former-american-conservatory-theater-actor-files-racial-discrimination-lawsuit\" target=\"_blank\" rel=\"noopener noreferrer\">a complaint filed a day prior\u003c/a>, Buescher alleges that ACT, where he held faculty and creative roles for ten years until 2018, created a racially hostile environment and systematically discriminated against black artists, staff and students.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The event in the 92-seat theater at Pianofight in San Francisco was billed “#LiftTheCurtain on Racial Inequity in the Arts.” For more than an hour, Buescher, current staff and students at American Conservatory Theater and other theater figures passed a microphone to share their frustrations with being typecast, tokenized and silenced as black artists.\u003c/p>\n\u003cp>It began with poems from Jerrie Johnson, one of several ACT graduate students present, followed by Buescher. Choking up, he called his experience at the company a “long, silent, lonely road” before saying that, in the wake of the lawsuit, he’s heard from many theater figures with similar accounts. Most of the following speakers said they now felt emboldened.\u003c/p>\n\u003cfigure id=\"attachment_13851345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851345\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg\" alt=\"Margo Hall encouraged the audience to complicate black stereotypes.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/MArgo-Hall.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall encouraged the audience to complicate black stereotypes. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stephanie Wilborn, community programs manager at ACT, read a prepared piece about being one of few black workers at the company, including references to colleagues inappropriately touching and commenting on her hair. “It means having a board member ask you your name for the fifth time and then ask what year you’re graduating,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve worked at ACT for three years and what Stephen has courageously said to [the media] is true.” Wilborn continued, “I’ve seen it happen and it’s happened to me.”\u003c/p>\n\u003cp>Margo Hall, the prominent local actor and educator who recently appeared in \u003cem>Blindspotting\u003c/em>, drew shouts and applause as she encouraged the audience to complicate black stereotypes. “Hell, my uncle was a pimp—but he had a life, he had a story,” she said. “Don’t be afraid to embrace your stories because someone has created a narrative around those stories. We get to tell the truth about them. Keep thinking about that.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ellen Sebastian Chang, the longtime local theater fixture who co-created the site-specific ritual performance series \u003cem>House/Full of Black Women\u003c/em> with Amara Tabor-Smith, emphasized how the racial wealth gap colors the arts. And at the same time black people are alienated from arts organizations, she said, black cultural products are in demand.\u003c/p>\n\u003cp>“So when I get triggered by \u003cem>Fairview\u003c/em> at Berkeley Rep and the spirit comes over me and I jump up and say, ‘Look at how black women are doing CPR on the failing heart of America’—and doing it for fucking minimum wage—and then the white folks run up to me and go, ‘Are you okay?’” She continued, “Then I say fuck off, ‘cus I’m not okay!”\u003c/p>\n\u003cfigure id=\"attachment_13851344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851344\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg\" alt=\"Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Ellen-Sebastian-Chang.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ellen Sebastian Chang emphasized how the racial wealth gap impacts the arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the lawsuit, ACT issued a statement describing institutional changes including hiring a diversity, equity and inclusion consultant and a new human resources director. Buescher called the changes “superficial,” and other speakers made it a refrain.\u003c/p>\n\u003cp>“How many folks in this space are currently involved in some kind of diversity, equity and inclusion work?” asked artist and activist Claudia Alick. Dozens of hands shot up. “Okay, so, this is the question that I’ve been holding on to this week: Are we helping organizations perform the optics of justice while maintaining systems of injustice?”\u003c/p>\n\u003cp>Buescher’s complaint, filed by Oakland civil rights firm Medina Orthwein LLP, alleges ACT subjected him and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cfigure id=\"attachment_13851342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg\" alt='Artist and activist Claudia Alick asked listeners if they were only helping organizations \"perform the optics of justice.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Claudia-Alick.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and activist Claudia Alick asked listeners if they were only helping organizations “perform the optics of justice.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The complaint singles out former Artistic Director Carey Perloff and director Melissa Smith for making racially insensitive comments, explicitly refusing to advance black artists, and dismissing formal complaints from staff and students. After Buescher took his concerns to the board, the suit alleges, his pay and credit were withheld in retaliation.\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement. “As a former valued member of the American Conservatory Theater faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stephen Buescher, a former instructor and artistic team member at American Conservatory Theater, alleges in a lawsuit filed Tuesday that the San Francisco theater company created a racially hostile environment and systematically discriminated against black artists, faculty, staff and students.