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"content": "\u003cp>As a poet and playwright, Ayodele Nzinga has been a force in the arts in Oakland and beyond for over four decades. This month, she’s taken on the honorable task of scheduling the \u003ca href=\"http://www.bambdfest.com/\" rel=\"noopener\" target=\"_blank\">Black Arts Movement Business District Festival\u003c/a>: over 28 events during the 28 days of Black History Month. It’s all a part of an effort to give people an opportunity to enjoy the thriving arts community that’s been in Oakland for years.\u003c/p>\n\u003cp>This weekend, Nzinga’s theatre troupe, the Lower Bottom Playaz, is set for their final run of August Wilson’s \u003cem>Gem of The Ocean\u003c/em>. The play, based in 1904 Pittsburgh, Penn., is one of 10 plays in Wilson’s famed Century Cycle, a series of shows set in each decade of the 20th century, written by the man regarded as \u003ca href=\"https://www.wnyc.org/story/august-wilson-american-shakespeare/\" rel=\"noopener\" target=\"_blank\">America’s Shakespeare\u003c/a>.\u003c/p>\n\u003cp>The Lower Bottom Playaz, a troupe that’s performed in Oakland since the early 2000s, characterizes itself as the only theatre group in town to present each of the 10 plays in Wilson’s Century Cycle. \u003cem>Gem of the Ocean\u003c/em> is the first in the cycle, but was the penultimate play written by Wilson, who passed in 2005, and it’s the centerpiece of the 28 days of programming for Black History Month.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>‘Gem of the Ocean’ runs through Feb. 17 at the Flight Deck in downtown Oakland. \u003ca href=\"http://www.lowerbottomplayaz.com/Box-Office.php\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. For all events scheduled for the BAMBD Festival, \u003ca href=\"http://www.bambdfest.com/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a poet and playwright, Ayodele Nzinga has been a force in the arts in Oakland and beyond for over four decades. This month, she’s taken on the honorable task of scheduling the \u003ca href=\"http://www.bambdfest.com/\" rel=\"noopener\" target=\"_blank\">Black Arts Movement Business District Festival\u003c/a>: over 28 events during the 28 days of Black History Month. It’s all a part of an effort to give people an opportunity to enjoy the thriving arts community that’s been in Oakland for years.\u003c/p>\n\u003cp>This weekend, Nzinga’s theatre troupe, the Lower Bottom Playaz, is set for their final run of August Wilson’s \u003cem>Gem of The Ocean\u003c/em>. The play, based in 1904 Pittsburgh, Penn., is one of 10 plays in Wilson’s famed Century Cycle, a series of shows set in each decade of the 20th century, written by the man regarded as \u003ca href=\"https://www.wnyc.org/story/august-wilson-american-shakespeare/\" rel=\"noopener\" target=\"_blank\">America’s Shakespeare\u003c/a>.\u003c/p>\n\u003cp>The Lower Bottom Playaz, a troupe that’s performed in Oakland since the early 2000s, characterizes itself as the only theatre group in town to present each of the 10 plays in Wilson’s Century Cycle. \u003cem>Gem of the Ocean\u003c/em> is the first in the cycle, but was the penultimate play written by Wilson, who passed in 2005, and it’s the centerpiece of the 28 days of programming for Black History Month.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>‘Gem of the Ocean’ runs through Feb. 17 at the Flight Deck in downtown Oakland. \u003ca href=\"http://www.lowerbottomplayaz.com/Box-Office.php\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. For all events scheduled for the BAMBD Festival, \u003ca href=\"http://www.bambdfest.com/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "EXIT Theatre Cancels Show After US Immigration Blocks Canadian Performer",
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"content": "\u003cp>\u003ca href=\"http://www.theexit.org/calendar-2017/\" target=\"_blank\" rel=\"noopener\">EXIT Theatre\u003c/a> founder \u003cspan style=\"font-weight: 400\">Christina Augello spent a year’s work and nearly $3,000 to bring Paul David Power’s play \u003ca href=\"https://www.powerproductions.ca/crippled.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Crippled\u003c/em>\u003c/a> to San Francisco. But just weeks before the \u003ca href=\"http://www.theexit.org/crippled/\" target=\"_blank\" rel=\"noopener\">show\u003c/a> was set to debut at her Tenderloin performance space, she received a letter from United States Citizenship and Immigration Services (USCIS)—an agency that works parallel to ICE under the Department of Homeland Security—stating that Power has been \u003ca href=\"http://www.theexit.org/uscis-denial-ltr-2-2-2019.pdf\" target=\"_blank\" rel=\"noopener\">denied\u003c/a> permission to perform in the United States on the basis that \u003cem>Crippled\u003c/em> is not “culturally unique.”\u003c/span>\u003c/p>\n\u003cp>Augello argues that, as a law enforcement agency, USCIS is not qualified to judge an artistic production’s uniqueness or artistic merit. She says that the decision was unfairly arbitrary, as she submitted letters of support from credible organizations such as Canada Council on the Arts, Actors’ Equity Association, the National Arts Centre of Canada and the San Francisco-based Paul K. Longmore Institute on Disability attesting to the play’s singular depiction of a gay lead with disabilities grappling with the loss of his partner. [contextly_sidebar id=”hGHlpHmPBQ0Qv8klFunUkn2Dy2wIs9De”]\u003c/p>\n\u003cp>Still, the \u003ca href=\"http://www.theexit.org/uscis-denial-ltr-2-2-2019.pdf\" target=\"_blank\" rel=\"noopener\">denial letter\u003c/a> Augello received from USCIS reads, “The contract, electric correspondences and itinerary you provided is insufficient because it did not provide any details to demonstrate that all of the performances or presentations will be culturally unique events.”\u003c/p>\n\u003cp>“F\u003cspan style=\"font-weight: 400\">or them to be in charge of saying Paul can’t bring his show there—they don’t have their expertise,” Augello says. “\u003c/span>\u003cspan style=\"font-weight: 400\">These [artists] are able to come here [as tourists]. They’re not a threat to our safety.”\u003c/span>\u003c/p>\n\u003cp>The denial letter Augello received from USCIS stipulates that EXIT Theatre has a month to appeal the decision, but Augello says the opportunity has already passed to produce \u003cem>Crippled\u003c/em> this season. She says that current policy for allowing international artists to perform in the United States is too restrictive for independent artists like the ones she works with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They make it impossible for the indie theater artists,” Augello says. “World-class artists have a machine behind them.”\u003c/span>\u003c/p>\n\u003cp>Without the resources of a well-funded performing arts organization, independent artists have no choice but to spend thousands of dollars in legal fees to navigate United States immigration bureaucracy. [contextly_sidebar id=”b9tNUB3G4AFC0ZNY5Lqiex4Z6ofgrPTo”]\u003c/p>\n\u003cp>Augello is a producer of the \u003ca href=\"http://www.sffringe.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Fringe Festival\u003c/a>, a long-running indie theater fest, and says that due to the United States’ restrictive laws, international participation in the festival has dwindled, and that several performers have been denied entry at the last minute. This USCIS policy is not just something that impacts theater, she says, but music, visual art and all realms of culture.\u003c/p>\n\u003cp>“We have a difficult time getting indie performers in the country,” she says. “But as an indie performer myself, all I need to go to Canada is an invitation letter—and there are some restrictions, financial, et cetera—but it’s very simple to go to Canada and work the fringe circuit.”\u003c/p>\n\u003cp>Augello says the law needs to change. She created a \u003ca href=\"https://petitions.moveon.org/sign/let-international-artists?source=c.url&r_by=12824690%3Chttps://protect-us.mimecast.com/s/Q2mLCADmygFN21WqC93aZm?domain=theexit.us6.list-manage.com\" target=\"_blank\" rel=\"noopener\">MoveOn.org petition\u003c/a> directed at Congresswoman Nancy Pelosi, urging for the creation of a more straight-forward policy that would allow international artists to perform in the United States. The problem with current policy, she argues, is that it’s too opaque and subjectively enforced.\u003c/p>\n\u003cp>USCIS policy defines “culturally unique” as “a style of artistic methodology, expression or medium which is unique to particular country, nation, society, class, ethnicity, religion, tribe or group of persons.” And though Power’s application included testimony from performing arts and disability experts on why his production is a singular work of art, USCIS’ denial letter states that there was insufficient proof of this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We spent money and I believe we had the expertise and support and insight—we consulted with lawyers—and it still didn’t work,” Augello says, frustrated, implying that \u003cem>Crippled\u003c/em> was just too experimental for USCIS to understand. “There is no category that applies, that’s what it comes down to.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.theexit.org/calendar-2017/\" target=\"_blank\" rel=\"noopener\">EXIT Theatre\u003c/a> founder \u003cspan style=\"font-weight: 400\">Christina Augello spent a year’s work and nearly $3,000 to bring Paul David Power’s play \u003ca href=\"https://www.powerproductions.ca/crippled.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Crippled\u003c/em>\u003c/a> to San Francisco. But just weeks before the \u003ca href=\"http://www.theexit.org/crippled/\" target=\"_blank\" rel=\"noopener\">show\u003c/a> was set to debut at her Tenderloin performance space, she received a letter from United States Citizenship and Immigration Services (USCIS)—an agency that works parallel to ICE under the Department of Homeland Security—stating that Power has been \u003ca href=\"http://www.theexit.org/uscis-denial-ltr-2-2-2019.pdf\" target=\"_blank\" rel=\"noopener\">denied\u003c/a> permission to perform in the United States on the basis that \u003cem>Crippled\u003c/em> is not “culturally unique.”\u003c/span>\u003c/p>\n\u003cp>Augello argues that, as a law enforcement agency, USCIS is not qualified to judge an artistic production’s uniqueness or artistic merit. She says that the decision was unfairly arbitrary, as she submitted letters of support from credible organizations such as Canada Council on the Arts, Actors’ Equity Association, the National Arts Centre of Canada and the San Francisco-based Paul K. Longmore Institute on Disability attesting to the play’s singular depiction of a gay lead with disabilities grappling with the loss of his partner. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Still, the \u003ca href=\"http://www.theexit.org/uscis-denial-ltr-2-2-2019.pdf\" target=\"_blank\" rel=\"noopener\">denial letter\u003c/a> Augello received from USCIS reads, “The contract, electric correspondences and itinerary you provided is insufficient because it did not provide any details to demonstrate that all of the performances or presentations will be culturally unique events.”\u003c/p>\n\u003cp>“F\u003cspan style=\"font-weight: 400\">or them to be in charge of saying Paul can’t bring his show there—they don’t have their expertise,” Augello says. “\u003c/span>\u003cspan style=\"font-weight: 400\">These [artists] are able to come here [as tourists]. They’re not a threat to our safety.”\u003c/span>\u003c/p>\n\u003cp>The denial letter Augello received from USCIS stipulates that EXIT Theatre has a month to appeal the decision, but Augello says the opportunity has already passed to produce \u003cem>Crippled\u003c/em> this season. She says that current policy for allowing international artists to perform in the United States is too restrictive for independent artists like the ones she works with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They make it impossible for the indie theater artists,” Augello says. “World-class artists have a machine behind them.”\u003c/span>\u003c/p>\n\u003cp>Without the resources of a well-funded performing arts organization, independent artists have no choice but to spend thousands of dollars in legal fees to navigate United States immigration bureaucracy. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Augello is a producer of the \u003ca href=\"http://www.sffringe.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Fringe Festival\u003c/a>, a long-running indie theater fest, and says that due to the United States’ restrictive laws, international participation in the festival has dwindled, and that several performers have been denied entry at the last minute. This USCIS policy is not just something that impacts theater, she says, but music, visual art and all realms of culture.\u003c/p>\n\u003cp>“We have a difficult time getting indie performers in the country,” she says. “But as an indie performer myself, all I need to go to Canada is an invitation letter—and there are some restrictions, financial, et cetera—but it’s very simple to go to Canada and work the fringe circuit.”\u003c/p>\n\u003cp>Augello says the law needs to change. She created a \u003ca href=\"https://petitions.moveon.org/sign/let-international-artists?source=c.url&r_by=12824690%3Chttps://protect-us.mimecast.com/s/Q2mLCADmygFN21WqC93aZm?domain=theexit.us6.list-manage.com\" target=\"_blank\" rel=\"noopener\">MoveOn.org petition\u003c/a> directed at Congresswoman Nancy Pelosi, urging for the creation of a more straight-forward policy that would allow international artists to perform in the United States. The problem with current policy, she argues, is that it’s too opaque and subjectively enforced.\u003c/p>\n\u003cp>USCIS policy defines “culturally unique” as “a style of artistic methodology, expression or medium which is unique to particular country, nation, society, class, ethnicity, religion, tribe or group of persons.” And though Power’s application included testimony from performing arts and disability experts on why his production is a singular work of art, USCIS’ denial letter states that there was insufficient proof of this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We spent money and I believe we had the expertise and support and insight—we consulted with lawyers—and it still didn’t work,” Augello says, frustrated, implying that \u003cem>Crippled\u003c/em> was just too experimental for USCIS to understand. “There is no category that applies, that’s what it comes down to.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You know BD Wong even if you think you don’t: he’s the actor who’s played forensic psychologist George Huang on \u003cem>Law & Order: Special Victims Unit\u003c/em>; Dr. Henry Wu in \u003cem>Jurassic Park\u003c/em>; Father Ray Mukada on \u003cem>Oz\u003c/em> and the voice of Shang in \u003cem>Mulan\u003c/em>. But Wong’s story really begins on the stage: his multiple-award-winning Broadway debut in \u003cem>M. Butterfly\u003c/em>, for one, but even before then, his lead roles in the drama department at Lincoln High School right here in San Francisco.\u003c/p>\n\u003cp>Wong returns to the San Francisco stage in March as a head coach in the basketball drama \u003cem>The Great Leap\u003c/em> at ACT, and he drops by the Asian Art Museum on Feb. 14 for a discussion about the play, his enduring career (he \u003ca href=\"https://www.facebook.com/BDWongFanpage/photos/a.136481546395923/2297703246940398/?type=3&theater\" rel=\"noopener\" target=\"_blank\">most recently appeared in \u003cem>Bird Box\u003c/em>\u003c/a>), and his life growing up in San Francisco. But it’s also Valentine’s Day on Thursday, and I’ve got my money on Wong opening up a little about his love life, too—he just married his partner of eight years this past October. It starts at 6:30pm, and general admission tickets are $25. \u003ca href=\"http://www.asianart.org/events/1593\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "A Strong Message for Young Girls in 'She Persisted, The Musical'",