\u003c/p>\n\u003cp>The complaint, filed by Oakland civil-rights firm Medina Orthwein LLP, alleges American Conservatory Theater (ACT) subjected Buescher and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cp>The complaint accuses former Artistic Director Carey Perloff, who ceded the role to Pam MacKinnon in 2018 after 26 years with ACT, of explicitly refusing to advance black artists because “black plays don’t make money.” It goes on to say black students were forced to play subjugated roles and “costumed to look like minstrels and mammies” in addition to being instructed to act “more ‘ghetto’” while enduring racial epithets from white actors.\u003c/p>\n\u003cfigure id=\"attachment_13851270\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington.jpg\" alt=\"Stephen Buescher.\" width=\"400\" height=\"600\" class=\"size-full wp-image-13851270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Buescher. \u003ccite>(Courtesy photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Treatment of students at ACT, the complaint alleges, involved “segregated youth programs” where minority students were surveilled and “treated like criminals” while white youth went relatively unsupervised and were given door codes. Buescher himself was “physically denied entry to ACT theaters on numerous occasions” by white theater workers, according to the suit.\u003c/p>\n\u003cp>ACT Director Melissa Smith, according to the complaint, dismissed collective statements from conservatory students concerned about insensitive casting, as well as Buescher’s concerns about racial inequality throughout the institutions. After Buescher took his objections to the ACT board in a formal letter, the suit says he was ostracized and deprived of resources in retaliation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The complaint alleges retaliation including withholding of pay and credit on ACT productions.\u003c/p>\n\u003cp>The suit says Buescher, who has extensive credits on ACT productions, was forced to resign last year. For most of his ten years, he was the only black member of the faculty and artistic team.\u003c/p>\n\u003cp>[contextly_sidebar id=”cyAzkVM56QMmPu2Ao1ANKtb4VyVxDPwX”]\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement to KQED. “As a former valued member of the [ACT] faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>The statement acknowledges Buescher raising issues with the board “that were inconsistent with our values,” but doesn’t address any of the complaint’s specific allegations. ACT’s statement goes on to list institutional changes such as hiring a diversity, equity, and inclusion consultant and a new human resources director as well as revising its grievance system and rewriting job postings. (In addition to MacKinnon replacing Perfloff as artistic director, ACT also replaced their interim executive director last year with Jennifer Bielstein.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The complaint seeks relief measures including a court order requiring ACT to implement programs remedying the hostile work environment, reinstating Buescher in his position or paying in lieu front benefits, and compensatory and punitive damages plus attorneys’ fees.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Buescher, a former instructor and artistic team member at American Conservatory Theater, alleges in a lawsuit filed Tuesday that the San Francisco theater company created a racially hostile environment and systematically discriminated against black artists, faculty, staff and students.\u003c/p>\n\u003cp>The complaint, filed by Oakland civil-rights firm Medina Orthwein LLP, alleges American Conservatory Theater (ACT) subjected Buescher and other black instructors and students to “racial profiling, tokenism, exploitation, racial casting, disparate treatment and retaliation.”\u003c/p>\n\u003cp>The complaint accuses former Artistic Director Carey Perloff, who ceded the role to Pam MacKinnon in 2018 after 26 years with ACT, of explicitly refusing to advance black artists because “black plays don’t make money.” It goes on to say black students were forced to play subjugated roles and “costumed to look like minstrels and mammies” in addition to being instructed to act “more ‘ghetto’” while enduring racial epithets from white actors.\u003c/p>\n\u003cfigure id=\"attachment_13851270\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington.jpg\" alt=\"Stephen Buescher.\" width=\"400\" height=\"600\" class=\"size-full wp-image-13851270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/StephenHeadshot2018-mark-bennington-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Buescher. \u003ccite>(Courtesy photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Treatment of students at ACT, the complaint alleges, involved “segregated youth programs” where minority students were surveilled and “treated like criminals” while white youth went relatively unsupervised and were given door codes. Buescher himself was “physically denied entry to ACT theaters on numerous occasions” by white theater workers, according to the suit.\u003c/p>\n\u003cp>ACT Director Melissa Smith, according to the complaint, dismissed collective statements from conservatory students concerned about insensitive casting, as well as Buescher’s concerns about racial inequality throughout the institutions. After Buescher took his objections to the ACT board in a formal letter, the suit says he was ostracized and deprived of resources in retaliation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The complaint alleges retaliation including withholding of pay and credit on ACT productions.\u003c/p>\n\u003cp>The suit says Buescher, who has extensive credits on ACT productions, was forced to resign last year. For most of his ten years, he was the only black member of the faculty and artistic team.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We are deeply saddened by the legal complaint we received from Mr. Buescher this morning,” ACT said in a statement to KQED. “As a former valued member of the [ACT] faculty, Mr. Buescher significantly contributed to the success of the institution, so much so that we made multiple efforts to retain him.”\u003c/p>\n\u003cp>The statement acknowledges Buescher raising issues with the board “that were inconsistent with our values,” but doesn’t address any of the complaint’s specific allegations. ACT’s statement goes on to list institutional changes such as hiring a diversity, equity, and inclusion consultant and a new human resources director as well as revising its grievance system and rewriting job postings. (In addition to MacKinnon replacing Perfloff as artistic director, ACT also replaced their interim executive director last year with Jennifer Bielstein.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The complaint seeks relief measures including a court order requiring ACT to implement programs remedying the hostile work environment, reinstating Buescher in his position or paying in lieu front benefits, and compensatory and punitive damages plus attorneys’ fees.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "First Musical at Oakland High in 40 Years Could Fall Victim to Strike",
"headTitle": "First Musical at Oakland High in 40 Years Could Fall Victim to Strike | KQED",
"content": "\u003cp>It was in the third hour of rehearsal for \u003cem>Hairspray\u003c/em> at Oakland High School last Thursday when volunteer choreographer Kasondra Walsh rallied the students on stage for the big show-stopper.\u003c/p>\n\u003cp>“OK, band, the cue is ‘I haven’t been out of this apartment in 20 years,'” she shouted, directing the actors into formation. “OK? Let’s go!”\u003c/p>\n\u003cp>The pit band counted off, the dancers broke into movement, and lead actress Trinity Chau began singing: \u003cem>Hey mama, hey mama, look around / Everybody’s groovin’ to a brand-new sound!\u003c/em>\u003c/p>\n\u003cp>Oakland High School’s theater isn’t usually so active. In fact, the rehearsals currently underway for \u003cem>Hairspray\u003c/em> are a milestone: according to longtime faculty, Oakland High School hasn’t mounted a full Broadway musical in over 40 years.\u003c/p>\n\u003cfigure id=\"attachment_13851157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS6-800x536.jpg\" alt=\"The cast of 'Hairspray' rehearses at Oakland High School.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-1200x804.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hairspray’ rehearses at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the looming teachers’ strike in Oakland could lower the curtain on the students’ hard work. Opening night is scheduled for March 1. Oakland teachers announced Saturday that unless something “dramatic” happens, \u003ca href=\"https://www.kqed.org/news/11726864/oakland-teachers-announce-plans-to-strike-starting-on-thursday\" target=\"_blank\" rel=\"noopener\">they’ll go on strike starting Thursday, Feb. 21\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m just so excited for this play. But if it’s not going to happen, I just don’t know what to say,” said Chau, an 18-year-old in her senior year. “All the money we’ve invested into this show is more than $10,000. And if the strike happens on the week that we’re performing, everything could just be lost.”\u003c/p>\n\u003cp>Chau added that the musical had made her more excited about coming to school each day, a feeling echoed by her co-star, 17-year-old Kimberly Wong.\u003c/p>\n\u003cp>“Before \u003cem>Hairspray\u003c/em>, there was nothing to do after school, and I was really bored sometimes,” said Wong. “Now, I always have something to look forward to, because we’re like a little family.”\u003c/p>\n\u003cfigure id=\"attachment_13851153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS4-800x485.jpg\" alt=\"Kimberly Wong rehearsing as Velma in 'Hairspray' at Oakland High School.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimberly Wong rehearsing as Velma in ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It puts student actors and volunteers in a conflicted position: they believe in the show and want it to go on, but they also support the strike and don’t want to cross the picket line.\u003c/p>\n\u003cp>Barring a resolution, Christopher Johnston, \u003cem>Hairspray\u003c/em>‘s director, puts it plainly: “For me, and for these kids, it’s basically the worst timing possible.”\u003c/p>\n\u003ch2>‘We Don’t Have a Drama Department’\u003c/h2>\n\u003cp>Johnston hatched the idea for \u003cem>Hairspray\u003c/em> with fellow teacher David Byrd, who came to the school some five years ago and revitalized the music program. “We’ve had long periods here at Oakland High without any music program at all, and he’s really brought it back,” Johnston said.\u003c/p>\n\u003cp>In the past few years, students have thrown together glee club-type performances, writing and rehearsing themselves. “We don’t have a drama department, we don’t have a drama program,” said Johnston, who teaches English. “It’s always been a teacher doing it in addition to their normal program, which is a big lift.”\u003c/p>\n\u003cp>Nevertheless, he and Byrd decided the kids deserved more.