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"content": "\u003cp>Walk into any bookstore these days, and you’re likely to find a display piled high with young female-empowerment titles like \u003cem>Rad American Women A–Z\u003c/em>, \u003cem>Good Night Stories for Rebel Girls\u003c/em> or \u003cem>She Persisted: 13 American Women Who Changed the World\u003c/em>.\u003c/p>\n\u003cp>The latter, by Chelsea Clinton, is the source material for a new musical currently making its premiere at Bay Area Children’s Theatre in Berkeley. \u003cem>She Persisted, the Musical\u003c/em> follows Naomi (Loreigna Sinclair), a down-on-herself fourth-grader who’s late for school, bad at P.E., and kicking herself for bombing an assignment about tortoises. Her classmates dream of being professional athletes or Instagram influencers, while her goal is to become an astronaut. Her biggest obstacle? She’s terrified of failure. \u003c/p>\n\u003cp>Enter Time (Cassie Grilley), an energetic time-traveling sprite who whisks Naomi through various eras of history to learn how other women overcame their challenges. First up is the 1960s Bronx, where a young Sonia Sotomayor sings about wanting to be a detective over a lively Latin-jazz rhythm—but, upon being diagnosed with diabetes and advised to take a different career path, decides to take inspiration from \u003cem>Perry Mason\u003c/em> and study law instead. “Justice is cool / I can learn every rule,” she sings.\u003c/p>\n\u003cfigure id=\"attachment_13850401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-800x450.jpg\" alt=\"The cast of 'She Persisted, the Musical.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13850401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘She Persisted, the Musical.’ \u003ccite>(Bay Area Children's Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So begins a series of similar vignettes as Naomi travels through time and meets Virginia Apgar (LeighAnn Cannon), Harriet Tubman (Gabriella Momah), Florence Griffith Joyner (Momah), Sally Ride (Cannon), and Ruby Bridges (Angel Adedokun). This is children’s theater, so the songs, sung in a fun variety of musical styles, are designed to be uplifting and easy to understand. As expected, the stories of each woman are condensed for time; the musical runs about an hour, with no intermission.\u003c/p>\n\u003cp>Where \u003cem>She Persisted\u003c/em> succeeds most is in looking beyond the women’s banner achievements to specifically highlight the qualities of character that led them to those accomplishments. For Sotomayor, it’s versatility; for Tubman it’s hope; for Apgar it’s curiosity, and so on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under the direction of Khalia Davis, this is what shines brighter than the songs, the stories, and even the slapstick rap about Oprah Winfrey: the message that cultivation of these internal qualities, not mere emulation of historical figures, can help every young girl in the audience reach their dreams.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘She Persisted, the Musical’ runs through April 14 at various locations: Bay Area Children’s Theatre in Berkeley (through March 3), Creativity Theater in San Francisco (March 9–31), and Sunnyvale Theater in Sunnyvale (April 6–14). \u003ca href=\"https://bactheatre.org/shows/ShePersisted\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walk into any bookstore these days, and you’re likely to find a display piled high with young female-empowerment titles like \u003cem>Rad American Women A–Z\u003c/em>, \u003cem>Good Night Stories for Rebel Girls\u003c/em> or \u003cem>She Persisted: 13 American Women Who Changed the World\u003c/em>.\u003c/p>\n\u003cp>The latter, by Chelsea Clinton, is the source material for a new musical currently making its premiere at Bay Area Children’s Theatre in Berkeley. \u003cem>She Persisted, the Musical\u003c/em> follows Naomi (Loreigna Sinclair), a down-on-herself fourth-grader who’s late for school, bad at P.E., and kicking herself for bombing an assignment about tortoises. Her classmates dream of being professional athletes or Instagram influencers, while her goal is to become an astronaut. Her biggest obstacle? She’s terrified of failure. \u003c/p>\n\u003cp>Enter Time (Cassie Grilley), an energetic time-traveling sprite who whisks Naomi through various eras of history to learn how other women overcame their challenges. First up is the 1960s Bronx, where a young Sonia Sotomayor sings about wanting to be a detective over a lively Latin-jazz rhythm—but, upon being diagnosed with diabetes and advised to take a different career path, decides to take inspiration from \u003cem>Perry Mason\u003c/em> and study law instead. “Justice is cool / I can learn every rule,” she sings.\u003c/p>\n\u003cfigure id=\"attachment_13850401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-800x450.jpg\" alt=\"The cast of 'She Persisted, the Musical.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13850401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘She Persisted, the Musical.’ \u003ccite>(Bay Area Children's Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So begins a series of similar vignettes as Naomi travels through time and meets Virginia Apgar (LeighAnn Cannon), Harriet Tubman (Gabriella Momah), Florence Griffith Joyner (Momah), Sally Ride (Cannon), and Ruby Bridges (Angel Adedokun). This is children’s theater, so the songs, sung in a fun variety of musical styles, are designed to be uplifting and easy to understand. As expected, the stories of each woman are condensed for time; the musical runs about an hour, with no intermission.\u003c/p>\n\u003cp>Where \u003cem>She Persisted\u003c/em> succeeds most is in looking beyond the women’s banner achievements to specifically highlight the qualities of character that led them to those accomplishments. For Sotomayor, it’s versatility; for Tubman it’s hope; for Apgar it’s curiosity, and so on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyond 'Shrimp Boy': The Family Ties of Lauren Yee's 'King of the Yees'",
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"content": "\u003cp>Is there anything more exasperating than a proud parent? In Lauren Yee’s \u003cem>King of the Yees\u003c/em>—a meta-theatrical mashup of family dynamics, Chinatown power plays, and model ancestors—Lauren’s father Larry Yee takes his moment in the spotlight and runs with it to the farthest extreme, all while extolling the talents of his ambivalent daughter, who hadn’t invited him in the first place.\u003c/p>\n\u003cp>But there Lauren’s dad is anyway, bearing a giant poster of her face, along with another poster of politician Leland Yee (no relation) for whom he’s been a longtime volunteer. As a longtime member of the Yee Fung Toy Family Association, an “obsolescent family association” on Waverly Street, Larry is obsessed with all things Yee. So much so that he’s invaded the stage of his daughter’s play to talk about them.\u003c/p>\n\u003cfigure id=\"attachment_13850102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A two-hander becomes a cast of hundreds (with Jomar Tagatac, Francis Jue, Krystle Piamonte, Rinabeth Apostal, and Will Dao). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, though Lauren (played empathetically by Krystale Piamonte) has originally conceived of the play as a “two-hander” between actors “2” and “1” (Rinabeth Apostal and Jomar Tagatac), the unexpected arrival of her “real” father (the superlative Francis Jue) causes the play to fracture into a cacophony of players set loose on the stage. Meanwhile, her complicated feelings for her complicated father—and the Chinatown milieu he represents—add emotional resonance to what could easily have been a mere madcap romp. (\u003cem>King of the Yees\u003c/em> runs at SF Playhouse through March 2.)\u003c/p>\n\u003cp>For Lauren, certain truths are unalienable. Her father, the “super volunteer,” is being used by Leland Yee; Chinatown is a dump; she might not have children. For Larry, “being used” is synonymous with “being useful”; Chinatown is a community rich with nuance and history; the Yee line is 36 generations strong and should not be allowed to die out.\u003c/p>\n\u003cp>The more the father and daughter talk over each other, the more distance they establish between themselves, even as their mutual fondness seeps through. But before they resolve their differences of opinion, a new crisis emerges. State Senator Leland Yee has been arrested on charges of corruption, and Larry has already been name-checked on the four o’clock news as a key supporter. With an ominous rumble of Mikhail Fiksel’s sound design and a flicker of Wen-Ling Liao’s lighting, Larry exits the stage, and the chase is on.\u003c/p>\n\u003cfigure id=\"attachment_13850099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Yee (Krystle Piamonte) on her quest to find her father, in King of the Yees. \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Joshua Kahan Brody’s direction, the first act displays definite lags in pace (though no more than what one can expect anytime a playwright’s proud papa commandeers the stage with voter registration forms and a wealth of historical anecdotes). But by the second act, the production settles into an almost extravagant groove, as Lauren embarks on a hero’s quest to find her father through the alleyways and storefronts of Chinatown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, she encounters the outrageously-attired racketeer Raymond “Shrimp Boy” Chow (Jomar Tagatac), the enigmatic “elders of Lum” who hang out in Portsmouth Square and subsist on fortune cookies, and a shopkeeper who has a stash of “good, cheap” whiskey that Lauren must convince to give her for free. There are lion dancers who boogie to Michael Jackson, FBI agents who dirty-dance their way to oblivion, and a “model” ancestor in heels (Will Dao) who speaks with the flamboyant patter of a queen gunning for a spot on \u003cem>RuPaul’s Drag Race\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13850100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A special appearance by Raymond “Shrimp Boy” Chow (Jomar Tagatac). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shifting characters quickly, Apostal, Tagatac, and Dao make the stage seem as crowded as Stockton Street on a weekend. And the family bond between Jue and Piamonte is so skillfully interpreted, you’ll find yourself rooting for them to find each other again, no matter what the cost. Ratcheting up the stakes with creative staging (actors wandering out into the middle of the audience, a luridly-lit slo-mo fight scene, a Bill English-designed Chinatown doorway with a mind of its own), the cast and crew create an energetically absurd spectacle that still grabs hard at the heart.\u003c/p>\n\u003cfigure id=\"attachment_13850097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinatown shopkeeper realness (with Rinabeth Apostal and Krystle Piamonte). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Lauren Yee, her desire to detach herself from the Yees of Chinatown by creating a play about them has forced her instead to examine her heritage from the inside out. It may smack at times of a self-conscious attempt to justify her own path away from the Chinatown of her San Francisco childhood. But it also evinces her need to build a bridge between her family’s ambitions for her and her dreams for herself.\u003c/p>\n\u003cp>Above all, even at its weirdest, \u003cem>King of the Yees\u003c/em> feels like a true labor of love on Lauren’s part, and a genuine desire to crown her father—the irrepressible Larry Yee—king for a day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘King of the Yees’ runs through Saturday, March 2, at San Francisco Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2018-2019-season/king-of-the-yees/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"excerpt": "'King of the Yees' is a meta-theatrical mashup of family dynamics, Chinatown, and model ancestors.",
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"description": "'King of the Yees' is a meta-theatrical mashup of family dynamics, Chinatown, and model ancestors.",
"title": "Beyond 'Shrimp Boy': The Family Ties of Lauren Yee's 'King of the Yees' | KQED",
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"headline": "Beyond 'Shrimp Boy': The Family Ties of Lauren Yee's 'King of the Yees'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Is there anything more exasperating than a proud parent? In Lauren Yee’s \u003cem>King of the Yees\u003c/em>—a meta-theatrical mashup of family dynamics, Chinatown power plays, and model ancestors—Lauren’s father Larry Yee takes his moment in the spotlight and runs with it to the farthest extreme, all while extolling the talents of his ambivalent daughter, who hadn’t invited him in the first place.\u003c/p>\n\u003cp>But there Lauren’s dad is anyway, bearing a giant poster of her face, along with another poster of politician Leland Yee (no relation) for whom he’s been a longtime volunteer. As a longtime member of the Yee Fung Toy Family Association, an “obsolescent family association” on Waverly Street, Larry is obsessed with all things Yee. So much so that he’s invaded the stage of his daughter’s play to talk about them.\u003c/p>\n\u003cfigure id=\"attachment_13850102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_cast_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A two-hander becomes a cast of hundreds (with Jomar Tagatac, Francis Jue, Krystle Piamonte, Rinabeth Apostal, and Will Dao). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, though Lauren (played empathetically by Krystale Piamonte) has originally conceived of the play as a “two-hander” between actors “2” and “1” (Rinabeth Apostal and Jomar Tagatac), the unexpected arrival of her “real” father (the superlative Francis Jue) causes the play to fracture into a cacophony of players set loose on the stage. Meanwhile, her complicated feelings for her complicated father—and the Chinatown milieu he represents—add emotional resonance to what could easily have been a mere madcap romp. (\u003cem>King of the Yees\u003c/em> runs at SF Playhouse through March 2.)\u003c/p>\n\u003cp>For Lauren, certain truths are unalienable. Her father, the “super volunteer,” is being used by Leland Yee; Chinatown is a dump; she might not have children. For Larry, “being used” is synonymous with “being useful”; Chinatown is a community rich with nuance and history; the Yee line is 36 generations strong and should not be allowed to die out.\u003c/p>\n\u003cp>The more the father and daughter talk over each other, the more distance they establish between themselves, even as their mutual fondness seeps through. But before they resolve their differences of opinion, a new crisis emerges. State Senator Leland Yee has been arrested on charges of corruption, and Larry has already been name-checked on the four o’clock news as a key supporter. With an ominous rumble of Mikhail Fiksel’s sound design and a flicker of Wen-Ling Liao’s lighting, Larry exits the stage, and the chase is on.\u003c/p>\n\u003cfigure id=\"attachment_13850099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_KrystlePiamonte_as_LaurenYee_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Yee (Krystle Piamonte) on her quest to find her father, in King of the Yees. \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Under Joshua Kahan Brody’s direction, the first act displays definite lags in pace (though no more than what one can expect anytime a playwright’s proud papa commandeers the stage with voter registration forms and a wealth of historical anecdotes). But by the second act, the production settles into an almost extravagant groove, as Lauren embarks on a hero’s quest to find her father through the alleyways and storefronts of Chinatown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, she encounters the outrageously-attired racketeer Raymond “Shrimp Boy” Chow (Jomar Tagatac), the enigmatic “elders of Lum” who hang out in Portsmouth Square and subsist on fortune cookies, and a shopkeeper who has a stash of “good, cheap” whiskey that Lauren must convince to give her for free. There are lion dancers who boogie to Michael Jackson, FBI agents who dirty-dance their way to oblivion, and a “model” ancestor in heels (Will Dao) who speaks with the flamboyant patter of a queen gunning for a spot on \u003cem>RuPaul’s Drag Race\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13850100\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_JomarTagatac_as_ShrimpBoy_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A special appearance by Raymond “Shrimp Boy” Chow (Jomar Tagatac). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shifting characters quickly, Apostal, Tagatac, and Dao make the stage seem as crowded as Stockton Street on a weekend. And the family bond between Jue and Piamonte is so skillfully interpreted, you’ll find yourself rooting for them to find each other again, no matter what the cost. Ratcheting up the stakes with creative staging (actors wandering out into the middle of the audience, a luridly-lit slo-mo fight scene, a Bill English-designed Chinatown doorway with a mind of its own), the cast and crew create an energetically absurd spectacle that still grabs hard at the heart.\u003c/p>\n\u003cfigure id=\"attachment_13850097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/KingoftheYees_RinabethApostalKrystlePiamonts_in_Chinatown_credit_KenLevin.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chinatown shopkeeper realness (with Rinabeth Apostal and Krystle Piamonte). \u003ccite>(Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Lauren Yee, her desire to detach herself from the Yees of Chinatown by creating a play about them has forced her instead to examine her heritage from the inside out. It may smack at times of a self-conscious attempt to justify her own path away from the Chinatown of her San Francisco childhood. But it also evinces her need to build a bridge between her family’s ambitions for her and her dreams for herself.\u003c/p>\n\u003cp>Above all, even at its weirdest, \u003cem>King of the Yees\u003c/em> feels like a true labor of love on Lauren’s part, and a genuine desire to crown her father—the irrepressible Larry Yee—king for a day.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘King of the Yees’ runs through Saturday, March 2, at San Francisco Playhouse. \u003ca href=\"https://www.sfplayhouse.org/sfph/2018-2019-season/king-of-the-yees/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Day at the Beach, Interrupted by Two Giant Lizards",
"headTitle": "A Day at the Beach, Interrupted by Two Giant Lizards | KQED",
"content": "\u003cp>Sometimes, most times, a day at the beach is just that. Sand beneath one’s feet, the crashing surf, a picnic lunch. Uneventful, idle, predictable.\u003c/p>\n\u003cp>But even in peak relaxation, Nancy and Charlie’s approach to idleness is very different. She’s been painting; he watching the water. She talks with the volubility of a woman accustomed to leading the conversation; he speaks with the precise sentences of a man who is not. She wants to retire properly, pack up the house, see the world; he wants to do “nothing.” Their day at the beach feels like one of thousands of perfectly forgettable days.\u003c/p>\n\u003cp>That is, until the giant lizards arrive.\u003c/p>\n\u003cfigure id=\"attachment_13849911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The giant lizards have arrived! Leslie (Seann Gallagher) approaches Nancy (Ellen McLaughlin) and Charlie (James Carpenter) on the beach. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the world of Edward Albee’s\u003cem> Seascape\u003c/em>, directed by A.C.T.’s new artistic director Pam MacKinnon, an unprepossessing slice of shoreline becomes the staging ground for a curious meeting of the minds. Not so much the minds of Nancy (Ellen McLaughlin) and Charlie (James Carpenter)—they’ve mostly given up on listening to each other—but with those of their reptilian visitors, Sarah (Sarah Nina Hayon) and Leslie (Seann Gallagher).\u003c/p>\n\u003cp>No mere metaphors, Sarah and Leslie sport iridescent green scales, decorative frills, and ninja-turtle belly-ridges: half \u003cem>Shape of Water\u003c/em>, half iguana-chic (costumes and scenic design by David Zinn). And while their appearance at first is startling, as soon as Nancy and Charlie discover that their lizard companions speak English, the four settle into an exchange of ideas, and species-specific differences in courtship rituals, childbearing, and the elusive nature of emotions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like many of Albee’s works—\u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, \u003cem>Zoo Story\u003c/em>, and \u003cem>A Delicate Balance\u003c/em> among them—most of the action takes place within the language, even while much of the conversation is expressed without. As Nancy chatters about seeing the world, she barely looks at Charlie, her eyes fixed on the horizon and her potential future. When he shares, not for the first time, his habit in childhood to force the air from his lungs so he could sit in peaceful solitude at the bottom of the cove, his face is similarly turned, but looking to the past. Even a confession that Nancy once contemplated leaving Charlie doesn’t bridge the unacknowledged distance between them, as evidenced by the rolling swaths of sand dune that separate them physically.\u003c/p>\n\u003cfigure id=\"attachment_13849914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Older marrieds, Charlie (James Carpenter) and Nancy (Ellen McLaughlin) maintaining their distance. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with the appearance of their very unexpected visitors they must unite, Nancy taking the lead, as they assume “submissive” poses and smile in what they consider a friendly manner. After Sarah and Leslie discuss whether Nancy and Charlie’s bared teeth constitute a threat, they make their approach, eager to unravel the mysteries of the world outside the water from which they have just emerged. Almost immediately, their own relationship dynamic is revealed, one not dissimilar to their human counterparts. And after a few prods and sniffs, the four realize they share a common language, and the tension dissipates for a bit.\u003c/p>\n\u003cp>Physically as well as linguistically there is enough similarity between the lizards and the humans that they can feel superficially at ease. The lizards stand on their two hind legs, learn to shake “hands” with their front ones, and only revert to all fours when scrambling over the dunes or hiding from the occasional planes flying loudly overhead. It’s their surface similarities, though, that underscore the real distance between them.\u003c/p>\n\u003cp>[contextly_sidebar id=”Qry4rifjRYAumQg5Kaa8yopyxi8iedEk”]\u003c/p>\n\u003cp>In evolutionary terms, Nancy and Charlie occupy what may be considered the top tier, though up until now they’ve not had the foresight to appreciate it. Sarah and Leslie, meanwhile, are just now considering a move to dry land. Their grasp of the English language is solid but lacking in dimension, and when confronted with the concept of emotions their confusion is palpable. The more that Charlie and Leslie try to parse out for the lizards what they are, exactly, the more it becomes evident that words alone are a poor medium for communication, no matter your species.\u003c/p>\n\u003cfigure id=\"attachment_13849916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849916\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Despite it all, Nancy (Ellen McLaughlin) and Charlie (James Carpenter) can still share a moment of intimacy. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Known as a formidable interpreter of Albee’s contemporary work, MacKinnon’s decision to direct this older, less frequently staged piece feels exactly like a bit of a beach holiday in January. Not as weighted as \u003cem>Virginia Woolf\u003c/em>, not as outright absurd as \u003cem>The Goat, or Who is Sylvia?\u003c/em>, \u003cem>Seascape \u003c/em>gives us some existential puzzles to work on at our leisure—much like the book of crosswords surely tucked into Nancy and Charlie’s picnic basket—without crushing us beneath their implications.\u003c/p>\n\u003cp>At its heart, the message is so simple a lizard could grasp it: within all creatures lies the imperative to evolve. Some of them, both human and not, are simply more open to it than others.\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>\u003cem>‘Seascape’ runs through Feb. 17 at the Geary Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/seascape.html\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"excerpt": "In Edward Albee’s 'Seascape,' an unprepossessing slice of shoreline hosts a curious meeting of the minds.",
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"title": "A Day at the Beach, Interrupted by Two Giant Lizards | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, most times, a day at the beach is just that. Sand beneath one’s feet, the crashing surf, a picnic lunch. Uneventful, idle, predictable.\u003c/p>\n\u003cp>But even in peak relaxation, Nancy and Charlie’s approach to idleness is very different. She’s been painting; he watching the water. She talks with the volubility of a woman accustomed to leading the conversation; he speaks with the precise sentences of a man who is not. She wants to retire properly, pack up the house, see the world; he wants to do “nothing.” Their day at the beach feels like one of thousands of perfectly forgettable days.\u003c/p>\n\u003cp>That is, until the giant lizards arrive.\u003c/p>\n\u003cfigure id=\"attachment_13849911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849911\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_SeannGallagher_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The giant lizards have arrived! Leslie (Seann Gallagher) approaches Nancy (Ellen McLaughlin) and Charlie (James Carpenter) on the beach. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the world of Edward Albee’s\u003cem> Seascape\u003c/em>, directed by A.C.T.’s new artistic director Pam MacKinnon, an unprepossessing slice of shoreline becomes the staging ground for a curious meeting of the minds. Not so much the minds of Nancy (Ellen McLaughlin) and Charlie (James Carpenter)—they’ve mostly given up on listening to each other—but with those of their reptilian visitors, Sarah (Sarah Nina Hayon) and Leslie (Seann Gallagher).\u003c/p>\n\u003cp>No mere metaphors, Sarah and Leslie sport iridescent green scales, decorative frills, and ninja-turtle belly-ridges: half \u003cem>Shape of Water\u003c/em>, half iguana-chic (costumes and scenic design by David Zinn). And while their appearance at first is startling, as soon as Nancy and Charlie discover that their lizard companions speak English, the four settle into an exchange of ideas, and species-specific differences in courtship rituals, childbearing, and the elusive nature of emotions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like many of Albee’s works—\u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, \u003cem>Zoo Story\u003c/em>, and \u003cem>A Delicate Balance\u003c/em> among them—most of the action takes place within the language, even while much of the conversation is expressed without. As Nancy chatters about seeing the world, she barely looks at Charlie, her eyes fixed on the horizon and her potential future. When he shares, not for the first time, his habit in childhood to force the air from his lungs so he could sit in peaceful solitude at the bottom of the cove, his face is similarly turned, but looking to the past. Even a confession that Nancy once contemplated leaving Charlie doesn’t bridge the unacknowledged distance between them, as evidenced by the rolling swaths of sand dune that separate them physically.\u003c/p>\n\u003cfigure id=\"attachment_13849914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_JamesCarpenter_EllenMcLaughlin_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Older marrieds, Charlie (James Carpenter) and Nancy (Ellen McLaughlin) maintaining their distance. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But with the appearance of their very unexpected visitors they must unite, Nancy taking the lead, as they assume “submissive” poses and smile in what they consider a friendly manner. After Sarah and Leslie discuss whether Nancy and Charlie’s bared teeth constitute a threat, they make their approach, eager to unravel the mysteries of the world outside the water from which they have just emerged. Almost immediately, their own relationship dynamic is revealed, one not dissimilar to their human counterparts. And after a few prods and sniffs, the four realize they share a common language, and the tension dissipates for a bit.\u003c/p>\n\u003cp>Physically as well as linguistically there is enough similarity between the lizards and the humans that they can feel superficially at ease. The lizards stand on their two hind legs, learn to shake “hands” with their front ones, and only revert to all fours when scrambling over the dunes or hiding from the occasional planes flying loudly overhead. It’s their surface similarities, though, that underscore the real distance between them.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In evolutionary terms, Nancy and Charlie occupy what may be considered the top tier, though up until now they’ve not had the foresight to appreciate it. Sarah and Leslie, meanwhile, are just now considering a move to dry land. Their grasp of the English language is solid but lacking in dimension, and when confronted with the concept of emotions their confusion is palpable. The more that Charlie and Leslie try to parse out for the lizards what they are, exactly, the more it becomes evident that words alone are a poor medium for communication, no matter your species.\u003c/p>\n\u003cfigure id=\"attachment_13849916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849916\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Seascape_EllenMcLaughlin_JamesCarpenter_credit_KevinBerne.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Despite it all, Nancy (Ellen McLaughlin) and Charlie (James Carpenter) can still share a moment of intimacy. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Known as a formidable interpreter of Albee’s contemporary work, MacKinnon’s decision to direct this older, less frequently staged piece feels exactly like a bit of a beach holiday in January. Not as weighted as \u003cem>Virginia Woolf\u003c/em>, not as outright absurd as \u003cem>The Goat, or Who is Sylvia?\u003c/em>, \u003cem>Seascape \u003c/em>gives us some existential puzzles to work on at our leisure—much like the book of crosswords surely tucked into Nancy and Charlie’s picnic basket—without crushing us beneath their implications.\u003c/p>\n\u003cp>At its heart, the message is so simple a lizard could grasp it: within all creatures lies the imperative to evolve. Some of them, both human and not, are simply more open to it than others.\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>\u003cem>‘Seascape’ runs through Feb. 17 at the Geary Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/home/box_office/1819_season/seascape.html\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "TheatreWorks Delivers a 'Frost/Nixon' Freshly Relevant in This Political Moment",
"headTitle": "TheatreWorks Delivers a ‘Frost/Nixon’ Freshly Relevant in This Political Moment | KQED",
"content": "\u003cp>In a time when we rarely hear politicians apologize, the power of a public apology takes on an almost mythic quality. For the play \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003ci>Frost/Nixon\u003c/i>\u003c/a>, on now in Mountain View, a real life apology serves as the climax of an epic struggle between a disgraced former president and his interviewer.\u003c/p>\n\u003cp>What took down President Richard Nixon? \u003ca href=\"https://www.pbs.org/newshour/tag/the-watergate-hearings-40-years-later\" target=\"_blank\" rel=\"noopener\">Watergate\u003c/a>, the scandal over his coverup of a botched break-in to Democratic Party headquarters in Washington DC. Nixon resigned before he could be impeached. But the \u003ci>apology\u003c/i> came three years later, in a \u003cspan style=\"font-weight: 400\">history-making interview with TV journalist David Frost\u003c/span>.\u003c/p>\n\u003cp>“I let down my friends. I let down the country. I let down our system of government and the dreams of all these young people that ought to get into government but think it’s all too corrupt and the rest,” Nixon said.\u003c/p>\n\u003cp>Then, “I let the American people down. And I have to carry that burden with me for the rest of my life.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0604948/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Peter Morgan \u003c/a>(“The Crown,” “The Last King of Scotland”), a gifted interpreter of the political stage, wrote the play \u003cem>Frost/Nixon\u003c/em> based on those tapes. The piece debuted in London in 2006. Its Broadway premiere the next year garnered a Tony for actor Frank Langella for his performance as Nixon, and led to a \u003ca href=\"https://www.youtube.com/watch?v=ls_QEg9JZKE\" target=\"_blank\" rel=\"noopener\">Hollywood adaptation\u003c/a> with the same cast. That the play still seems fresh today is a tribute to Morgan’s talent for spotting the epic moments in the endless day-to-day of ancient news headlines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=nQA15_HdxVs]\u003cbr>\nWhile Morgan takes a few liberties with the facts, he doesn’t take nearly as many as Nixon did himself. That late-night phone call a drunk Nixon makes to Frost in the play? Didn’t happen.\u003c/p>\n\u003cp>Also, in real life, David Frost\u003ca href=\"https://www.c-span.org/video/?296328-1/sir-david-frost-oral-history-interview\" target=\"_blank\" rel=\"noopener\"> wasn’t really a lightweight\u003c/a> talk show host. He and his team went into the studio heavily armed with research. In particular, \u003ca href=\"http://www.restonbooks.com\" target=\"_blank\" rel=\"noopener\">James Reston Jr.\u003c/a>, the son of the legendary \u003ci>New York Times\u003c/i> reporter, found scores of transcripts of the White House tapes that prosecutors had seen but never used in court. They were in the public record, but somehow other reporters failed to notice them.\u003c/p>\n\u003cp>In the play though, Frost is trying to restore his professional reputation in a parallel fashion to Nixon. That makes for a juicier role for actor \u003ca href=\"https://www.imdb.com/name/nm0916151/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Jeremy Webb\u003c/a>, who plays Frost in the TheatreWorks production now on in Mountain View.\u003c/p>\n\u003cp>He also serves as an excellent stand in for the rest of us, especially those of us who “can’t recall” the original history, only the echoes rippling through modern day politics. Webb says, “I was born June 10, 1972, and Watergate’s June 17,” Webb said. “So I don’t have a recollection, but probably some of the first words I was taught were, ‘We hate Richard Nixon.’ ”\u003c/p>\n\u003cp>The original conversations took place over nearly 29 hours during 12 days in 1977, shot near Nixon’s estate in San Clemente. The footage was then condensed into four 90-minute segments for broadcast.\u003c/p>\n\u003cp>Watching even a fraction of that is rough sledding for viewers who didn’t live through the Nixon administration. There are so many details, and Nixon does his practiced best to hide in those details. Unfortunately for him, Frost had done his homework and matched the president point for point.\u003c/p>\n\u003cp>Why did Nixon agree to the grilling? Money, for one thing. But also, as \u003ca href=\"https://www.youtube.com/watch?v=8fpYu36q_tQ\" target=\"_blank\" rel=\"noopener\">Frost told Mike Wallace\u003c/a> of \u003cem>60 Minutes\u003c/em>, “Television is a more powerful medium than a book. If he has … told the truth on television, millions and billions of people will have seen that. If he misses this opportunity, no one’s going to buy the book anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13849361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg\" alt='Richard Nixon (Allen McCullough) reacts to his interviews with Frost in \"Frost/Nixon,\" presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10.' width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Nixon (Allen McCullough) reacts to his interviews with Frost in “Frost/Nixon,” presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10. \u003ccite>(Courtesy Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, we watch Nixon gradually let go of his justifications over a more digestible 100 minutes, and finally admit to failure, if not illegal acts.\u003c/p>\n\u003cp>The former president comes off as tragic, says \u003ca href=\"https://www.allenmccullough.com\" target=\"_blank\" rel=\"noopener\">Allen McCullough\u003c/a>, who plays Nixon in the TheatreWorks production in Mountain View. Does McCullough fear restoring Nixon’s reputation with modern audiences? No.\u003c/p>\n\u003cp>“If the audience says, ‘Richard Nixon is a schmuck and he’s going to stay a schmuck,’ there is no play. Many people have come to me who said, ‘I remember him. I hated him. You really made me feel differently about him.’ Then I’ve done my job.”\u003c/p>\n\u003cp>But we still gets a gripping history lesson on Nixon’s insecure, open hatred of the press, and his arrogance about the law. Nixon says at one point — in the original interview, mind you, as well as the play — “When the President does it, that means it is not illegal.”\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Frost/Nixon\u003c/strong> put on by Theatreworks runs through February 10, 2019 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "TheatreWorks Delivers a 'Frost/Nixon' Freshly Relevant in This Political Moment | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a time when we rarely hear politicians apologize, the power of a public apology takes on an almost mythic quality. For the play \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" target=\"_blank\" rel=\"noopener\">\u003ci>Frost/Nixon\u003c/i>\u003c/a>, on now in Mountain View, a real life apology serves as the climax of an epic struggle between a disgraced former president and his interviewer.\u003c/p>\n\u003cp>What took down President Richard Nixon? \u003ca href=\"https://www.pbs.org/newshour/tag/the-watergate-hearings-40-years-later\" target=\"_blank\" rel=\"noopener\">Watergate\u003c/a>, the scandal over his coverup of a botched break-in to Democratic Party headquarters in Washington DC. Nixon resigned before he could be impeached. But the \u003ci>apology\u003c/i> came three years later, in a \u003cspan style=\"font-weight: 400\">history-making interview with TV journalist David Frost\u003c/span>.\u003c/p>\n\u003cp>“I let down my friends. I let down the country. I let down our system of government and the dreams of all these young people that ought to get into government but think it’s all too corrupt and the rest,” Nixon said.\u003c/p>\n\u003cp>Then, “I let the American people down. And I have to carry that burden with me for the rest of my life.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0604948/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Peter Morgan \u003c/a>(“The Crown,” “The Last King of Scotland”), a gifted interpreter of the political stage, wrote the play \u003cem>Frost/Nixon\u003c/em> based on those tapes. The piece debuted in London in 2006. Its Broadway premiere the next year garnered a Tony for actor Frank Langella for his performance as Nixon, and led to a \u003ca href=\"https://www.youtube.com/watch?v=ls_QEg9JZKE\" target=\"_blank\" rel=\"noopener\">Hollywood adaptation\u003c/a> with the same cast. That the play still seems fresh today is a tribute to Morgan’s talent for spotting the epic moments in the endless day-to-day of ancient news headlines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nQA15_HdxVs'\n title='//www.youtube.com/embed/nQA15_HdxVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nWhile Morgan takes a few liberties with the facts, he doesn’t take nearly as many as Nixon did himself. That late-night phone call a drunk Nixon makes to Frost in the play? Didn’t happen.\u003c/p>\n\u003cp>Also, in real life, David Frost\u003ca href=\"https://www.c-span.org/video/?296328-1/sir-david-frost-oral-history-interview\" target=\"_blank\" rel=\"noopener\"> wasn’t really a lightweight\u003c/a> talk show host. He and his team went into the studio heavily armed with research. In particular, \u003ca href=\"http://www.restonbooks.com\" target=\"_blank\" rel=\"noopener\">James Reston Jr.\u003c/a>, the son of the legendary \u003ci>New York Times\u003c/i> reporter, found scores of transcripts of the White House tapes that prosecutors had seen but never used in court. They were in the public record, but somehow other reporters failed to notice them.\u003c/p>\n\u003cp>In the play though, Frost is trying to restore his professional reputation in a parallel fashion to Nixon. That makes for a juicier role for actor \u003ca href=\"https://www.imdb.com/name/nm0916151/bio?ref_=nm_ov_bio_sm\" target=\"_blank\" rel=\"noopener\">Jeremy Webb\u003c/a>, who plays Frost in the TheatreWorks production now on in Mountain View.\u003c/p>\n\u003cp>He also serves as an excellent stand in for the rest of us, especially those of us who “can’t recall” the original history, only the echoes rippling through modern day politics. Webb says, “I was born June 10, 1972, and Watergate’s June 17,” Webb said. “So I don’t have a recollection, but probably some of the first words I was taught were, ‘We hate Richard Nixon.’ ”\u003c/p>\n\u003cp>The original conversations took place over nearly 29 hours during 12 days in 1977, shot near Nixon’s estate in San Clemente. The footage was then condensed into four 90-minute segments for broadcast.\u003c/p>\n\u003cp>Watching even a fraction of that is rough sledding for viewers who didn’t live through the Nixon administration. There are so many details, and Nixon does his practiced best to hide in those details. Unfortunately for him, Frost had done his homework and matched the president point for point.\u003c/p>\n\u003cp>Why did Nixon agree to the grilling? Money, for one thing. But also, as \u003ca href=\"https://www.youtube.com/watch?v=8fpYu36q_tQ\" target=\"_blank\" rel=\"noopener\">Frost told Mike Wallace\u003c/a> of \u003cem>60 Minutes\u003c/em>, “Television is a more powerful medium than a book. If he has … told the truth on television, millions and billions of people will have seen that. If he misses this opportunity, no one’s going to buy the book anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13849361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg\" alt='Richard Nixon (Allen McCullough) reacts to his interviews with Frost in \"Frost/Nixon,\" presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10.' width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/RS34816_TW_Frost-Nixon_KevinBerne13-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Nixon (Allen McCullough) reacts to his interviews with Frost in “Frost/Nixon,” presented by TheatreWorks Silicon Valley at the Mountain View Center for the Performing Arts January 16 through February 10. \u003ccite>(Courtesy Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, we watch Nixon gradually let go of his justifications over a more digestible 100 minutes, and finally admit to failure, if not illegal acts.\u003c/p>\n\u003cp>The former president comes off as tragic, says \u003ca href=\"https://www.allenmccullough.com\" target=\"_blank\" rel=\"noopener\">Allen McCullough\u003c/a>, who plays Nixon in the TheatreWorks production in Mountain View. Does McCullough fear restoring Nixon’s reputation with modern audiences? No.\u003c/p>\n\u003cp>“If the audience says, ‘Richard Nixon is a schmuck and he’s going to stay a schmuck,’ there is no play. Many people have come to me who said, ‘I remember him. I hated him. You really made me feel differently about him.’ Then I’ve done my job.”\u003c/p>\n\u003cp>But we still gets a gripping history lesson on Nixon’s insecure, open hatred of the press, and his arrogance about the law. Nixon says at one point — in the original interview, mind you, as well as the play — “When the President does it, that means it is not illegal.”\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Frost/Nixon\u003c/strong> put on by Theatreworks runs through February 10, 2019 at the Mountain View Center for the Performing Arts. For more information, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/frostnixon/\" 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": "Quantum Dragon’s 'Do’s and Don’ts of Time Travel' Isn’t Just for Nerds",