\u003c/p>\n\u003cfigure id=\"attachment_13851151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS1-800x533.jpg\" alt=\"David Byrd consults with the pit band in rehearsals for 'Hairspray' at Oakland High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrd consults with the pit band in rehearsals for ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea to mount \u003cem>Hairspray\u003c/em> had one major setback: there was no budget to produce a musical. “We had a grant a few years ago which gave us some money, but there’s no operating budget for music or theater arts here. So we had to scrounge it together ourselves, and right now it’s all out of pocket,” Johnston said.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/oaklandschools\" target=\"_blank\" rel=\"noopener\">See More of KQED’s Coverage of the Debates Surrounding Oakland Schools\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/oaklandschools\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RootsIntlAcademy.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>As word spread, the community supported the musical. That includes a special discounted rate from a rental company for lights, microphones and spotlights, all of which the school’s theater lacks. It also includes volunteer hours from a local choreographer and a vocal coach, both donating their time. There have been advance ticket sales for performances, and offers for help with sets and production on social media.\u003c/p>\n\u003cp>When the strike starts, the 23-member cast of \u003cem>Hairspray\u003c/em> will likely move to a temporary rehearsal location. Johnston says he’s talked to a theater company, a museum and a church in the area about free use of space.\u003c/p>\n\u003cp>But for the scheduled performances of March 1 and 2, there’s only one theater in mind.\u003c/p>\n\u003cp>“Some people have thought, ‘Well, we could do the show someplace else,'” Johnston said. “And I’m like, the whole point is to have this show \u003cem>at\u003c/em> Oakland High School, because it’s about changing the culture here. But is that feasible? I don’t know.”\u003c/p>\n\u003cfigure id=\"attachment_13851155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851155\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS3-800x533.jpg\" alt=\"Trevahn Srey leaps over Trinity Chau during rehearsals for 'Hairspray' at Oakland High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevahn Srey leaps over Trinity Chau during rehearsals for ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Near the end of rehearsal, 14-year-old Trevonne Shanklin, who plays the character of Seaweed, sat on the side of the stage, consulting with the band on parts. “I want to be an actor when I grow up, so this is motivation, and inspiration,” he said.\u003c/p>\n\u003cp>“It makes me want to come to school more, there’s a strong community in this,” added co-star Trevahn Srey, an 18-year-old senior who plays Link. “I don’t know how it’s going to work, we can’t really push back the show, since we already sold tickets. But it’s really affecting us.”\u003c/p>\n\u003cp>For Chau, who’s already applied to colleges as a theater arts major, the inequality of funding for her school is as hard to take as the uncertainty of \u003cem>Hairspray\u003c/em>‘s opening night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s like, other schools have something going on like this,” she said. “Why can’t \u003cem>we\u003c/em> have it, you know?”\u003c/p>\n\n",
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"excerpt": "Students at the budget-strapped school say 'Hairspray' has reinvigorated their spirit—but the show might not go on, due to the teachers' strike.",
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"description": "Students at the budget-strapped school say 'Hairspray' has reinvigorated their spirit—but the show might not go on, due to the teachers' strike.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was in the third hour of rehearsal for \u003cem>Hairspray\u003c/em> at Oakland High School last Thursday when volunteer choreographer Kasondra Walsh rallied the students on stage for the big show-stopper.\u003c/p>\n\u003cp>“OK, band, the cue is ‘I haven’t been out of this apartment in 20 years,'” she shouted, directing the actors into formation. “OK? Let’s go!”\u003c/p>\n\u003cp>The pit band counted off, the dancers broke into movement, and lead actress Trinity Chau began singing: \u003cem>Hey mama, hey mama, look around / Everybody’s groovin’ to a brand-new sound!\u003c/em>\u003c/p>\n\u003cp>Oakland High School’s theater isn’t usually so active. In fact, the rehearsals currently underway for \u003cem>Hairspray\u003c/em> are a milestone: according to longtime faculty, Oakland High School hasn’t mounted a full Broadway musical in over 40 years.\u003c/p>\n\u003cfigure id=\"attachment_13851157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS6-800x536.jpg\" alt=\"The cast of 'Hairspray' rehearses at Oakland High School.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-1200x804.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hairspray’ rehearses at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the looming teachers’ strike in Oakland could lower the curtain on the students’ hard work. Opening night is scheduled for March 1. Oakland teachers announced Saturday that unless something “dramatic” happens, \u003ca href=\"https://www.kqed.org/news/11726864/oakland-teachers-announce-plans-to-strike-starting-on-thursday\" target=\"_blank\" rel=\"noopener\">they’ll go on strike starting Thursday, Feb. 21\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m just so excited for this play. But if it’s not going to happen, I just don’t know what to say,” said Chau, an 18-year-old in her senior year. “All the money we’ve invested into this show is more than $10,000. And if the strike happens on the week that we’re performing, everything could just be lost.”