"headTitle": "Quantum Dragon’s ‘Do’s and Don’ts of Time Travel’ Isn’t Just for Nerds | KQED",
"content": "\u003cp>For a region as tech-friendly as the Bay Area, it’s surprising that more theaters don’t cater to the computer-age canon.\u003c/p>\n\u003cp>Indra’s Net, in Berkeley, specializes in plays specifically about science and scientists, including Heisenberg, Darwin, and Hawking. Dreams on the Rocks Productions puts on rambunctious reenactments of nerd-camp movie fare such as \u003cem>Flash Gordon\u003c/em> and \u003cem>Barbarella\u003c/em>. But only Quantum Dragon Theatre, active since 2016, has fully embraced the dramatic potential of \u003cem>speculative fiction\u003c/em>. Producing work that runs the gamut from space travel to spellcraft to classic science fiction, Quantum Dragon offers audiences a chance to geek out via one of our most classically analog art forms, and have fun doing it.\u003c/p>\n\u003cp>In their current production—\u003cem>The Do’s and Don’ts of Time Travel\u003c/em>, by Pennsylvania-based playwright Nicholas Wardigo—Quantum Dragon serves up a smart, compelling drama about the personal implications and motivations for time travel. In addition to the play’s emotional arc, the audience is treated to one character’s thesis on time travel in movies, and why there’s always a moment in the plot where logic fails. More than just a clever gimmick to explain away any logical fallacies found within the play, this thesis sparks an opportunity to ruminate on the science behind the fiction, both during the play, and after.\u003c/p>\n\u003cfigure id=\"attachment_13848748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miranda Reilly as Zoey and Marisa Darabi as Rachel in ‘The Do’s and Don’ts of Time Travel’ at Quantum Dragon Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Presented by the character Rachel (Marisa Darabi), the thesis breaks time travel into three basic methods: Force of Machination (as found in \u003cem>Back to the Future\u003c/em>, \u003cem>The Terminator\u003c/em>, and \u003cem>Hot Tub Time Machine\u003c/em>), Force of Nature (as in \u003cem>Army of Darkness\u003c/em> and\u003cem> Time Bandits\u003c/em>), and Force of Will (\u003cem>The Time Traveler’s Wife\u003c/em>, \u003cem>Slaughterhouse Five\u003c/em>, and \u003cem>Donnie Darko\u003c/em>). It’s this third method that our lead time traveler, Zoey, avails herself of. Zoey is actually two Zoeys, played by Miranda Reilly and Kitty Torres (who swap their respective roles each night), and although Rachel points out several times the fallacy of your future self and past self meeting up in time together, they immediately do just that. Circling each other warily in a laundromat, matching ombre-dyed blue wigs framing their watchful faces, Zoey 1 and Zoey 2 are clearly uncomfortable with their encounter, even though—it’s intimated—they’ve done it all before.\u003c/p>\n\u003cfigure id=\"attachment_13848746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitty Torres as Zoey and Miranda Reilly as Zoey circle each other in the laundromat. \u003ccite>(Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You see, Zoey’s been traveling in time for many years. A “looper,” she relives the same two years over and over, trying to change the outcome: the long painful decline of her partner, Claire (Caitlin Evenson). It’s the motivation behind her “Force of Will” method of time travel, one which baffles her friend Rachel, both in terms of the relationship and of the chosen loop. But it’s this motivation, and the evolution of Zoey’s approach, that gives the play its emotional resonance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s because at its core, \u003cem>Do’s and Don’ts\u003c/em> is as much about the heart as about the practical how-to’s of traveling in time. Set in a world much like our own, except that the play’s young lovers still use answering machines, there are no great leaps in perception or deep knowledge of time traveling as leitmotif required of the audience. Being a time traveler is just one of several character traits in Zoey’s arsenal, which also include a love of James Bond, a curious inability to sort her own laundry, and an irrepressible free spirit. Her need to relive the same tragic two years may have the appearance of an unexplainable masochism, but to her, it’s the mark of a serious commitment, one that Evenson’s Claire doesn’t make easy.\u003c/p>\n\u003cfigure id=\"attachment_13848744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Evenson as Claire and Kitty Torres as Zoey confront each other in the hospital. \u003ccite>(Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perfectly contained within the cozy confines of the Phoenix Theatre, a miniature revolving stage (designed by Katie Whitcraft) allows for simple set changes with a minimum of disruption, while the equally effective costuming (by Emily Dwyer) offers a quick visual shorthand to the interior selves of each character. Director Anna Smith’s light touch imbues the production with a matter-of-fact realism that makes even the most scientifically improbable moments entirely natural. Without a need for flashy special effects or stagecraft, this understated foray into fantasy feels more down-to-earth and perfectly plausible than any number of “living-room” dramas.\u003c/p>\n\u003cp>As such, \u003cem>The Dos and Don’ts of Time Travel\u003c/em> will certainly appeal to a broader spectrum than those who self-identify as nerds. Anyone who recognizes theater’s potential for grappling with the bigger questions of our human existence, regardless of genre, will find resonance in this production.\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 Dos and Don’ts of Time Travel’ runs through Jan. 26. \u003ca href=\"https://www.quantumdragon.org/the-dos-and-donts-of-time-travel/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a region as tech-friendly as the Bay Area, it’s surprising that more theaters don’t cater to the computer-age canon.\u003c/p>\n\u003cp>Indra’s Net, in Berkeley, specializes in plays specifically about science and scientists, including Heisenberg, Darwin, and Hawking. Dreams on the Rocks Productions puts on rambunctious reenactments of nerd-camp movie fare such as \u003cem>Flash Gordon\u003c/em> and \u003cem>Barbarella\u003c/em>. But only Quantum Dragon Theatre, active since 2016, has fully embraced the dramatic potential of \u003cem>speculative fiction\u003c/em>. Producing work that runs the gamut from space travel to spellcraft to classic science fiction, Quantum Dragon offers audiences a chance to geek out via one of our most classically analog art forms, and have fun doing it.\u003c/p>\n\u003cp>In their current production—\u003cem>The Do’s and Don’ts of Time Travel\u003c/em>, by Pennsylvania-based playwright Nicholas Wardigo—Quantum Dragon serves up a smart, compelling drama about the personal implications and motivations for time travel. In addition to the play’s emotional arc, the audience is treated to one character’s thesis on time travel in movies, and why there’s always a moment in the plot where logic fails. More than just a clever gimmick to explain away any logical fallacies found within the play, this thesis sparks an opportunity to ruminate on the science behind the fiction, both during the play, and after.\u003c/p>\n\u003cfigure id=\"attachment_13848748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/mirandareilly_marisadarabi_timetravel_qdt_photosby_melissanigro-18.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miranda Reilly as Zoey and Marisa Darabi as Rachel in ‘The Do’s and Don’ts of Time Travel’ at Quantum Dragon Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Presented by the character Rachel (Marisa Darabi), the thesis breaks time travel into three basic methods: Force of Machination (as found in \u003cem>Back to the Future\u003c/em>, \u003cem>The Terminator\u003c/em>, and \u003cem>Hot Tub Time Machine\u003c/em>), Force of Nature (as in \u003cem>Army of Darkness\u003c/em> and\u003cem> Time Bandits\u003c/em>), and Force of Will (\u003cem>The Time Traveler’s Wife\u003c/em>, \u003cem>Slaughterhouse Five\u003c/em>, and \u003cem>Donnie Darko\u003c/em>). It’s this third method that our lead time traveler, Zoey, avails herself of. Zoey is actually two Zoeys, played by Miranda Reilly and Kitty Torres (who swap their respective roles each night), and although Rachel points out several times the fallacy of your future self and past self meeting up in time together, they immediately do just that. Circling each other warily in a laundromat, matching ombre-dyed blue wigs framing their watchful faces, Zoey 1 and Zoey 2 are clearly uncomfortable with their encounter, even though—it’s intimated—they’ve done it all before.\u003c/p>\n\u003cfigure id=\"attachment_13848746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/kittytorres_mirandareilly_timetravel_qdt_photosby_melissanigro-1.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kitty Torres as Zoey and Miranda Reilly as Zoey circle each other in the laundromat. \u003ccite>(Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You see, Zoey’s been traveling in time for many years. A “looper,” she relives the same two years over and over, trying to change the outcome: the long painful decline of her partner, Claire (Caitlin Evenson). It’s the motivation behind her “Force of Will” method of time travel, one which baffles her friend Rachel, both in terms of the relationship and of the chosen loop. But it’s this motivation, and the evolution of Zoey’s approach, that gives the play its emotional resonance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s because at its core, \u003cem>Do’s and Don’ts\u003c/em> is as much about the heart as about the practical how-to’s of traveling in time. Set in a world much like our own, except that the play’s young lovers still use answering machines, there are no great leaps in perception or deep knowledge of time traveling as leitmotif required of the audience. Being a time traveler is just one of several character traits in Zoey’s arsenal, which also include a love of James Bond, a curious inability to sort her own laundry, and an irrepressible free spirit. Her need to relive the same tragic two years may have the appearance of an unexplainable masochism, but to her, it’s the mark of a serious commitment, one that Evenson’s Claire doesn’t make easy.\u003c/p>\n\u003cfigure id=\"attachment_13848744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/caitlinevenson_kittytorres_timetravel_qdt_photosby_melissanigro-9.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Evenson as Claire and Kitty Torres as Zoey confront each other in the hospital. \u003ccite>(Melissa Nigro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perfectly contained within the cozy confines of the Phoenix Theatre, a miniature revolving stage (designed by Katie Whitcraft) allows for simple set changes with a minimum of disruption, while the equally effective costuming (by Emily Dwyer) offers a quick visual shorthand to the interior selves of each character. Director Anna Smith’s light touch imbues the production with a matter-of-fact realism that makes even the most scientifically improbable moments entirely natural. Without a need for flashy special effects or stagecraft, this understated foray into fantasy feels more down-to-earth and perfectly plausible than any number of “living-room” dramas.\u003c/p>\n\u003cp>As such, \u003cem>The Dos and Don’ts of Time Travel\u003c/em> will certainly appeal to a broader spectrum than those who self-identify as nerds. Anyone who recognizes theater’s potential for grappling with the bigger questions of our human existence, regardless of genre, will find resonance in this production.\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 Dos and Don’ts of Time Travel’ runs through Jan. 26. \u003ca href=\"https://www.quantumdragon.org/the-dos-and-donts-of-time-travel/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. [contextly_sidebar id=”lMkGTvdrj8ts7af1cj7TrD1mfaEpWMvL”]\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geffen isn’t the only recent New York transplant to head a major Bay Area arts organization. Thomas Campbell, who led the Metropolitan Museum of Art in New York, was \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" rel=\"noopener\" target=\"_blank\">appointed director and CEO of the Fine Arts Museums of San Francisco\u003c/a> last October.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Carol Channing, Broadway Legend Raised in SF, Dies at Age 97",
"headTitle": "Carol Channing, Broadway Legend Raised in SF, Dies at Age 97 | KQED",
"content": "\u003cp>Carol Channing, the lanky, ebullient musical comedy star who delighted American audiences over almost 5,000 performances as the scheming Dolly Levi in “Hello, Dolly!” on Broadway and beyond, has died. She was 97.\u003c/p>\n\u003cp>Publicist B. Harlan Boll said Channing died of natural causes at 12:31am Tuesday in Rancho Mirage, California. Boll says she had twice suffered strokes in the last year.\u003c/p>\n\u003cp>Besides “Hello, Dolly!,” Channing starred in other Broadway shows, but none with equal magnetism. She often appeared on television and in nightclubs, for a time partnering with George Burns in Las Vegas and a national tour.\u003c/p>\n\u003cp>Her outsized personality seemed too much for the screen, and she made only a few movies, notably “The First Traveling Saleslady” with Ginger Rogers and “Thoroughly Modern Millie” with Julie Andrews.\u003c/p>\n\u003cp>Over the years, Channing continued as Dolly in national tours, the last in 1996, when she was in her 70s. Tom Shales of The Washington Post called her “the ninth wonder of the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Messages of love and appreciation lit up Twitter early Tuesday, with the League of Professional Theatre Women saying Channing “was a gift of inspiration to so many.” Fans who saw her work also took to social media, calling her a “firecracker” and saying she was “matchmaking for the angels now.”\u003c/p>\n\u003cp>Channing was not the immediate choice to play Dolly, a matchmaker who receives her toughest challenge yet when a rich grump seeks a suitable wife. The show, which features a rousing score by Jerry Herman that’s bursting with joy and tunes like “Put On Your Sunday Clothes,” ″Before the Parade Passes By” and “It Only Takes a Moment,” is a musical version of Thornton Wilder’s play “The Matchmaker.”\u003c/p>\n\u003cp>Theater producer David Merrick told her: “I don’t want that silly grin with all those teeth that go back to your ears.” Even though director Gower Champion had worked on her first Broadway hit, “Lend an Ear,” he had doubts about Channing’s casting.\u003c/p>\n\u003cp>She wowed them in an audition and was hired on the spot. At opening night on Jan. 16, 1964, when Channing appeared at the top of the stairs in a red gown with feathers in her hair and walked down the red carpet to the Harmonia Gardens restaurant, the New York audience went crazy. The critics followed suit. “Hello, Dolly!” collected 10 Tony Awards, including one for Channing as best actress in a musical.\u003c/p>\n\u003cp>Channing was born Jan. 31, 1921, in Seattle, where her father, George Channing, was a newspaper editor. When his only child was 3 months old, he moved to San Francisco and worked as a writer for The Christian Science Monitor and as a lecturer. He later became editor-in-chief of Christian Science publications. Channing herself graduated from Lowell High School, then on Hayes Street in San Francisco.\u003c/p>\n\u003cp>At the age of 7, Channing decided she wanted to become an entertainer. She credited her father with encouraging her: “He told me you can dedicate your life at 7 or 97. And the people who do that are happier people.”\u003c/p>\n\u003cp>While majoring in drama and dance at Bennington College in Vermont, she was sent off to get experience in her chosen field. She found a job in a New York revue. The show lasted only two weeks, but a New Yorker magazine critic commented, “You will hear more about a satiric chanteuse named Carol Channing.” She said later: “That was it. I said goodbye to trigonometry, zoology and English literature.”\u003c/p>\n\u003cp>For several years she worked as an understudy, bit player and nightclub impressionist, taking jobs as a model, receptionist and sales clerk during lean times. Landing in Los Angeles, she auditioned for Marge Champion, wife and dance partner of Gower Champion who was putting together a revue, “Lend an Ear.” Marge Champion recalled: “She certainly was awkward and odd-looking, but her warmth and wholesomeness came through.”\u003c/p>\n\u003cp>Channing was the hit of “Lend an Ear” in a small Hollywood theater, and she captivated audiences and critics when the show moved to New York. As the innocent gold digger in the musical “Gentlemen Prefer Blondes,” her stardom was assured. One reviewer reported she “hurls across the footlights in broad strokes of pantomime and bold, certain, exquisitely comical gestures.” The show’s hit song, “Diamonds Are a Girl’s Best Friend,” became her signature number.\u003c/p>\n\u003cp>Over and over again she returned to the surefire “Hello, Dolly!,” which earned her $5 million on one tour. She considered Dolly Levi “a role as deep as Lady Macbeth,” but added that “the essence of her character was her unquenchable thirst for life.” That description fit Carol Channing, who attributed her sunny optimism to her lifelong faith in Christian Science.\u003c/p>\n\u003cp>Others who have played the role include Pearl Bailey, Phyllis Diller, Betty Grable, Ethel Merman, Martha Raye, Ginger Rogers and Barbra Streisand, who played Dolly in a 1969 film version directed by Gene Kelly. Bette Midler won a Tony Award in the role in 2017 and a current national tour stars Betty Buckley.\u003c/p>\n\u003cp>The tour of “Hello, Dolly!” said Tuesday it would honor Channing at its current stop in California. “We are deeply saddened by the passing of the one and only Carol Channing. She was a ‘Dolly’ for the ages, and a true icon of the American theater. Betty Buckley and the cast will dedicate tonight’s performance in San Diego to her memory.”\u003c/p>\n\u003cp>Channing had two early marriages that ended in divorce — to novelist Theodore Naidish and pro footballer Alexander Carson, father of her only child, Channing. Her son became a successful political cartoonist.\u003c/p>\n\u003cp>In 1956 she married a television producer, Charles Lowe, who seemed like the perfect mate for a major star. He adopted Channing’s son and supervised every aspect of her business affairs and appearances. He reportedly viewed every one of her performances from out front, leading the applause.\u003c/p>\n\u003cp>After 41 years of marriage, she sued for divorce in 1998, alleging that he misappropriated her funds and humiliated her in public. She remarked that they only had sex twice in four decades.\u003c/p>\n\u003cp>“The only thing about control freak victims is that they don’t know who they are,” she told The Washington Post. “It’s taken me 77 years to figure that out. I was miserable. I was unhappy. And I didn’t realize it wasn’t my fault. But I’m going to survive. I’m going to live. I’m free.”\u003c/p>\n\u003cp>Lowe died after a stroke in 1999. Channing moved to Rancho Mirage near Palm Springs, California, in 2000 to write her memoirs. She called the book “Just Lucky, I Guess.”\u003c/p>\n\u003cp>Channing remarried in 2003 to Harry Kullijian, her childhood sweetheart from 70 years before. He died in 2011.\u003c/p>\n\u003cp>In her book, Channing recounted an early story from her childhood that showed a budding audience-pleasing performer. She wrote that she came home from kindergarten and noted that all the little girls hit the little boys.\u003c/p>\n\u003cp>Her parents asked: “Do you?”\u003c/p>\n\u003cp>She responded: “Oh no, I pet them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Associated Press writer Shawn Marsh in Trenton, New Jersey, contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carol Channing, the lanky, ebullient musical comedy star who delighted American audiences over almost 5,000 performances as the scheming Dolly Levi in “Hello, Dolly!” on Broadway and beyond, has died. She was 97.\u003c/p>\n\u003cp>Publicist B. Harlan Boll said Channing died of natural causes at 12:31am Tuesday in Rancho Mirage, California. Boll says she had twice suffered strokes in the last year.\u003c/p>\n\u003cp>Besides “Hello, Dolly!,” Channing starred in other Broadway shows, but none with equal magnetism. She often appeared on television and in nightclubs, for a time partnering with George Burns in Las Vegas and a national tour.\u003c/p>\n\u003cp>Her outsized personality seemed too much for the screen, and she made only a few movies, notably “The First Traveling Saleslady” with Ginger Rogers and “Thoroughly Modern Millie” with Julie Andrews.\u003c/p>\n\u003cp>Over the years, Channing continued as Dolly in national tours, the last in 1996, when she was in her 70s. Tom Shales of The Washington Post called her “the ninth wonder of the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Messages of love and appreciation lit up Twitter early Tuesday, with the League of Professional Theatre Women saying Channing “was a gift of inspiration to so many.” Fans who saw her work also took to social media, calling her a “firecracker” and saying she was “matchmaking for the angels now.”\u003c/p>\n\u003cp>Channing was not the immediate choice to play Dolly, a matchmaker who receives her toughest challenge yet when a rich grump seeks a suitable wife. The show, which features a rousing score by Jerry Herman that’s bursting with joy and tunes like “Put On Your Sunday Clothes,” ″Before the Parade Passes By” and “It Only Takes a Moment,” is a musical version of Thornton Wilder’s play “The Matchmaker.”\u003c/p>\n\u003cp>Theater producer David Merrick told her: “I don’t want that silly grin with all those teeth that go back to your ears.” Even though director Gower Champion had worked on her first Broadway hit, “Lend an Ear,” he had doubts about Channing’s casting.\u003c/p>\n\u003cp>She wowed them in an audition and was hired on the spot. At opening night on Jan. 16, 1964, when Channing appeared at the top of the stairs in a red gown with feathers in her hair and walked down the red carpet to the Harmonia Gardens restaurant, the New York audience went crazy. The critics followed suit. “Hello, Dolly!” collected 10 Tony Awards, including one for Channing as best actress in a musical.\u003c/p>\n\u003cp>Channing was born Jan. 31, 1921, in Seattle, where her father, George Channing, was a newspaper editor. When his only child was 3 months old, he moved to San Francisco and worked as a writer for The Christian Science Monitor and as a lecturer. He later became editor-in-chief of Christian Science publications. Channing herself graduated from Lowell High School, then on Hayes Street in San Francisco.\u003c/p>\n\u003cp>At the age of 7, Channing decided she wanted to become an entertainer. She credited her father with encouraging her: “He told me you can dedicate your life at 7 or 97. And the people who do that are happier people.”\u003c/p>\n\u003cp>While majoring in drama and dance at Bennington College in Vermont, she was sent off to get experience in her chosen field. She found a job in a New York revue. The show lasted only two weeks, but a New Yorker magazine critic commented, “You will hear more about a satiric chanteuse named Carol Channing.” She said later: “That was it. I said goodbye to trigonometry, zoology and English literature.”\u003c/p>\n\u003cp>For several years she worked as an understudy, bit player and nightclub impressionist, taking jobs as a model, receptionist and sales clerk during lean times. Landing in Los Angeles, she auditioned for Marge Champion, wife and dance partner of Gower Champion who was putting together a revue, “Lend an Ear.” Marge Champion recalled: “She certainly was awkward and odd-looking, but her warmth and wholesomeness came through.”\u003c/p>\n\u003cp>Channing was the hit of “Lend an Ear” in a small Hollywood theater, and she captivated audiences and critics when the show moved to New York. As the innocent gold digger in the musical “Gentlemen Prefer Blondes,” her stardom was assured. One reviewer reported she “hurls across the footlights in broad strokes of pantomime and bold, certain, exquisitely comical gestures.” The show’s hit song, “Diamonds Are a Girl’s Best Friend,” became her signature number.\u003c/p>\n\u003cp>Over and over again she returned to the surefire “Hello, Dolly!,” which earned her $5 million on one tour. She considered Dolly Levi “a role as deep as Lady Macbeth,” but added that “the essence of her character was her unquenchable thirst for life.” That description fit Carol Channing, who attributed her sunny optimism to her lifelong faith in Christian Science.\u003c/p>\n\u003cp>Others who have played the role include Pearl Bailey, Phyllis Diller, Betty Grable, Ethel Merman, Martha Raye, Ginger Rogers and Barbra Streisand, who played Dolly in a 1969 film version directed by Gene Kelly. Bette Midler won a Tony Award in the role in 2017 and a current national tour stars Betty Buckley.\u003c/p>\n\u003cp>The tour of “Hello, Dolly!” said Tuesday it would honor Channing at its current stop in California. “We are deeply saddened by the passing of the one and only Carol Channing. She was a ‘Dolly’ for the ages, and a true icon of the American theater. Betty Buckley and the cast will dedicate tonight’s performance in San Diego to her memory.”\u003c/p>\n\u003cp>Channing had two early marriages that ended in divorce — to novelist Theodore Naidish and pro footballer Alexander Carson, father of her only child, Channing. Her son became a successful political cartoonist.\u003c/p>\n\u003cp>In 1956 she married a television producer, Charles Lowe, who seemed like the perfect mate for a major star. He adopted Channing’s son and supervised every aspect of her business affairs and appearances. He reportedly viewed every one of her performances from out front, leading the applause.\u003c/p>\n\u003cp>After 41 years of marriage, she sued for divorce in 1998, alleging that he misappropriated her funds and humiliated her in public. She remarked that they only had sex twice in four decades.\u003c/p>\n\u003cp>“The only thing about control freak victims is that they don’t know who they are,” she told The Washington Post. “It’s taken me 77 years to figure that out. I was miserable. I was unhappy. And I didn’t realize it wasn’t my fault. But I’m going to survive. I’m going to live. I’m free.”\u003c/p>\n\u003cp>Lowe died after a stroke in 1999. Channing moved to Rancho Mirage near Palm Springs, California, in 2000 to write her memoirs. She called the book “Just Lucky, I Guess.”\u003c/p>\n\u003cp>Channing remarried in 2003 to Harry Kullijian, her childhood sweetheart from 70 years before. He died in 2011.\u003c/p>\n\u003cp>In her book, Channing recounted an early story from her childhood that showed a budding audience-pleasing performer. She wrote that she came home from kindergarten and noted that all the little girls hit the little boys.\u003c/p>\n\u003cp>Her parents asked: “Do you?”\u003c/p>\n\u003cp>She responded: “Oh no, I pet them.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Paradise Square' at Berkeley Rep Reflects on a Forgotten History",
"headTitle": "‘Paradise Square’ at Berkeley Rep Reflects on a Forgotten History | KQED",