\u003c/p>\n\u003cp>Chau added that the musical had made her more excited about coming to school each day, a feeling echoed by her co-star, 17-year-old Kimberly Wong.\u003c/p>\n\u003cp>“Before \u003cem>Hairspray\u003c/em>, there was nothing to do after school, and I was really bored sometimes,” said Wong. “Now, I always have something to look forward to, because we’re like a little family.”\u003c/p>\n\u003cfigure id=\"attachment_13851153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS4-800x485.jpg\" alt=\"Kimberly Wong rehearsing as Velma in 'Hairspray' at Oakland High School.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimberly Wong rehearsing as Velma in ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It puts student actors and volunteers in a conflicted position: they believe in the show and want it to go on, but they also support the strike and don’t want to cross the picket line.\u003c/p>\n\u003cp>Barring a resolution, Christopher Johnston, \u003cem>Hairspray\u003c/em>‘s director, puts it plainly: “For me, and for these kids, it’s basically the worst timing possible.”\u003c/p>\n\u003ch2>‘We Don’t Have a Drama Department’\u003c/h2>\n\u003cp>Johnston hatched the idea for \u003cem>Hairspray\u003c/em> with fellow teacher David Byrd, who came to the school some five years ago and revitalized the music program. “We’ve had long periods here at Oakland High without any music program at all, and he’s really brought it back,” Johnston said.\u003c/p>\n\u003cp>In the past few years, students have thrown together glee club-type performances, writing and rehearsing themselves. “We don’t have a drama department, we don’t have a drama program,” said Johnston, who teaches English. “It’s always been a teacher doing it in addition to their normal program, which is a big lift.”\u003c/p>\n\u003cp>Nevertheless, he and Byrd decided the kids deserved more.\u003c/p>\n\u003cfigure id=\"attachment_13851151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS1-800x533.jpg\" alt=\"David Byrd consults with the pit band in rehearsals for 'Hairspray' at Oakland High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrd consults with the pit band in rehearsals for ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea to mount \u003cem>Hairspray\u003c/em> had one major setback: there was no budget to produce a musical. “We had a grant a few years ago which gave us some money, but there’s no operating budget for music or theater arts here. So we had to scrounge it together ourselves, and right now it’s all out of pocket,” Johnston said.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/oaklandschools\" target=\"_blank\" rel=\"noopener\">See More of KQED’s Coverage of the Debates Surrounding Oakland Schools\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/oaklandschools\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RootsIntlAcademy.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>As word spread, the community supported the musical. That includes a special discounted rate from a rental company for lights, microphones and spotlights, all of which the school’s theater lacks. It also includes volunteer hours from a local choreographer and a vocal coach, both donating their time. There have been advance ticket sales for performances, and offers for help with sets and production on social media.\u003c/p>\n\u003cp>When the strike starts, the 23-member cast of \u003cem>Hairspray\u003c/em> will likely move to a temporary rehearsal location. Johnston says he’s talked to a theater company, a museum and a church in the area about free use of space.\u003c/p>\n\u003cp>But for the scheduled performances of March 1 and 2, there’s only one theater in mind.\u003c/p>\n\u003cp>“Some people have thought, ‘Well, we could do the show someplace else,'” Johnston said. “And I’m like, the whole point is to have this show \u003cem>at\u003c/em> Oakland High School, because it’s about changing the culture here. But is that feasible? I don’t know.”\u003c/p>\n\u003cfigure id=\"attachment_13851155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851155\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS3-800x533.jpg\" alt=\"Trevahn Srey leaps over Trinity Chau during rehearsals for 'Hairspray' at Oakland High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevahn Srey leaps over Trinity Chau during rehearsals for ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Near the end of rehearsal, 14-year-old Trevonne Shanklin, who plays the character of Seaweed, sat on the side of the stage, consulting with the band on parts. “I want to be an actor when I grow up, so this is motivation, and inspiration,” he said.\u003c/p>\n\u003cp>“It makes me want to come to school more, there’s a strong community in this,” added co-star Trevahn Srey, an 18-year-old senior who plays Link. “I don’t know how it’s going to work, we can’t really push back the show, since we already sold tickets. But it’s really affecting us.”\u003c/p>\n\u003cp>For Chau, who’s already applied to colleges as a theater arts major, the inequality of funding for her school is as hard to take as the uncertainty of \u003cem>Hairspray\u003c/em>‘s opening night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s like, other schools have something going on like this,” she said. “Why can’t \u003cem>we\u003c/em> have it, you know?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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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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