"content": "\u003cp>New York is a city of neighborhoods, each with its own distinct personality. And Five Points, now fully subsumed into Manhattan’s Chinatown, was a notorious place in its time.\u003c/p>\n\u003cp>Home to the nation’s first tenement buildings—overcrowded towers of tiny apartments where new Irish emigrants lived side-by-side with a community of free blacks, single women, and other outliers—Five Points was largely dismissed by the Uptown establishment, even as the wealthy traveled there specifically to “slum.” But for thousands in the 1860s, Five Points was home, and within its closely quartered microcosm, a quiet revolution was taking place. Against the norms of the day, interracial marriages and friendships were common, and watering holes such as the female-operated Almack’s Dance Hall were places open to all: blacks, whites, and visitors alike.\u003c/p>\n\u003cfigure id=\"attachment_13848507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS8_credit_AlessandraMelloBerkeleyRepertoryTheatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">A day in the life on Paradise Square. (Front row, L to R) Hailee Kaleem Wright (Ensemble), Karen Burthwright (Ensemble), and Sidney Dupont (William Henry Lane); (Back row, L to R) Chloé Davis (Ensemble), Sir Brock Warren (Ensemble), Jamal Christopher Douglas (Ensemble), and Jacobi Hall (Ensemble). \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Paradise Square—\u003c/em>which opened at Berkeley Rep on Thursday—much of the musical is set in a dance hall such as Almack’s, run jointly by “Gentle” Annie (Madeline Trumble), the sister of the Irish proprietor Willie (Brendan Wall), who has been called to the Civil War, and his beloved, Nelly (Christina Sajous), a free woman of color from Louisiana. As times are hard, business isn’t exactly booming.\u003c/p>\n\u003cp>Enter American songwriter Stephen Foster (Jacob Fishel) looking for a job as piano player, and suddenly the bar fills with interested ears. That Foster must pretend to not be himself, as Nelly despises his regrettable plantation songs, doesn’t faze him. He’s eager to leave that part of his career in the past and immerse himself in the America of new possibilities, as embodied by the rough-and-tumble patrons of the saloon. With Foster at the keys, and the superior dance skills of Annie’s immigrant cousin Owen (A.J. Shively) and fugitive slave William Henry Lane (Sidney Dupont), the saloon stays busy. For a moment in time, all seems to be going well. Until, of course, it doesn’t, and “Paradise” is ripped asunder.\u003c/p>\n\u003cfigure id=\"attachment_13848591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sidney Dupont (William Henry Lane) and A.J. Shively (Owen Duignan) cut a rug for (background, L to R) Jacob Fishel (Stephen Foster), Daren A. Herbert (Rev. Samuel E. Cornish), and Madeline Trumble (Annie O’Brien) in ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Characterized as much by their signature dance moves as their lines or reinterpreted Stephen Foster lyrics, the cast’s emotional terrain is frequently expressed physically. In the opening scene, a contingent of Civil War conscripts dance in slow motion with their loved ones and neighbors, a melancholy goodbye. In a stunning tableau crafted with saturated pools of light (courtesy of Donald Holder) and the elegant, muscular precision of Jacobi Hall (choreography by Bill T. Jones), the anguish of a life in bondage is reenacted through his every stretched sinew. A frenetic, high-stakes dance competition dominates the second act. The cast is blessed with a slew of these limber dancers—standouts including Garrett Coleman, Chloé Davis, Shively and Dupont—and there’s rarely a moment in the show where someone is not in glorious, urgent motion.\u003c/p>\n\u003cfigure id=\"attachment_13848509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848509\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Did somebody say dance competition? (L to R) Jason Oremus (Ensemble) and Garrett Coleman (Ensemble), and the company of ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music and lyrics (arranged by Larry Kirwan and Jason Howland, lyrics by Nathan Tysen), all based on Foster’s extensive oeuvre, are both refreshingly revelatory and earworm familiar. Especially haunting, as the Civil War rages on, are the songs of war and death, reworked to reflect the inner torments and outer struggles of an underclass pushed to their limits of tolerance. When A.J. Shively sings that he will not die in the springtime, it morphs from introspective ballad to battlecry of defiance. Foster’s love songs are among his most popular offerings, and the feminist reinterpretations of both “Gentle Annie” and “Janey with the Light Brown Hair” are among the show’s best. William Henry Lane’s tribute to his love, “Angelina Baker,” gives a voice to the language of the heart. And a gracious rendition of “Beautiful Dreamer,” perhaps Foster’s last song, contains the perfect, shimmering note upon which to end the show.\u003c/p>\n\u003cfigure id=\"attachment_13848504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848504\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Fishel as Stephen Foster in the world premiere of ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the show does suffer is in the balancing act between storytelling and messaging (with Larry Kirwan, Craig Lucas, and Marcus Gardley all taking a turn on the bookwriting). Not only must our onstage Stephen Foster justifiably repent for the racist overtones of his bestselling plantation songs, he’s then taken to task for presuming to tell someone else’s story through a later song (later only in context of the play; the actual song was written more than ten years earlier). It’s not an invalid point—except that the entire production of \u003cem>Paradise Square\u003c/em> is an attempt to tell the stories of others through song. And if one of the heralded purposes of art is to hold a mirror up to the world(s) we live in, and to tell the stories of the many, determining who does and does not have the “right” to do so is always going to be a contentious sticking point.\u003c/p>\n\u003cfigure id=\"attachment_13848510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christina Sajous as Nelly Freeman in ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for that final shimmering note of “Beautiful Dreamer?” It’s buried beneath an ill-conceived spate of third-person exposition detailing the historical significance of the Five Points neighborhood, as if we hadn’t just watched a two-and-a-half hour show embodying that same significance. Again, valid points are made. But frankly, this spoon-feeding saps the strengths from the production, and the sooner they throw such caution to the winds (and the cutting room floor) the better the show will be for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Paradise Square’ \u003cdel datetime=\"2019-01-31T20:54:12+00:00\">runs through Feb. 24\u003c/del> has been extended through March 3 at Berkeley Repertory Theatre. \u003ca href=\"http://berkeleyrep.org/season/1819/13381.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "For thousands, Five Points was home, and 'Paradise Square' is an attempt to tell their unique story.",
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"title": "'Paradise Square' at Berkeley Rep Reflects on a Forgotten History | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New York is a city of neighborhoods, each with its own distinct personality. And Five Points, now fully subsumed into Manhattan’s Chinatown, was a notorious place in its time.\u003c/p>\n\u003cp>Home to the nation’s first tenement buildings—overcrowded towers of tiny apartments where new Irish emigrants lived side-by-side with a community of free blacks, single women, and other outliers—Five Points was largely dismissed by the Uptown establishment, even as the wealthy traveled there specifically to “slum.” But for thousands in the 1860s, Five Points was home, and within its closely quartered microcosm, a quiet revolution was taking place. Against the norms of the day, interracial marriages and friendships were common, and watering holes such as the female-operated Almack’s Dance Hall were places open to all: blacks, whites, and visitors alike.\u003c/p>\n\u003cfigure id=\"attachment_13848507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS8_credit_AlessandraMelloBerkeleyRepertoryTheatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">A day in the life on Paradise Square. (Front row, L to R) Hailee Kaleem Wright (Ensemble), Karen Burthwright (Ensemble), and Sidney Dupont (William Henry Lane); (Back row, L to R) Chloé Davis (Ensemble), Sir Brock Warren (Ensemble), Jamal Christopher Douglas (Ensemble), and Jacobi Hall (Ensemble). \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Paradise Square—\u003c/em>which opened at Berkeley Rep on Thursday—much of the musical is set in a dance hall such as Almack’s, run jointly by “Gentle” Annie (Madeline Trumble), the sister of the Irish proprietor Willie (Brendan Wall), who has been called to the Civil War, and his beloved, Nelly (Christina Sajous), a free woman of color from Louisiana. As times are hard, business isn’t exactly booming.\u003c/p>\n\u003cp>Enter American songwriter Stephen Foster (Jacob Fishel) looking for a job as piano player, and suddenly the bar fills with interested ears. That Foster must pretend to not be himself, as Nelly despises his regrettable plantation songs, doesn’t faze him. He’s eager to leave that part of his career in the past and immerse himself in the America of new possibilities, as embodied by the rough-and-tumble patrons of the saloon. With Foster at the keys, and the superior dance skills of Annie’s immigrant cousin Owen (A.J. Shively) and fugitive slave William Henry Lane (Sidney Dupont), the saloon stays busy. For a moment in time, all seems to be going well. Until, of course, it doesn’t, and “Paradise” is ripped asunder.\u003c/p>\n\u003cfigure id=\"attachment_13848591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS4_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sidney Dupont (William Henry Lane) and A.J. Shively (Owen Duignan) cut a rug for (background, L to R) Jacob Fishel (Stephen Foster), Daren A. Herbert (Rev. Samuel E. Cornish), and Madeline Trumble (Annie O’Brien) in ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Characterized as much by their signature dance moves as their lines or reinterpreted Stephen Foster lyrics, the cast’s emotional terrain is frequently expressed physically. In the opening scene, a contingent of Civil War conscripts dance in slow motion with their loved ones and neighbors, a melancholy goodbye. In a stunning tableau crafted with saturated pools of light (courtesy of Donald Holder) and the elegant, muscular precision of Jacobi Hall (choreography by Bill T. Jones), the anguish of a life in bondage is reenacted through his every stretched sinew. A frenetic, high-stakes dance competition dominates the second act. The cast is blessed with a slew of these limber dancers—standouts including Garrett Coleman, Chloé Davis, Shively and Dupont—and there’s rarely a moment in the show where someone is not in glorious, urgent motion.\u003c/p>\n\u003cfigure id=\"attachment_13848509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848509\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_PS13_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Did somebody say dance competition? (L to R) Jason Oremus (Ensemble) and Garrett Coleman (Ensemble), and the company of ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music and lyrics (arranged by Larry Kirwan and Jason Howland, lyrics by Nathan Tysen), all based on Foster’s extensive oeuvre, are both refreshingly revelatory and earworm familiar. Especially haunting, as the Civil War rages on, are the songs of war and death, reworked to reflect the inner torments and outer struggles of an underclass pushed to their limits of tolerance. When A.J. Shively sings that he will not die in the springtime, it morphs from introspective ballad to battlecry of defiance. Foster’s love songs are among his most popular offerings, and the feminist reinterpretations of both “Gentle Annie” and “Janey with the Light Brown Hair” are among the show’s best. William Henry Lane’s tribute to his love, “Angelina Baker,” gives a voice to the language of the heart. And a gracious rendition of “Beautiful Dreamer,” perhaps Foster’s last song, contains the perfect, shimmering note upon which to end the show.\u003c/p>\n\u003cfigure id=\"attachment_13848504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848504\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_JacobFishelAsStephenFoster_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Fishel as Stephen Foster in the world premiere of ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the show does suffer is in the balancing act between storytelling and messaging (with Larry Kirwan, Craig Lucas, and Marcus Gardley all taking a turn on the bookwriting). Not only must our onstage Stephen Foster justifiably repent for the racist overtones of his bestselling plantation songs, he’s then taken to task for presuming to tell someone else’s story through a later song (later only in context of the play; the actual song was written more than ten years earlier). It’s not an invalid point—except that the entire production of \u003cem>Paradise Square\u003c/em> is an attempt to tell the stories of others through song. And if one of the heralded purposes of art is to hold a mirror up to the world(s) we live in, and to tell the stories of the many, determining who does and does not have the “right” to do so is always going to be a contentious sticking point.\u003c/p>\n\u003cfigure id=\"attachment_13848510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848510\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ParadiseSquare_Christina-SajousAsNellyFreeman_credit_AlessandraMelloBerkeleyRepertoryTheatre-1.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christina Sajous as Nelly Freeman in ‘Paradise Square’ at Berkeley Rep. \u003ccite>(Alessandra Mello/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for that final shimmering note of “Beautiful Dreamer?” It’s buried beneath an ill-conceived spate of third-person exposition detailing the historical significance of the Five Points neighborhood, as if we hadn’t just watched a two-and-a-half hour show embodying that same significance. Again, valid points are made. But frankly, this spoon-feeding saps the strengths from the production, and the sooner they throw such caution to the winds (and the cutting room floor) the better the show will be for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Paradise Square’ \u003cdel datetime=\"2019-01-31T20:54:12+00:00\">runs through Feb. 24\u003c/del> has been extended through March 3 at Berkeley Repertory Theatre. \u003ca href=\"http://berkeleyrep.org/season/1819/13381.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity",
"headTitle": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s the sound of water that you notice first, walking into the mainstage space at CounterPulse. The gurgle of a flowing river, the persistent chatter of birds, the crunch of gravel. A voiceover describes the setting as it is now—“brown and overgrown…no place for bougie hipsters”—and as it was when Santa Cruz’ last Chinatown lined the San Lorenzo river: a litany of hands, bodies, and children playing in the river.\u003c/p>\n\u003cp>With that introduction, a woman (Cynthia Ling Lee) in denim overalls and plaid shirt from an earlier century begins to play too, leaping across and splashing in the imaginary water, her body ably capturing the unselfconsciousness of a small child.\u003c/p>\n\u003cfigure id=\"attachment_13847071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatownsDuet_credit_RobbieSweeny-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Ling Lee and Clarissa Dyas at play in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as with childhood, such idyll cannot last forever. With the introduction of a second dancer, the equally expressive Clarissa Dyas, the piece shifts tonally. As they skip across the stage they sing “Ten Little Chinamen,” mirroring each other, lightly mocking each other, feigning an innocence over the outrageous lyrics we can’t believe. An ominous rumble from Anna Friz’ soundscape weights the atmosphere as two more performers (Lynn Huang and Zoe Huey) enter the stage and help to bring Lee down in a cruel game.\u003c/p>\n\u003cfigure id=\"attachment_13847065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_quartet_credit_RobbieSweeny-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Lynn Huang, and Clarissa Dyas in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By turns playful, melancholy, and unflinching, \u003cem>Lost Chinatowns\u003c/em>—one of two pieces in CounterPulse’s \u003ca href=\"http://counterpulse.org/performing-diaspora/\" target=\"_blank\" rel=\"noopener\">Performing Diaspora\u003c/a> series—explores a forgotten history of the Chinese inhabitants of Santa Cruz, hidden in plain sight along the banks of the San Lorenzo river.\u003c/p>\n\u003cp>A professor of dance at UC Santa Cruz, Lee first became aware of the erasure of Santa Cruz’s Chinese community when she tried to buy food for cooking and couldn’t find the ingredients she needed. Home to four successive Chinatowns between 1860 and 1955, Santa Cruz has preserved little trace of its former inhabitants, to the point that not even an Asian grocery store survives. Lee’s initial frustration became an artistic inquiry, which led her to explore the San Lorenzo River, the virulent anti-immigrant language of the courts and politicians over the centuries, the poetry of the migrants, and the photographic essays of George Lee. Directed by herself and Shyamala Moorty, \u003cem>Lost Chinatowns\u003c/em> offers a space for reflection and reckoning, revealing the ways the past continues to inform the modern day.\u003c/p>\n\u003cfigure id=\"attachment_13847070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_Bowls_credit_RobbieSweeney-800x364.jpg\" alt=\"\" width=\"800\" height=\"364\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Clarissa Dyas, and Lynn Huang using dishes as percussion instruments in ‘Lost Chinatowns.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere are some fast facts about Bruce Lee. One of his legs was shorter than the other. He once won a cha-cha dancing competition. He had his underarm sweat glands surgically removed. His childhood nickname was “never-sit-still.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Melissa Lewis’ \u003cem>I Dreamed Bruce Lee was My Father\u003c/em>, the mythology of one of the United States’ first Asian-American superstars is deconstructed and examined. In Lewis’ multimedia collaboration, three performers (Lewis, Kim Ip, and Nina Wu) pay homage to the man without making him a martyr. By turns humorous (as when they swoon theatrically together as they intone their muses’ name) and heartfelt (as when Lewis dons sparring guards and demands loudly to fight, isolated by a pool of light), \u003cem>I Dreamed Bruce Lee was My Father\u003c/em> imbues hero worship with humanity—and humanity with heroism.\u003c/p>\n\u003cfigure id=\"attachment_13847068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_MelissaLewis_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis is ready to fight in ‘I Dreamed Bruce Lee was My Father.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An online interview with Lewis, herself of mixed-race heritage, reveals that she really did have a dream in which she and Bruce Lee puttered around the house in a series of mundane activities, just as if they were a father and daughter going about their day. From this first glimpse of Lee’s human side and her feeling of connection to it, a performance piece evolved. Incorporating martial arts technique, Chinese opera makeup, drag, a raucous karaoke segment, movie clips, video games, an elaborate memorial shrine, and a lyrical ode to a buffed-out cardboard-cutout Bruce Lee, the piece virtually explodes with ideas.\u003c/p>\n\u003cfigure id=\"attachment_13847063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_HiKick_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis, Nina Wu, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of those ideas don’t entirely cohere. At one point Wu tells Lee that she is in awe of him “but not without criticism,” never elucidating those critiques. During the karaoke number, the racism underpinning the song “Kung-Fu Fighting” is taken to task briefly—but it doesn’t lead to a greater revelation of the persistence of outmoded stereotypes. We get the soundbite, but not the deep dive.\u003c/p>\n\u003cp>Taken together, though, the two pieces complement each other admirably. Although developed separately, they work in tandem to cover over 150 years of Asian-American identity in one short hour: from the anonymous migrant poets of the 1800s, to the mixed martial arts aficionados of today.\u003c/p>\n\u003cfigure id=\"attachment_13847067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_NinaWu_MelissaLewis_KimIp_credit_RobbieSweeny-800x493.jpg\" alt=\"\" width=\"800\" height=\"493\">\u003cfigcaption class=\"wp-caption-text\">Nina Wu, Melissa Lewis, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse has long been a home for passionate and politicized explorations of societal frameworks, and their Performing Diaspora residency encourages artists working in traditional mediums to explore their artistic heritage for a modern audience. Grappling with big picture questions of identity, erasure, and evolution, Performing Diaspora is for everyone who dares to ask those questions for which no single answer exists.\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>‘Lost Chinatowns’ and ‘I Dreamed Bruce Lee was My Father’ continue Dec. 13–15 at CounterPulse in San Francisco. \u003ca href=\"http://counterpulse.org/event/performing-diaspora-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s the sound of water that you notice first, walking into the mainstage space at CounterPulse. The gurgle of a flowing river, the persistent chatter of birds, the crunch of gravel. A voiceover describes the setting as it is now—“brown and overgrown…no place for bougie hipsters”—and as it was when Santa Cruz’ last Chinatown lined the San Lorenzo river: a litany of hands, bodies, and children playing in the river.\u003c/p>\n\u003cp>With that introduction, a woman (Cynthia Ling Lee) in denim overalls and plaid shirt from an earlier century begins to play too, leaping across and splashing in the imaginary water, her body ably capturing the unselfconsciousness of a small child.\u003c/p>\n\u003cfigure id=\"attachment_13847071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatownsDuet_credit_RobbieSweeny-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Ling Lee and Clarissa Dyas at play in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as with childhood, such idyll cannot last forever. With the introduction of a second dancer, the equally expressive Clarissa Dyas, the piece shifts tonally. As they skip across the stage they sing “Ten Little Chinamen,” mirroring each other, lightly mocking each other, feigning an innocence over the outrageous lyrics we can’t believe. An ominous rumble from Anna Friz’ soundscape weights the atmosphere as two more performers (Lynn Huang and Zoe Huey) enter the stage and help to bring Lee down in a cruel game.\u003c/p>\n\u003cfigure id=\"attachment_13847065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_quartet_credit_RobbieSweeny-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Lynn Huang, and Clarissa Dyas in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By turns playful, melancholy, and unflinching, \u003cem>Lost Chinatowns\u003c/em>—one of two pieces in CounterPulse’s \u003ca href=\"http://counterpulse.org/performing-diaspora/\" target=\"_blank\" rel=\"noopener\">Performing Diaspora\u003c/a> series—explores a forgotten history of the Chinese inhabitants of Santa Cruz, hidden in plain sight along the banks of the San Lorenzo river.\u003c/p>\n\u003cp>A professor of dance at UC Santa Cruz, Lee first became aware of the erasure of Santa Cruz’s Chinese community when she tried to buy food for cooking and couldn’t find the ingredients she needed. Home to four successive Chinatowns between 1860 and 1955, Santa Cruz has preserved little trace of its former inhabitants, to the point that not even an Asian grocery store survives. Lee’s initial frustration became an artistic inquiry, which led her to explore the San Lorenzo River, the virulent anti-immigrant language of the courts and politicians over the centuries, the poetry of the migrants, and the photographic essays of George Lee. Directed by herself and Shyamala Moorty, \u003cem>Lost Chinatowns\u003c/em> offers a space for reflection and reckoning, revealing the ways the past continues to inform the modern day.\u003c/p>\n\u003cfigure id=\"attachment_13847070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_Bowls_credit_RobbieSweeney-800x364.jpg\" alt=\"\" width=\"800\" height=\"364\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Clarissa Dyas, and Lynn Huang using dishes as percussion instruments in ‘Lost Chinatowns.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere are some fast facts about Bruce Lee. One of his legs was shorter than the other. He once won a cha-cha dancing competition. He had his underarm sweat glands surgically removed. His childhood nickname was “never-sit-still.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Melissa Lewis’ \u003cem>I Dreamed Bruce Lee was My Father\u003c/em>, the mythology of one of the United States’ first Asian-American superstars is deconstructed and examined. In Lewis’ multimedia collaboration, three performers (Lewis, Kim Ip, and Nina Wu) pay homage to the man without making him a martyr. By turns humorous (as when they swoon theatrically together as they intone their muses’ name) and heartfelt (as when Lewis dons sparring guards and demands loudly to fight, isolated by a pool of light), \u003cem>I Dreamed Bruce Lee was My Father\u003c/em> imbues hero worship with humanity—and humanity with heroism.\u003c/p>\n\u003cfigure id=\"attachment_13847068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_MelissaLewis_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis is ready to fight in ‘I Dreamed Bruce Lee was My Father.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An online interview with Lewis, herself of mixed-race heritage, reveals that she really did have a dream in which she and Bruce Lee puttered around the house in a series of mundane activities, just as if they were a father and daughter going about their day. From this first glimpse of Lee’s human side and her feeling of connection to it, a performance piece evolved. Incorporating martial arts technique, Chinese opera makeup, drag, a raucous karaoke segment, movie clips, video games, an elaborate memorial shrine, and a lyrical ode to a buffed-out cardboard-cutout Bruce Lee, the piece virtually explodes with ideas.\u003c/p>\n\u003cfigure id=\"attachment_13847063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_HiKick_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis, Nina Wu, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of those ideas don’t entirely cohere. At one point Wu tells Lee that she is in awe of him “but not without criticism,” never elucidating those critiques. During the karaoke number, the racism underpinning the song “Kung-Fu Fighting” is taken to task briefly—but it doesn’t lead to a greater revelation of the persistence of outmoded stereotypes. We get the soundbite, but not the deep dive.\u003c/p>\n\u003cp>Taken together, though, the two pieces complement each other admirably. Although developed separately, they work in tandem to cover over 150 years of Asian-American identity in one short hour: from the anonymous migrant poets of the 1800s, to the mixed martial arts aficionados of today.\u003c/p>\n\u003cfigure id=\"attachment_13847067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_NinaWu_MelissaLewis_KimIp_credit_RobbieSweeny-800x493.jpg\" alt=\"\" width=\"800\" height=\"493\">\u003cfigcaption class=\"wp-caption-text\">Nina Wu, Melissa Lewis, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse has long been a home for passionate and politicized explorations of societal frameworks, and their Performing Diaspora residency encourages artists working in traditional mediums to explore their artistic heritage for a modern audience. Grappling with big picture questions of identity, erasure, and evolution, Performing Diaspora is for everyone who dares to ask those questions for which no single answer exists.\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>‘Lost Chinatowns’ and ‘I Dreamed Bruce Lee was My Father’ continue Dec. 13–15 at CounterPulse in San Francisco. \u003ca href=\"http://counterpulse.org/event/performing-diaspora-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"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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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"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"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
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